54 BUREAU OF AMERICAN ETHNOLOGY [bull. 6i 



piled as the result of an examination of the plots of the songs. Com- 

 parison with the list of song titles will show that in a majority of 

 instances the song contains the idea of strength, victory, or seK- 

 confidence. The list is as follows: 5, 7, 11, 12, 13, 15, 40, 42, 45, 

 70, 72, 81, 82, 83, 84, 92, 93, 119, 123, 124, 125, 130, 131, 134, 142, 

 145, 147, 148, 150, 153, 154, 156, 160, 161, 164, 165, 168, 170, 171, 

 175, 176, 177, 184, 185, 186, 187, 188, 190, 191, 196, 214, 222, 223, 

 224, 229, 230. Plots of several of these are shown on pages 283, 419. 



Type D was first noted in the songs of Dream societies, named for 

 animals which appeared in dreams, many of these songs being said to 

 have been received from the animals. This type is characterized by 

 a short ascent and descent frequently repeated in the melody. On 

 grouping a number of songs having this characteristic and comparing 

 the song numbers with their respective titles, it was found that prac- 

 tically all are songs concerning men or animals in motion. No. Ill 

 is an example of this class. The plots of Nos. 55 and 58, songs of 

 Dream societies, are shown on page 204. Plots of Nos. 99, 100, 111, 

 127, 145, 146, 161, and 174, which are. songs concerning men or 

 animals and usually suggesting motion, are shown on page 419. Other 

 instances of similar outline are Nos. 66 and 179, which are not 

 plotted. 



Type E is noted in songs expressive of grief, or of dissatisfaction. 

 (See p. 519.) There are other songs in which the first progression 

 is an ascending progression. It will be noted that this plot shows 

 only the relation of accented tones, or tones which (in musical 

 terminology) appear at the beginning of measures. 



Comparison Between Analyses of Chippewa and Sioux Songs 



We will next consider a comparison between the characteristics 

 of Chippewa and Sioux songs, as shown by the percentages in the 

 Tables of Analysis on pages 23-39. The Sioux songs of the Drum- 

 presentation ceremony, sung by Chippewa, are not included in this 

 comparison. 



In Table 1 we note that 42 per cent of the Chippewa songs are 

 minor in tonality, while 60 per cent of the Sioux songs are minor. 

 The proportion beginning on the twelfth or fifth is 52 per cent in the 

 Chippewa and 41 per cent in the Sioux, but the proportion begin- 

 ning on the octave, tenth, and tliird is larger in the Sioux. The 

 Chippewa show a larger percentage ending on the keynote, but 

 about the same percentage in wliich the final tone is the lowest 

 in the song. The Chippewa have a much larger proportion of 

 songs with a range of 12 tones, but the Sioux have the larger 

 proportion with a range of 10 tones and of an octave. In songs 

 on the five- toned scales the Chippewa have a larger proportion, 



