56 BUREAU OF AMERICAN ETHNOLOGY [bdi.l. 6i 



division of the count occurs in 15 per cent of the songs recorded at Waba'ciiig. . . . 

 The same phrase is found in 10 per cent of the Sioux songs of the Drum-presentation 

 Ceremony . . . and also in about 10 per cent of the Sun-dance songs of the Teton 

 Sioux recorded by the writer at Standing Rock, North Dakota. 



From these data it appears that an accented sixteenth note, fol- 

 lowed either by an eighth or a dotted eighth note, may be regarded as 

 a rhythmic characteristic of the Sioux songs under analysis. 



No rhythmic peculiarity of equal importance was noted among 

 the songs of the Chippewa. It therefore appears that the rhythmic 

 sense is more strongly developed among the Sioux than among the 

 Chippewa. 



Briefly summarizing the comparison between the Chippewa and 

 Sioux songs as sung by the people of each tribe, it may be said that 

 the tabulated analyses show differences between the music of the two 

 tribes, but not such as can safely be traced to definite causes. The 

 resemblances may be due to the fact that the two tribes have been 

 in contact for many generations and the music of the one undoubt- 

 edly has been influenced to some extent by that of the other. It 

 is possible that the resemblances and differences between the two 

 may be seen to have more significance as the study of Indian music is 

 extended to include a comparison between the songs of other and more 

 widely separated tribes. 



Test of Pitch Discrimination Among Chippewa and Sioux 



In order to obtain data on the pitch discrimination of Indians 

 certain tests were made by the writer during the summer of 1915. ' 

 These were made among the Mandan, Hidatsa, Chippewa, and Sioux 

 Indians, but only the results obtained among the latter two tribes will 

 be presented. In each of these tribes 10 persons were submitted 

 to the test, including men and women who are known as being 

 good singers, and also a few "old timers" who are not musicians. 

 The limited number of persons tested, as well as the very unfavorable 

 conditions under which the tests were made, renders the results far 

 from conclusive, but they have a bearing on the subject of Indian 

 music, and also suggest interesting points for further investigation. 



The tests were made by means of a set of tuning forks comprising 

 a fork giving the tone a' (435 vibrations, international pitch), this 

 being the fundamental tone of the series, and 10 other forks pro- 

 ducing tones respectively h, I, 2, 3, 5, 8, 12, 17, 23, and 30 vibrations 

 above the fundamental. 



'The writer gratefully acknowledges her indebtedness to Prof. C. E. Seashore, dean of the Giaduate 

 College, University of Iowa, for his courtesy in lending the tuning forks with wliich the tests were made, 

 also for valuable suggestions regarding the formulation of the results. The method used in the tests was 

 essentially that described by Prof. Seashore in his monograph, "The Measurement of Pitch Discrimina- 

 tion; A Preliminary Report," in Psychological Monographs, vol, 13, No, 1, Review Publishing Co., Lan- 

 caster, Pa., and Baltimore, Md,, 1910. 



