DEXSMOKE] TETON SIOUX MUSIC 61 



same in the second as in the first records. In two of the songs there 

 was no difference in the sHghtest respect; in one what appeared as a 

 glissando progression in the first recording was sung in definite inter- 

 vals in the second; and in the fourth song there was a shght differ- 

 ence in the opening measures but none in the part containing the 

 words. Several consecutive renditions of the songs were recorded 

 on both occasions. Another and similar instance occurred among 

 the Chippewa. Odjib'we (See Bulletin 53) recorded certain songs in 

 August, 1909, and March, 1910, the two recordings showing the same 

 pitch of the song as a whole, and also a slight deviation from diatonic 

 pitch on tlie same tones, this deviation being perceptible but not 

 enough to be indicated by an accidental. 



See also analysis of song No. 209 of this volume. 



(2) Quality of tone. — The manner of tone production by the Indian 

 is different from that of the white man. The former cultivates and 

 greatly admires a pronounced vibrato; a falsetto tone is also con- 

 sidered a mark of musical proficiency. An instance of this is men- 

 tioned in Bulletin 53 (p. 252): A singer at Red Lake, Minn., "sang 

 in falsetto voice with a peculiar throaty vibrato. He said that he 

 discovered his ability to do this when he was a boy and had cultivated 

 it ever since." This vibrato is not invariably found in a good singer, 

 but, as in the white race, it is frequently present. A peculiar nasal 

 tone is always used in the Love songs, so that one accustomed to the 

 music of these tribes can recognize these songs by the tone quality, 

 as well as by a melodic freedom greater than that in other songs. 

 Another quality of tone is that used in the songs of hopeless illness, 

 or in the ''wailing songs" after a death. To these may be added the 

 crooning tone of the luUabies, Other tone qualities are undoubtedly 

 and perhaps intentionally used, these being, however, the most easily 

 recognized. 



(3) Compass of voice. — An expanded compass is admired among the 

 Chippewa and Sioux as well as among musicians of the white race. 

 Songs Nos. 55, 195, 202, have each a compass of 17 tones; two of these 

 were recorded by Kills-at-Night, who has a wide reputation as a 

 singer. Other songs have a compass of 13 or 14 tones each. 



(4) Memory. — The memory test ("repertoire") o'btains among 

 these Indians as well as among civiUzed musicians. The writer has 

 never attempted to exhaust the number of songs which could be 

 recorded by a good singer. The largest number of songs recorded 

 by one individual are those of Odjib'we m Bulletm 53. As he was 

 recording songs known to no other person he was asked to record 

 more than 80. These were songs which were practically all of the 

 same class; he doubtless remembered many others of different kinds. 

 The recordmg of 50 or 60 songs by one individual is not unusual in 

 the present work, selections being made from this number after tran- 



