484 



BUREAU OF AMERICAN ETHNOL()(;V 



[BUIX. Gl 



In song No. 205, howcvor, \vo have a plot whicli merits closer 

 inspection. In this song the final interval between accented tones 

 is an ascending interval, suggesting class E, in which tlie first such 

 interval is ascending, and which was found to contain songs of dis- 

 tress. Songs similar to No. 205 can scarcely be said to constitute a 

 class by themselves, yet on examining the plots of these songs in 

 connection with their titles and words we lind that many of them 

 contain what might be called a "sense of indefiniteness." An excep- 

 tion to this is song No. 16, which was sung after the raising of the Sun- 

 dance pole, though at tliis point in the ceremony there was an intense 

 feeling of suspense and expectation. The only other songs having 

 this interval between accented tones at the close are as follows: Xo. 

 47, "Owls were liooting in the j)assing of the night" —tlie song of a 



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No. 195 



No. 202 



I Ml- -(I 1 



No. 196 



No. 205 



Fig. 40. Plots, Group ' 



medicine-man wlio anxiously watches a patient; No. 92, a medicine 

 song of Sitting Bull's containing the words "No one is sacred, you 

 said"; Nos. 95 and 97, concerning the buffalo walking in the north; 

 No. 178, a war song with the words, "I am the fox, something difRcuIt 

 I seek"; No. 181, a song of the buffalo hunt; and Nos. 207 and 208, 

 songs of the moccasin game, \\Tthout words. In addition to these 

 the only songs containing an accented tone lower than the fmal tone 

 are as follows: No. 19, the opening song of the Sun dance, and No. 33, 

 a dancing song used during that ceremony; Nos. 57 and 89, songs 

 said to have been received from the bear, and No. 103 from the 

 buffalo; No. 78, a song concerning the sacred stones, with the title 

 "A voice I sent"; Nos. 147 and 149, songs concerning warriors slain 

 on the warpath; and No. 218, the song of the maiden who leaped 

 from the ledge. 



