54 BUREAU OF AMERICAN ETHNOLOGY [Burt 75 
TaBLeE 13.—Although the tables next preceding have shown that 
the Ute do not use certain large intervals which are used by the other 
tribes under consideration, the average interval in the two groups or 
songs is almost the same, since both are slightly larger than a minof 
third (three semitones). This adds interest to the investigation of the 
minor third in Indian music. The minor (non-major) third has 
frequently been noted by explorers, as well as by students of primi- 
tive music, 
TaBLE 14.—The consideration of Indian music as being literally in 
a “key” is foreign to the present work; thus the term “tonality” is 
substituted for ‘““key”’ in the first table of analysis. The songs are 
grouped in the present table chiefly to determine the pitch of the 
songs and to observe this pitch with relation to the compass of the 
voice. The term “‘key”’ is here used in its broad sense, as applicable 
to nonharmonic music, inclusive of modes. KE major, E flat major, 
and G major show the highest percentages in Ute songs, the latter 
being also the highest percentage in the Chippewa and Sioux songs. 
TaBLeEs 15 AND 16.—The Ute songs show a much higher propor- 
tion beginning on the accented portion of the measure-—a peculiarity 
which suggests simplicity and directness. This is further shown by 
the higher percentage of songs beginning in 2-4 time, this being 62 
per cent in the Ute and 54 per cent in the Chippewa and Sioux songs. 
TaBLE 17.—Only 11 per cent of the Ute songs contain no change 
of measure-lengths; 16 per cent of the songs previously analyzed are 
continuous in time. The difference between these proportions is of 
less interest than the fact that a change of measure-lengths appears to 
be so general a custom in all the tribes under analysis. 
TaBLE 18.—The accompanying instrument among the Utes seems 
to be primarily for the purpose of marking the time and tc have 
less individuality than the accompanying instruments of the tribes 
previously. analyzed. Thus the percentage of quarter-note drum 
rhythm in the Ute songs is more than three times that in the former 
group. The proportion of the eighth-note rhythm is somewhat 
smaller in the Ute, which shows less than one-third the percentage 
of songs in which the accompanying instrument is in a triplet count- 
division. . 
TABLE 19.—This is one of the most important tables of analysis, 
showing the rhythmic structure of the song, as Table 8 shows its 
melodic structure. In this, table we note that in the recorded Ute 
songs the percentage containing a rhythmic unit is higher than in 
the Chippewa and Sioux. The melodic material of the Ute is 
shown to be less varied, the melodic structure less free, the drum 
rhythm simpler. In this connection it is interesting to note that the 
sense of rhythm is more prominent in the Ute songs. ‘Two rhythmic 
units seem preferred to one, as the percentage of songs with one 
—_— Ss sn” 
