60 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 
which characterizes the most primitive vocal expression of uncivilized 
peoples. (See Bull. 53, p. 7.) This interval is prominent also in the 
early music of civilization. The tone material of this song comprises 
a fundamental (G), with its minor third and minor seventh—a tone 
material not previously noted by the writer. For convenience the 
song is analyzed as in the key of G minor, though it can scarcely be 
said to constitute a key in the accepted sense of that term. 
The rhythm of the notched-stick rattle is simple and does not vary 
in the songs recorded with its accompaniment. The rubbing stick is 
thrust downward upon the notched stick, producing a sharp, rasping 
sound, and as it is brought upward, preparatory to the next stroke, 
there is a similar but less pronounced sound, the downward stroke 
occupying a period of time slightly longer than that required for 
returning the rubbing stick to its original position. The sound pro- 
duced by the upward motion varied with individuals, those who used 
he rattle with special energy producing, of course, a louder sound 
with the upward motion of the rubbing stick. The song under 
analysis is the only recorded Bear dance song in which the rattle and 
voice are not synchronous at the beginning of each count. In this 
song the tempo of the rattle is shghtly slower than that of the voice. 
This and the song next following are examples of recent composi- 
tion among the Utes. Fred Mart, the writer’s interpreter, said that 
he composed these songs “in dreams.”’ 
songs was customary in the old days and has been noted among many 
tribes of Indians. The usage among Chippewa and Sioux is noted 
in Bulletin 53, page 37, and Bulletin 61, page 59. It is not uncommon 
among the Utes at the present time. 
Concerning the origin of this song, Mr. Mart said: “I dreamed that 
I was at a Bear dance; there was a great crowd, but they were 
strangers to me and did not address me. All were singing this song 
and I learned it from them. I sang it while I was still asleep and 
was singing it aloud when I awoke. After that I remembered the 
song.’ In explanation of the words, he said: “Many Utes wear a 
flat, polished shell suspended around their necks, and at the Bear 
dance they tie a weasel skin to this shell. The idea of the word is, 
‘Dance harder so your weasel skin will swing faster.’”’ Mr. Mart 
taught this song to the singers at a Bear dance, and when it was 
sung the old people mistook it for an old song. It was necessary 
for him to sing it only two or three times with the singers at the 
drum, after which he led them in the singing of it. When recording 
the song, he shouted between the renditions, “Dance harder, Red 
Stick,’ as though addressing a dancer, and “That is the way to 
dance,” it being customary to urge the dancers in this manner. - 
This manner of composing. 
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