DENSMORE] NORTHERN UTE MUSIC 107 
Analysis—We have before us for consideration two renditions of 
a song by the same singer (cf. Nos. 77, 78), the first rendition being 
recorded in 1914 and the second in 1916. The duplication was 
accidental, which adds to the interest of the comparison. On the 
first occasion the song was sung three times and on the second it 
was sung twice. Comparing the transcriptions of the two rendi- 
tions, we find in the second a more regular rhythm and also an 
ornamentation of the melody, as in the third measure. The first- 
named peculiarity is shown by the presence of rhythmic units, the 
latter by a larger proportion of whole-tone progressions. Inquiry 
was made concerning the life of the singer during the two years 
elapsmg between the making of the records, as the rhythm might 
possibly be influenced by an adaptation to the ways of the white 
- man. The Government officials on the reservation were, however, 
of the opinion that no appreciable change had taken place in the 
singer and the difference in the records was attributed by them to a 
difference in mood at the time of recording. 
-On comparing the analyses of the two renditions, we find the 
following resemblances and differences: 
RESEMBLANCES 
Wana tig eset: a aoe Ske Major. 
Hite hon ese ese Seed oto oy oe oO CLAVe, 
Ea atetOMCmee: © oa Rae tea = in Si ah. Fifth. 
COM Passee cs ati 2otgs< 3245s =- ke tones, 
Mone materials >. 55. -/.5 - =. - ee ware Octave complete except seventh. 
Suet Unease ee Ss ee PRT foe Melodic. 
IP ErsigPEOCROSSION). a6 Ss ung sen e258 Upward. 
Time of first measure..............--- 2-4. 
DIFFERENCES 
First Second 
rendition— | rendition !— 
Key of Key of 
E major | E flat major 
INEM BELO Pro PTeSSIONS s maer meee ers kt ses oe ote Cla wad sl> 2 picdisiccecatee 31 47 
IPropoLtlon. Of Ma) OF WHITES sas tee ese cena oe oe dete cine o Se esis ees oe 19 20 
EEOUOLUION RO Laila Os SECONGS ao erst Son ace same eiae te ate cra tae nator Scen Kee 40 58 
VIN GAT CMT Geen oe sais aj eters Ae ewe rnd dele Sees acne o es cee eee None. 74 
IME GLOL OIC ANd) (UUM sree en te mAs ens aan ie bie arth telan om ecle 69 84 
1 Interesting features of the second rendition are the first and second endings and the connective phrase. 
In both renditions the drum was in the same tempo as the voice, 
but was struck slightly after the corresponding tone of the voice. 
This appears to be a peculiarity of the Lame dance songs. In the 
comparison of the two renditions it appears that the resemblances 
are more important than the differences, establishing the identity of 
