DENsMoRE] NORTHERN UTE MUSIC 135 
It is interesting to note in this connection the pitch of these phono- 
graph records. The uniformity of pitch in successive songs suggests 
mental concentration and among musicians of the white race would 
be considered an evidence of musical ability. Consideration should 
also be given to the fact that the interpreter used the word ‘‘song”’ 
in reference to these, suggesting that to his mind they had an identity. 
The rudimentary songs were interpreted by a different person, but 
the word “song’’ was modified, the interpreter saying ‘They sing 
this way when they tell stories.” 
As a melodic peculiarity of these songs we note the sequence of 
“keys”? in the musicians’ use of that term. (See tabulated state- 
ment below.) It may seem anomalous to apply the term “key” to 
these songs, as in almost half of them the third above the (apparent) 
keynote does not occur. However, by applying this broad test, we find 
what appears to be a connection between the idea of these songs and 
their melodic content. The idea underlying the songs was a desire 
that a sick person should recover, and in the sequence of tone material 
or “keys,” we find an effect of uncertainty followed by an effect of 
confidence and rejoicing. The singer’s intonation was fairly accurate 
throughout the songs, especially on what may be termed the bound- 
aries of the melody. Thus B flat, which is the opening tone of the 
first six songs (Nos. 52-57), was unmistakable; also F and E flat, 
occurring later in the songs; while the B natural in the last three 
songs was given with similar distinctness. The tone material of the 
songs is as follows: 
Degrees of 
ne z Keynote tonie seale 
occurring 
in song 
GP =| do ibyre one. 1,2,3,5,6.1 
DSdel| aed Obsne = =e pilin oes 
4a sed Okeees= = 1253505 
SOM | Bwiate seo. 1250505 
On eC Opes 1, 2,.0,.6. 
Ove eed Olean 1,2, 5,6. 
Gis) eed Seone i 2535.05 
ih!) ay Eco Pea Se [cil eR EGE 
CONS Pee Ofna |e leer o, Os 
1 Fourth five-toned scale. 
Since we are accustomed to hearing tuned instruments, the effect 
of this sequence of tone material can probably be noted most clearly 
by playing the tones on a piano. This will be the more evident if 
the chords of E flat, B flat, and G major are sounded before the single 
tones used in the melody are played. The singer said that at a cer- 
- tain point in his performance he told the people to ‘sing harder,” as 
