146 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 
Sones Usep In TREATMENT OF SicK—Continued 
RHYTHMIC ANALYSIS—continued 
TABLE 21D.—TIME UNIT OF DRUM 
| Number 
| of songs 
Serial Nos. of songs 
Drontmnot-recorded':2 5; -. soc eke coos coacs eoale ee ceees nee oe eee oe | 15 
TABLE 22p.—COMPARISON OF TIME UNIT OF VOICE AND DRUM 
Number 
of songs Serial Nos. of songs 
Drum not recorded... .-. JunSereigeks eereneuwe acids webep ase ceeweoanee 15 
WAR SONGS 
While the general customs of war do not differ materially among 
Indian tribes, there are distinctive points in the customs of the several 
tribes that are of interest. Among the Utes, for instance, is noted 
the ‘‘washing of the wounded,” and also a dancing in two circles, 
one within the other, when the scalps are carried in victory. 
Several aged warriors of the Ute recorded war songs, but recalled 
them with difficulty, as the Utes have not been at war with another 
tribe for many years. Their former enemies were said to have been 
the Sioux and Arapaho, one purpose in war being the capture of 
horses from these tribes. 
CHARACTERISTICS OF SONGS 
A majority of the Sioux and Chippewa war songs were found to be 
minor in tonality, but 69 per cent of the Ute war songs are major in 
tonality. Firmness and directness are further shown by the ending of 
the same percentage on the keynote and the beginning of 56 per cent 
on the octave. Eighty-seven per cent begin with a downward progres- 
sion. The melodic material is scanty, only about one-half the songs 
containing more than four degrees of the scale. The harmonic feeling 
is slight,-only about 12 per cent being harmonic in structure. The 
average interval is slightly smaller than in the Bear dance, yet the 
percentage of intervals larger than a major third is higher in the war 
songs than in the Bear dance, this percentage being 22 in the Bear 
dance and 25 in the war songs. This is due to the more frequent 
occurrence of the interval of a fifth in the war songs. The accom- 
panying instrument was a hand drum. 
With three exceptions these songs begin on the unaccented portion 
of the measure, this being in contrast to the directness of beginning 
