IT) THE HAKO, A PAWNEE CEEEMONT [eth. axx, 32 



that the exactions of Mr Tracy's professional work in tlie field of music 

 make it impossible for him to prepare an essay upon tlie cliHracter of 

 these songs and the light they tlirow upon the evolution of musical 

 expression. His familiarity with native songs, growing out of several 

 years of first-hand research, would render liiui peculinrlv fitted to 

 sjieak concerning tliem. 



The songs are commended to tlie general student of music and 

 particularly to the young composers of our country as offering native 

 themes worthy of musical treatment. 



In arranging the material for this paper it has seemed best to group 

 it into two i:)arts. The first contains such introductory explanations 

 as are essential to the understanding of the ceremony, which is given 

 without comment in the words of the Ku'rahus, together with his inter- 

 pretation of the songs and accompanying rites. The second part 

 consists of an analysis of the ceremony and treats of its structure, 

 purpose, and teaching. The translations of the songs aim to convey 

 to the English reader something of their native spirit and meaning. 



As the purpose of this record is not primarily linguistic, it lias been 

 judged best not to oljserve the finer phonetic distinctions in recording 

 native words. The vowels have their continental values, as in are, 

 they, pjque, go, rule; ow is used as in how; and li rejjresents oo in 

 good. The ctmsonants p, b, t, d, k, g (always hard), j, s, z, f, v, m, 

 1, r, w, y, h are used approximately as in English, but k and t have 

 been allowed to represent the semLsonants (medial between k and g, t 

 and d) as well, and the r has a slight trill. Dh represents th in the, 

 h a guttural breathing (German ch, Spanisli j) and ]\r a surd or 

 breathed r; th is used as in thorn, wh and ch as in which, x as in box, 

 sh as in shall; n indicates that the preceding vowel is nasalized; and 

 h at the end of a syllable indicates that the breath must be heard. 

 When a consonant is doubled it is heard twice or distinctly prolonged. 

 An accent mark is used to indicate stress where it seems necessary. 



