402 PICUEIS CHILDREN'S STORIES [eth. ann. 43 



other renditions are placed in this section of the report, numbered 

 from 12 on. Other renditions of Song No. 1, which is to be found in 

 the Magpie-tail Boy myth, are 12, 13, 14; other renditions of No. 2 

 are 15, 16, 17; of No. 3 are 18, 19, and so on. 



Like most Indian songs, and those of other peoples in comparable 

 stages of civilization, these Picuris tunes are rather simple in structure. 

 There is no elaborate thematic development or modulation; little 

 in the way of embellishment of simple melodic themes. Length, 

 which is not great at best in any song, is attained by repeating more 

 or less exactly two or three short melodic entities or phrases. These 

 phrases are usually easily discernible as such by their contours, by 

 their association with lines of text which are nearly always quite 

 definitely delimited, and by natural pauses which separate them. 

 I have worked out these divisions of the music with considerable care 

 and with due attention to the text divisions, which at times are the 

 deciding factor. They correspond with what our musicians know as 

 melodic phrases. These phrases have been marked above the staff 

 with capital letters, the choice of which is somewhat arbitrary, but 

 controlled nevertheless by the degree of relationship which appears 

 to exist between the different phrases. Thus the first phrase in a 

 song is always given the letter A, and it depends on whether the sec- 

 ond phrase is more or less of a repetition of A, or contains some fea- 

 ture which marks it as a complementary phrase, whether it is given 

 the letter A' or B. Unless the degree of relationsliip is very close, 

 B is the preferred lettering for the second phrase. 



Generally, smaller divisions of the phrases exist which are about 

 two measures long. They correspond to the well-known sections 

 of classical composition analysis. I use the same term to designate 

 them in Indian music. Where it is advisable in analyzing, these 

 sections are distinguished by small letters placed immediately 

 beneath the staff' at the beginning of each section, and so the inner 

 structure of the larger design may be more readily discerned by the 

 reader and more conveniently referred to in discussion and m tables. 

 The prime marks following the capital and small letters indicate 

 small and unimportant differences between different divisions which 

 in the main are the same and bear the same letter. 



In the tables which are compiled from an examination of the songs 

 from these points of view the first column gives the capital letters 

 which stand for the phrase structure in the order of their occurrence 

 in the song. The second column lists the small letters, revealing the 

 section structure of the phrases in formula order. The third column 

 shows the number of metric units or time beats, even to fractional 

 values, which are contained within the compass of each phrase. Thus 

 at a glance the phrase structure, the section structure, and the com- 

 parative lengths of the phrases in beats may be seen as a design. In 



