234 
ANTHROPOLOGY: A. C FLETCHER 
change or break in the time or rhythm disrupts the flow of the music 
and, to the Indian, destroys the S3rmmetry of the song. The Indian's 
manner of singing, his method of rendering his song is the outcome of 
the close emotional relation between the singer and the music. To a 
degree, it may be said that the Indian does not listen to his song as 
something objective to himself, yet he is found to be keenly aware of 
any sHght change in the rhythm or tones of a melody — any mistake in 
the rendition of a song. In some societies a fine is imposed upon a 
member who makes mistakes in singing the songs. Years of experi- 
ence has shown an unfailing demand for accuracy in the transcription 
and reproduction of a song. This demand betrays a consciousness and 
a recognition on the part of the Indian of musical form, both as to 
rhythm and the succession of tones that form a melody. In this con- 
sciousness is discerned one of the very early steps in the long path that 
leads to an artistic development of music. 
Accuracy in the observance of religious rites arises from certain be- 
hefs concerning the ability of these rites to open a way to the unseen 
powers, mistakes 'make the path crooked.' Indian ceremonies are ritu- 
alistic and symbolic objects are generally present. These objects have 
to be handled in peculiar and definite ways, with certain movements 
of the body and hands and accompanied by long recitations either 
chanted or intoned. Mistakes must be avoided as any carelessness is 
believed to be punished by supernatural means, therefore various mne- 
monic devices are employed by those who officiate, to insure against 
mistakes. In some tribes, if a mistake chances to be made in certain 
ceremonies, everything stops at the instant it is discovered. When the 
ceremony is resumed, it must start afresh, as though it had never been 
begun. Ceremonies that have elaborate rituals are generally attended 
only by the initiated and the rituals recited are known only to those who 
have paid the costly fees required from those who seek to be instructed 
in their use. In some ceremonies where lengthy intoned recitations oc- 
cur these rituals are broken in upon by songs, sung by those officiating. 
These interpolated songs partake of the general character of Indian 
music and are emotional in their nature. The few words usually refer 
to the symbolic objects belonging to the ceremony, — the mind is thus 
directed toward the sacred object and the emotion evoked by the thought 
of it and its helpful relation to the people finds expression in the music. 
An old priest explained this introduction of songs into the long rituals, 
by saying: "The words talk to us, but harmonious sounds unite the peo- 
ple!" This explanation given by the old priest is confirmed by observa- 
tions made as to the effect of songs pertaining to ceremonies having for 
