The Study of Folk-Music. 
123 
implies a harmony closely related to the Tonic, either the Sub¬ 
dominant or the Relative Minor chord. The seventh of the scale 
is here used as a mere melodic byetone leading up to the keynote. 
The second of the scale occurs only once in the whole song and 
may possibly have been intended for the keynote; for the In¬ 
dian does not always perfectly realize his own intentions as re¬ 
gards intonation. Indeed, he can hardly be said to have any 
clear intentions with respect to pitch-relations; he rather 
seems to be groping blindly and to follow the line of the Tonic 
chord with occasional digressions into closely related chords, 
in obedience to a dim, intuitive perception of the harmonic re¬ 
lations of tones. 
One more example I present you, recorded on cylinder No. 
62. This song is plainly in a major key, the keynote being ex¬ 
tremely prominent and the chord-tones predominating. The 
second and sixth tones of the major scale come in as byetones, 
the former being so used at the ends of some of the phrases as 
to imply the Dominant chord. 
Two Navajo songs which I took down from the lips of a Nav¬ 
ajo Indian at the World’s Columbian Exposition exhibit similar 
characteristics. A number of songs which I obtained at the 
same place from the Kwakiutl Indians who live at the north end 
of Vancouver Island have the same qualities of decided tonality 
and chord-relationship in their melodic intervals. So does a 
large collection of phonographic records of songs from these 
same Indians obtained by Dr. Franz Boaz and now in my pos¬ 
session. I also obtained characteristic specimens of songs from 
different peoples represented on the Midway Plaisance: South 
Sea Islanders, Dahomeyans, Arabs, Turks, Japanese, and Chinese, 
representing widely separated race-stocks, varying phases of 
character and culture and differing grades of advancement. I 
am indebted to Mr. Carl Lumholz for specimens of folk-songs 
from the Australian cannibals among whom he lived for four 
years and for others from two remote Indian tribes in the 
mountains of Mexico. I owe to Miss Fletcher, a Fellow of 
Harvard University, one of the leading ethnologists of this 
country, the opportunity of studying her very large collection 
of Indian songs, mostly Omaha, but partly Ponca and Pawnee. 
