ty- '•^- -•-"'A" ^. '^^. *"^- ^^ 'bV" « M O ^'^vr.^^' .^^"vT. ^^Uv<^'^' * •5'. ^"^^^ r o * » ' .0 '^ ' » , 1 0^ *!.•»* %?- * V •!* .•^^r <> *' . . • * ** A^ ..1'- ^^^ )^ .1- vv ' * <7 •*>•■, "^ v-o^ ;♦ ^^ cu V '^ 4-^ ■"-..^^ l^ - 1 • SMITHSONIAN INSTITUTION BURP:AU of AMERICAN ETHNOJ^OGY BULLETIN 45 CHIPPEWA MUSIC BY FRANCES DENSMORE WASHINGTON GOVERNMENT PRINTING OFFICE 1910 'N ^^1 LETTER OF TRANSMITTAL Smithsonian Institution, Bureau of American Ethnology, ^yasllington, D. C, July 8, 1909. Sir: For the greater part of the last two years Miss Frances Dens- more has been engaged, under the auspices of this Bureau, in making a study of Indian music. The results of her labors are embodied in part in the paper which I have the honor to present herewith — "Chippewa Music." I suggest the publication of this material as Bulletin 45 of the Bureau's series. Yours very respectfulh', (Signed) W. H. Holmes, Chief. Tiio Secretary of the Smithsonian Institution, Washingioii, 1>. ('. in FOREWORD The purpose of the present work is to determine what constitutes the music of the Chippewa Indiana, and to record results in such a manner that they will be available for reference. By means of the phonograph it is possible to obtain an accurate record of Indian song, which, though permanent, is of necessity limited in scope. To the ])honogi"aph record and its analysis must therefore be added abundant field notes, giving the results of observations of the musical per- formances, together with descriptions of circumstances and surround- ings. These three — phonograph record, analysis, and field notes — ai'B the necessary data of this branch of research. The study of Indian music is more than the collection of Indian songs. It includes a consideration of the vocal expression of a mental concept; therefore incorrect repetitions of a song are as significant as correct repetitions. Into their value enters a human element — the ])ersonality of the singer. A person of musical gifts and proficiency frccjuently presents a rendition of a song which contains embellish- ments. These reveal the succession of tones especially pleasing to the native singer. A person of little musical talent presents an im- ])erfect rendition of a song, yet these imperfections are interesting. They indicate which phase of the song was most difficult for him to acquire and remember, the melody or the rhythm. The analysis of the Chippewa songs from the land of june trees, lakes, and hills, in northern Minnesota, shows that in them the descending interval of the minor third occurs with special prominence and fre- quency; that the majority of the songs begin with a downward pro- gression; and that the intervals of melodic progression are smaller in the older songs. A classification of the songs as melodic and har- monic reveals a possibility that the mental concept of the song has a direct bearing on the form assumed by the melody. The songs said to have been composed during dreams may be considered a spon- taneous expression. The majority of these songs are harmonic in structure. The songs whose character and use suggest that their form may have been modified by long repetition are found to be prin- ci])ally melodic in structure. The value of any specific work lies in the relation of that work to the problems presented by the subject as a whole. Beyond the study of Indian music lies the larger field of research, the development of music, to which the piesent work is tributary. Red Wing, Minn. CONTENTS Lit^t of Bougs : Page 1 . Arranged iu order of serial numbers xi 2. Arranged in order of catalogue numbers x v General description of songs 1 Introduction I Intonation 4 Rhythm 5 Tone material 7 Structure 8 Tabulated analysis of 180 songs 8 Musical instruments 1 L The Mide^ : 13 Beliefs ] 3 Songs ] 4 Use of medicine , 20 Origin 21 Description of diagram representing the ])ath of life 24 Initiation ceremony of the first degree 24 ( 'eremony for a dying chief 51 Songs for initiation into the sixth degree 55 Ceremonial songs 62 Series 1 — analysis 62 Series 2 — analysis 66 Series 3 — analysis 70 Series 4 — analysis 74 Songs to insure success 82 Love-charm songs 88 Songs connected with the cure of the sick <)2 Songs connected with rare medicines 95 Additional Mide' songs 106 Tabulated analysis of 90 Mide' songs 115 Social songs on White Earth and Leech Lake reservations 118 Ina'bijndjigan D nagumo'win (dream songs) 118 1 . Songs of the doctor 119 2. Song of the juggler ] 23 3. Dream songs afterward used as war songs or otherwise I2(i Tabulated analysis l;^(i -Miga'diwin'ina'gumo^win (war songs) 137 Tabulated analysis 140 Sa'gii'diwin'ina^gumo'win (love songs) 148 Tabulated analysis I55 Ata'diwin'ina'gumo^win (moccasin-game songs) 156 Tabulated analysis 159 Unclassified songs I dl Tabulated analysis 1 (jj VII VITI CONTENTS Si k ial songs on Red Lake reservation 166 Description of the dances, costumes, and celebration on Jnly 4, G, and 7, 1908 166 The singers of Red Lake 173 War songs 176 Tabulated analysis 180 Love songs 1^2 Tabulated analysis 185 Moccasin-game songs 186 Tabulated analysis 191 Woman's-dance songs 192 Tabulated analysis 196 Unclassified songs 198 Tabulated analysis ^Oti Inde: 211 ILLUSTRATIONS Page Plate 1 Musical instruments, and birfh-bark rolls containing mnemonics of songs 11 2. Musical instruments 11 3. Maiii^ans 25 4. WaViekiini'is: 25 5. Mide' lodge 36 6. Maiii'ans as leader of a Mide' ceremony 37 7 . The body of Nigan'ibmes' 55 8. De'bwawenMiink 55 9 . Ge'mi wiinac' 95 10. Chippewa doctor treating the sick 120 1 1 . Manido'gicigo'kwf 148 12. The Fourth of July at Red Lake agency 168 FiGURK 1. Mide^ writing 16 2. Mide^ song writing 17 3. Mide' diagram of the path of life 24 4. Diagram showing arrangement of Mide'wigan during initiation cere- mony of first degree. (Drawn by the elder Maiii^ans) 39 5. Diagram showing course followed by leader during initiation cere- mony of first degree 40 6. Diagram showing course followed by candidate, escorted by leader, in dance at Mide' initiation ceremony of first degree 42 7. Birch-bark rolls containing mnemonics of the songs connected with rare medicines, and used by O^deni'gun when singing these songs . 100 8. Bones used by Chippewa doctor in treating the sick 120 IX. LIST OF SONGS 1. Arranged in Order of Serial XuiMbeks Midk' Songs Initiation Soitgs of the First (itid Second Degrees Serial ' Catalogue no. no.a Page 1 . SoiiK of the four bears 189 27 2. Song of the manido' 238 30 3. Dancing song 239 31 4 . Preparatory song 190 32 5. 'My pan of food " 240 34 (1. 'My pipe " 241 35 7 . Processional o4 37 S . Introductory song 55 39 9. Song of the za'gimag' 242 41 10. Escorting the candidate 237 42 11 . First initiation song 61 45 12. Second initiation song 62 46 13. Third initiation song 63 47 14. Urst song of the feast 65 49 15. Second song of the feast 66 50 Initiation Songs of the Sixth Degree 16. First song 122 56 1 7 . Second song 123 57 18. Third song 124 58 19. Fourth song 125 59 20. Fifth song 126 60 21. Sixth song 127 60 22. Seventh song 128 (il 23. Eighth song 129 61 24. Ninth song 130 62 Ceremonial Songs Series 1 Serial no. 25 . . . 26.. 27 ... 28... 29... Catalogue no. .. 16 17 J8 19 20 I'age 63 64 64 64 65 Serial no. 30 . . . 31 ... 32 ... 33 ... 34 ... CalalogUf' 10. rage 21 65 22 65 23 66 24 66 25 t)6 « See footnote, p. 27. XI xir LIST OF SONGS Series 2 35 36 37 38 43 44 45 46 51 52 53 54 55 CataIogu •o o a) M 03 03 a til c O M a bo^ Ul fcC . ^^. «a M O g "55 C3 O ^o o o So ^ S c^S •§ 03 a> g a ^ a 3 s Q !? yA a t3 is h; s ^ ^ H 05 12 5 G j 2 3 1 3 3 4 in4 25 2 f) 3 2 5 7 2 9 6 6 7S 1 1 9 1 1 Total 1 180 _ a The writer gratefully acknowfledges her indebtedness to Mrs. Charles Mee, Mrs. Mary Warren English, Rev. C. H. Beaulieu, and Mr. G. II. Beaulieu for their assistance as interpreters; also to the Rev. J. A. Gilfillan, who for twenty-five years lived on the White Earth reservation, speaking the Chippewa language with a fluency and understanding rarely attained by a member of the white race. 6 Tonality is defined as "the quality and peculiarity of a tonal system;" key is defined as a "system of tones the members of which bear certain definite relations to each other. " Certain of the songs under analysis show a sequence of tones similar to a major or minor key; in other instances the tone material which comprises a key or scale is present and the songs are clearly major or minor in tonality, yet the arrangement of the tones with reference to a keynote is not apparent. Thus from actual observation we discern the distinction between these two terms. Since we are considering music of a period in which what we now designate scales and keys were not for- mulated, the terms "major tonality" and "minor tonality" are used in preference to the common terms "major key" and "minor key." densmoreJ CHIPPEWA MUSIC Melodic Analysis — Continued TONE MATERIAL" c o ■a White Earth and Leech Lake reservations. Red Lake reservation. ■ a 1 g O i 03 a 1 > 2 ia 11 (S el 3 M C o a) > o 0) s P o a o o n «a §1 o la h5 o Fourth five-toned scale 18 11 19 8 2 1 1 1 1 1 ■""V 3 1 3 38 ?? 4 1 2 '>' Major triad, sixth, and fourth 2 ?, 1 1 1 1 1 3 1 2 1 9 1 8 Minor triad, second, and fourth ? 1 1 1 3 10 2 1 1 ! 8 Octave complete except seventh Octave complete except sixth 1 1 2 14 1 1 2 8 1 3 Other combinations of tones. . . 19 3 1 3 2 1 2 1 3 3 1 38 In two keys 1 '\ 1 Total 1 1 180 BEGINNINGS OF SONGS On the twelfth 33 29 7 4 3 2 3 2 3 1 54 On the fifth.. . 3 1 1 4 4 44 On the eleventh 9 On the fourth 1 1 1 1 2 ! 1 4 On the tenth 1 4 On the third 1 5 8 On the ninth S 5 11 2 1 1 1 7 On the second 1 1 2 1 7 On the octave 3 3 5 1 7 1 1 1 S4 On the seventh 4 On the sixth 2 R On the tonic 2 2 1 5 In two keys 3 1 4 Total 1 180 i a Many songs included in this classiflcation consist of tones which are not clearly referable to a tonic or keynote. The songs are grouped according to the tone material which they contain. Thus, if a melody contains F sharp and C sharp, begins on A and ends on D, it is, in this classiflcation, regarded as being in the key of D. Certain melodies readily conform to the three printipal chords of a key; other melodies containing the same tones have no afhUation for either the principal chords or the closing cadence of the key. This pecu- liarity is noted in the analysis of the song. 10 BUREAU OF AMERICAN ETHNOLOGY [buij-. 45 Melodic Analysis — Continued ENDINGS OF SONGS White Earth and Leech Lake reservations. Red Lake reservat on. OJ -o « Oi •« s H C 0) taO 3 be a bio C o m 6t 1 ^ C bo %t S W) i o o o g > 3 o o c a o t o 56 21 10 3 8 3 C 2 3 1 5 2 9 1 " 3 1 9 6 2 8 3 T'n On the nfth 39 10 3 1 1 1 1 1 1 1 1 17 4 1 Total 180 FIRST PROGRESSIONS 83 7 10 4 9 2 (i 3 2 2 4 4 5 4 3 2 2 7 4 5 7 5 n"; First profiression upward 45 Total 1 180 j ACCIDENTALS a Songs containing no accidentals 73 4 1 1 2 3 1 1 1 11 1 10 1 4 3 1 6 9 2 9 8 1 12 147 q Fifth lowered a semitone 1 Fourth lowered a semitone. 1 Third lowered a semitone 1 s Second lowered a semitone 1 4 Seventh raised a semitone 1 1 3 1 fi 1 3 Second raised a semitone. J 1 Fourth and seventh raised a semitone. 1 1 In two keys 3 3 Total 180 a The principal object of this classification is to show the frequency with which tones diatonically altered occur in these songs. Each accidental is classified according to its interval from the keynote which is implied by the beginning, ending, and general trend of the melody. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 45 PLATE 2 CICI'GWAN (DOCTOR'S RATTLE), SHOWING MANNER OF HOLD- ING INSTRUMENT WHEN IN USE MITI'GWAKIK' (mIDE' drum), REVERSE SIDE MUSICAL INSTRUMENTS dkxsmore] CHIPPEWA MtJSlO Rhythmic Analysis 11 a o "(U White Earth and Leech Lake reservations. Red Lake reservation. 1 g a i CO a g 3 T3 a 1 g HP > o I 03 "J" CO a w) o g p ca •V . a° T3 Ol — CO m SO |i a t3 3 o Beginning on accented portion of measure.. 23 26 41 10 4 9 2 4 5 2 2 5 3 6 3 4 1 9 8 1 9 3 Sout to sing; after this he sings the song, the beat of the thum being continu- ous throughout. The drum appears to be an independent expression, as in a large majority of instances the metric unit of the drum is different from that of the voice. (See p. 11.) The songs of the Mide'wiwin are estimated as several hundred in number. Some have a direct ceremonial use, as in the initiation of members; others are connected with the use of ''medicine," the song being sung when results are to be accomplished by "spirit power;" and other songs are known as ni'miwdg' , or dancing songs. Certain ceremonial songs are grouped in series of eight or ten, the members of the Mide'wiwin dancing during the last half of the series. In the words of these songs the ancient teachings and beliefs of the Mide' are preserved. The words of the songs frequently furnish the texts for discourses by the Mide'wInl'nI. In some of the series of songs it is the custom that one song be sung by each man, who fol- lows the song with a discourse based on it. Many of the songs are taught only to those who pay for the privi- lege of learning them, and all the songs are recorded in mnemonics on strips of birch bark. This record serves as a reminder of the essential idea of the song and is different in its nature from our system of printing. The Indian picture preserves the idea of the song, while our printed page preserves the words which are supposed to express the idea but which often express it very imperfectly.'^ a The drawings Tor songs contained in this paper were made as follows (serial numbers used): Draw- ings for songs nos. 1, 4, 81-88 by O'deni' gfln ; those for songs nos. l(i-24 by De'bwawPn'dtliik ; tliose for songs nos. 05-69 by Be'clgwi'wizilns, and that for song no. 75 l)y Manido'giclgo'kwe— all of whom sang the songs. The drawings for songs nos. 2, 3, .5-15, 25-()4, 70-80 (except no. 75), 89-107 were the work of Na'waji'bigo'kwe, who sang only a portion of the songs but made the drawings for the remainder oa hearing the phonograph records of the songs. 16 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 The drawings of the Mide' songs are universally understood by members of the Mkle'wiwin. A large number of drawings have been tested in the following manner : A song has been phonographic- ally recorded and the picture drawn on one reservation and later the phonograph record has been played to a member of the Mkle'wiwin living on a distant reservation. The song has been recognized at once and a picture drawn without hesitation. This picture, on com- parison with the first, has been found identical in symbolism, differ- ing only as one person draws better than another. By an inverse test, a song picture has been shown to a member of the Mide'wiwin and she has sung the song which was sung on a distant reservation b}' the person who drew the picture. There are certain established symbols in the Mlde' drawing, the principal ones being the circle, used to represent the earth, the sky, a lake and a hill; and straight or wavy lines, used to represent " spirit power." These symbols are combined with a crude delineation of the objects mentioned in the song. Fig. 1. MKle' writing. This system of mnemonics may be used for other purposes than the songs. The writer once asked a woman who is a member of the Mkle'wiwin to write the Chippewa w^ord Gi'cigo'ikwe in the ]\Iide' mnemonics. The woman had never heard the word before. It is a proper name combining the words gi'clg (sky) &nd i'lcwe (woman), the vowel o being a connective. The woman said that it would require a little time for her to think how to write the word and that no one could be in the wigwam with her when she wrote it. The result is shown herewith (see fig. 1). The double circle represents the sky, in which the moon is seen ; the single circle represents the earth. In each of these circles is the fig- ure of a woman, the two figures being connected by a line which touches the hand of the figure in the earth circle. The explanation given b}^ the woman was as follows: This name mea'^s that there are really two women instead of one. In the sky is one of these wc:nea; the other is on the earth. But the woman in the sky is con- stantly giving spirit power to the one on the earth, which the one on the earth reaches out her hand to receive. DEXSMORB] CHIPPEWA MUSIC 17 This illustration shows that the Alklo/ wrilinii; can be used to express complicated ideas. The example of song writing here given (fig. 2) shows a delineation of the objects mentioned in the song. The words of the song are : Wase' Light Nita^bino? Around you O^gima Chief Fkwe Woman (princess) This picture was drawn b}" the same woman as the preceding. She stated that the horizontal line represents the edge of the wig- wam, along which are arranged various articles of value indicated by the dots. At each end are torches, the light of which falls MMe' suiiL' wriliiii; oil the gathered wealth, causing many of the articles to glitter. These articles belong to a woman standing with upraised hands and wear- ing a pearl necklace with a locket. In singing this song the woman pointed to one portion of the pic- ture after another, tapping the birch bark lightly as she sang and traversing the row of dots, the horizontal line, the outline of the necklace, and the torches, then beginning again at the row of dots. The woman who sang this song stated further that "it is a medi- cine song" and that she could, if desired, furnish some of the medicine for use with the song. "The medicine was in the form of a ])owder and would be worn in a medicine bag." Xo phonograph was available at the time, but the song was noted. It begins on a high tone, descending with frequent intervals of the 12692°— Bull. 45—10 2 18 BUREAU OF AMERICAN ETHNOLOGY [bill. 45 minor third and glissando progressions, and has a compass of an octave and two tones. Many of the Mide' songs are grouped in series, the pictures being drawn on a long strip of birch bark. Midway through such a series a line is drawn. This indicates a pause, after which the people rise, and dance during the remaining songs of the series. The antiquity of these songs is shown by the fact that many of them are widely known among scattered peoples who came originally from the same locality but have had practically no communication for a long period of time. The preservation of the songs is aided by the mnemonics, and the importance attached to them is shown by the reluctance of the Mide' Indians to sing them until fully assured of the sincerity and good will of the person making the request. In analyzing the music as the important part of the expression, the c^uestion arises whether the melodic progression or the rhythm is more strongly impressed on the mind of the singer. Which of these elements is to him the more important feature of the song? A careful review of more than a himdred Mide' songs shows them to consist of simple intervals and complicated rhythms. The tones comprised in the songs are limited in number, many of the songs con- taining only three or four tones, except as the number is extended by repetition in a lower octave; the variety of rhythms is great, as will be seen in the transcriptions. Accidentals rarely occur in the songs. An accidental in the opening measures of a song is worthy of little consideration, as in many instances the introductory measures are sung only once, and the singer is allowed some freedom in them. The rhythm of the song is determined by noting the accented tones and dividing the song into measures according to them. By observation we find that in many of the songs the metric unit is the measure, not the individual count in the measure. In these instances the accented measure l^eginnings are found to conform to a very slow metronome beat, but the intervening tones are irregular in length and can not be accurately indicated by note values. These songs would resemble chants except for the freedom of their melody progressions. The next fact which we note in connection with the rhythm is that it is most peculiar in songs which are intended to produce magic and mysterious results. In this class are included songs for the healing of the sick as well as songs used in connection with special "fnedicine" for success in hunting or other undertakings. In many of these songs there is no repetition of a rhythmic unit, but the entire song consti- tutes a rhythmic unit, its repeated renditions forming a satisfactory whole. There are other songs in which two or more measures of varying lengths combine to form a rhythmic unit, which is repeated throughout DEXSMORE] CHIPPEWA MUSIC 19 the song;. One measure occasionally constitutes the rhythmic unit, wliich is continuously repeated. The rhythm is simplest in the songs used while "shooting" a can- didate for initiation into the Mide'wiwin. In these songs there is only one object — that the person shall fall unconscious, showing that he is "entirely controlled by the medicine." The rhythm of these songs is an emphatic regular rhythm. When it is desired that a person be energized to some great undertaking the rhythm is irregular but so fascinating in its irregularity that it holds the attention. This is what is always sought — to control the person. The ni'miwug' (dancing songs) are always sung vibrato, with the wavering of voice which would be produced by the motion of the body in dancing. This wavering of the voice is inseparably con- nected with the song. In all Mide' songs there is a tendency toward uncertainty of intonation. Repetitions of the same tone usually shade do^\^lwa^d, and the transition from one tone to another is fre- quently glissando. By a strange contrast it is found that accidentals, when present, are usually given clearly and correctl}". With very few exceptions, the repetition of a song is begun on exactly the same pitch as the first rendition. This frequently involves the ascent of a twelfth and is often made more diificult by the fact that the song ends on a tone below the natural range of the singer's voice. Thus the song as a whole preserves its tonality and repetitions are accu- rately begun, although the individual tones of the song may be uncer- tain in intonation. This suggests the possibility that these variations in intonation may be an attempt at ornamentation. The melodic material is extremely limited and this wavering of the voice may seem to add to the effectiveness of the song. A few points concerning the song as a whole deserve our attention. The repetition of a song is usually continuous with the previous ren- dition, although a half rest occasionally occurs between the rendi- tions. The repetition of a song frequently opens with a new word and the melody returns to the fifth or sixth measure of the original rendition. Repetitions of a song by different singers are found to be identical in all important respects. Unimportant phrases near the close of the song frequently vary in number. They are usually reiterations of a word and the exact number seems not essential. An Indian rarely hums a Mide' song before singing it into the phonogra])h and the accuracy of his memory is shown b}* the fact that the song in repetition is never changed in rhythm, the changes, when they occur, being in unimportant note values or melodic pro- gressions. In summarizing the preceding chapter we find the songs of the Mlde' to be essentially a musical expression, the form of the words being subordinate to the form of the melody. 20 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 The drum and voice are usually independent in metric units, the drum being a rapid unaccented beat and the voice having a rhythm which bears a relation to the mental concept of the song. The intonation has been shown to be frequently variable for two reasons: First in imitation of the motion of the body in dancing, and second for the apparent purpose of ornamentation. No effort has been made by the Avriter to secure the "bad medicine songs" or songs of cursing. One who has heard a large number of these songs states that they are terrible in their maledictions and represent a phase of life and thought which it were better to leave untouched. They are the weapons of defense in the Mkle', and all that is believed to have been wrought through them will ever be an unwritten page. Use of Medicine The power of the Mide' is exerted through a combination of two mediums, music and medicine. The former has been set forth in detail; the latter is less available for analysis, but certain informa- tion concerning it has been secured. The medicine and medicine practice of the IVIide' should be dis- tinguished from that of the dja'sakid, who are doctors or jugglers. That they may also be members of the Mide'wiwin does not change the fact that the two professions are distinct. The use of medicine in connection with the IMide' is as follows: Each member of the Mide'wiwin carries in his Mide' bag many herbs and other substances supposed to have medicinal value, in addition to the mi'gis (small white shells used in the Mide')- If a cure of the sick is desired he frequently mixes and sells a medicine after singing the song which will make it effectual. In the working of a charm it is consitlered necessary to use both the proper song and the proper medicine. For that reason a small quantity of the medicine is furnished to a person who buys such a song. To accomplish the desired results this medicine should, if possible, come in contact either with the person to be influenced, with some of his personal possessions, or with a small wooden effigy, which the person working the charm makes for the purpose. The medicine may consist of one or more ingredients and may be of greater or less value. Certain herbs enter into the composition of many medicines, while others are rare and difficult to obtain. In the working of a love charm it is customary to obtain a thread from the clothing of one of the persons to be affected, or, if possible, a loose hair. Two small wooden effigies are made, one representing a man, the other a woman, and the person working the charm binds these together with the thread or hair. The effigies are then placed in a small bag, with some of the proper medicine. This bag demsmore] CHIPPEWA MUSIC 21 is worn around the neck of the person working the charm, who fre- quently sings the song which is supposed to make the charm effective. If tlie intention is to work an evil charm the method of procedure is somewhat similar. An effort is made to secure some personal possession, to which the medicine is applied; if this is impossible, the medicine is applied to a wooden effigy of the person, and the man working the charm sets this figure before him as he sings the songs of cursing. The medicines used in connection with these songs are said to be powerful and subtle vegetable poisons. It is believed that if a Mide'winf nl has in his possession any article belonging to a person h« can work at any time whatever charm he likes upon that person. It is said that the singer breathes upon his medi- cine bag before working a .charm. A detailed account of the use of medicine in connection with cer- tain songs is given at the close of this section. One of the songs used at the dance which follows a Mide' ceremony expresses the idea of a contest between two members of the Mide'- wiwin to determine whose medicine is the stronger, the result of the contest to be determined by the effects produced by the two medicines. The strength of his medicine is the measure of the power of a Mide'wlnrnl. Origin Narrative by Na'waji^pic.o^kwe (" woman dwelling among the rocks")" The Chippewa believe in many manido^, or spirits. The highest of them all is called Kijie^ manido', literally translated, "Uncreated Spirit." Those connected with the Mide^ are (1) Mide^ manido^, the Mide^ spirit, and (2) four manido', one at each point of the compass. These are called Wabununk'daci' manido^, the East spirit; Ca^wanunk'daci^ manido^, the South spirit; Ningabi'aniink^daci^ manido', the West spirit; and Kiwe^Inunk^daci^ manido', the North spirit. In the Mide' it is also the belief that there are four "layers" beneath the earth and four above the earth. These "layers," or planes, are distinct from each other. Originally all the inhabitants of the earth (Chippewa Indians) who were to learn the Mide'' lived on Madeline island, in Lake Superior, and in that portion of the country. They were selected by the Mide^ manido^ to be taught the Mide^ religion. There was first a consultation among the four manido^ (East, South, West, and North). This took place at the center of the earth, not under the earth, but at some place far away. There they sat together and talked and decided to teach the Mide'' to these particular Indians. So the East manido'' was selected to go among these Indians and teach them. Before he left the others he told them that they must get everything ready and decide exactly how the Mide^ should be taught to the Indians. Of course the East manido^ could not approach the Indians in his spirit form, so he was born of an old woman who had lived with her husband all her life but had had no children. This old couple lived on Madeline island. a The narrator is a prominent member of the Mlde'wlwln on the White Earth reservation in Minnesota. The narrative was interpreted by Mrs. Mary Warren English, sister of Wilham Warren, the author of "History of the Ojibwa," and is given in the exact words of the interpreter. An Indian who is familiar with the Mide' traditions on the Bois Fort reservation states that this is substantially the belief held there concerning the origin of the Mide'. 22 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 The people were astonislied and said, "He must be a wonderful i>erson to be born in this way," so both mother and child were treated with great respect. He was indeed a wonderful child. Whatever he said came true. He would say to his father, "Go and get a bear," and his father would find one without any diffi- culty. It was no effort at all for the family to get enough food. The child grew up rapidly, and when he was a young man he had as his friend and companion one who was his mother's brother's son — his cousin. When he grew up he began to consider, "I must begin to instruct these Indians in the Mide'; that is the purpose for which I came." After thinking this over he said to the old man, his father, "We will go on a journey to the end of the lake;" his mother went with them. The point to which they went was not where Duluth now stands, but was where Superior is located. This was the location of the old town of Fond du Lac. They reached this place and stayed four days. On the fourth day a terrible storm came from the northeast, sweeping across the lake . During the storm the East manidc' said to his father and mother, "My cousin at Madeline island is very ill; we must go back." His father said, "It is impossible to even put the canoe on the water in such a Btorm." Then the East manido^ said, "Put the canoe on the water, and the waves will at once subside." As soon as his father put the canoe on the water the storm subsided. It was about noon when this happened, and the distance to Madeline island was about 80 miles, but they paddled so fast that they reached there before sundown. When they arrived they found that the cousin had been dead four days, but the body had been kept so that they could see him. The East manido^ told his father and mother and their friends not to weep for the young man. Then the next morning he told the people to make a long lodge extend- ing east and west, such as is now used for the MTde^. He showed them how to make it with the top open and the sides of birch bark and leaves, and he said that they must all bring tobacco and cooked food. In the center of the lodge he placed a Mide^ pole, and told the Indians to sit in rows around the lodge; he also made a MTde' drum and rattles, such as are still used. West of the pole and a few feet away he placed the hewn coffin of the dead man; on the south side of the lodge he seated the relatives and friends. Then he told his father to take the Mide^ drum and sing. The old man said, "I do not know how to sing." His son said, "Just try; make the effort and you will be able to sing." Then the East manido^ spoke to the parents of the dead man and to his own parents, saying, "I am about to leave you. I will be absent four days. You must stay here continuously and do every day as I have told you to do to-day." The old man promised to sing the Mide^ songs and do everything as he had been told to do. Then the East manido' took vermilion paint and also blue paint and made marks across the faces of the parents of the man and also his own parents — streaks across their foreheads, the lowest red, then blue and red alternately. Then he started away and said he would return on the morning of the fourth day. He went through the air toward the eastern sky. They could see him go. After he had disappeared the old man took the Mide^ drum and sang more and more Mide^ songs. They came to him one after another. He was assisted by his son. Even while his son was absent he directed him spiritually. During the four days that the East manido^ was absent the sun shone constantly. There was not a cloud and the wind did not blow. On the morning of the fourth day they looked toward the east and saw the sky streaked with colors like those he had painted on their foreheads. The Indians all looked in that direction with expectation. dexsmore] CHIPPEWA MUSIC 28 All this time the old man had been drumming and singinc;. A little before noon they heard a peculiar sound in the sky. It was from the east. Some one was calling Wa, hi hi, hi, as they call in the Mide^ ceremony. They watched the sky and saw four Indians walking toward them in the sky, giving this call. Each Indian had a living otter in his hand. The East manido^ came down to the Mide' inclosure, lifted the drapery, and allowed the others to pass in. The four manido' came in and took their stand at the east end of the lodge. A little beyond the center was the coffin of hewn logs in which lay the body of the young man, who had now been dead eight days. The four manido^ held the otters with the right hand near the head and the left hand below. These otters were their medicine bags. The East manido' stood first in the line. He began to sing, went halfway to the coffin, blew on his medicine bag, and shot from there toward the coffin. Then the top of the coffin burst open, and the East manido' marched around the lodge and took his place at the end of the line. Then the next one, the South manido', did exactly as the East manido' had done. When he had shot, the young man opened his eyes and breathed. Then the South manido' took his position at the end of the line. Next came the West manido'. When he had shot, the young man raised up and looked at the manido'. Last came the North manido^, and when he had shot the young man rose up entirely well in every respect. Then these four manido'' began to talk to the Indians, and to tell them that this waa the method by which they were to treat the sick and the dead, and that the East manido' would instruct them in all they were to do. Then these manido' told the Indians that they would never see them again. The manido' would never come to earth again, but the Indians must offer them gifts and sacrifices, which would be spiritually received. They must always remember that the Mide' was given to them by the manido'. The East manido' taught them the religion of the Mide' and put souls in their bodies and arranged how these souls should live in the next world. A great many times some of these Mide' people have a trance in which they follow the spirit path and see their dead friends. They also receive messages in dreams. They are especially liable to do this when sorrowing for their friends. It is told to Mide' members that about halfway to the Spirit Land there is a punish- ment place where fire burns out all that is evil in them. Sometimes there is so little left of the person that he turns into a frog. There are many little frogs in that place, but the good pass through it unharmed. This is the only phase of punishment taught, except that if a person dies while drunk he will remain drunken forever and his punishment will be an eternal and unquenchable thirst. Those initiated into the Mide' are instructed how to lead a good life. These instruc- tions are given only to the members. Less heed is paid to the instructions than in the old days, but very sick people are still restored by means of the Mide'. The narrator stated further that she had taken four degrees in the society and received four great instructions, and that she tried to live according to them. She stated that she 'Voukl blow on her medicine bag and produce evil results upon those who displeased her, provided they were not of the IMide';" she "would be powerless against a member of the Mde'wiwin." She "would not, however, exert this evil power, for it would displease the Mide' manido'. Some do this and it always reacts in evil upon themselves." 24 BUEEAtr OF AMERICAN ETHNOLOGY [bull. 45 Such is the story of the Micle', which the Chippewa beheves that he received from the manitlo' who came to him from the morning sky. Description of Diagram Representing the Path of Life In the exphination of this diagram « (fig. 3) the usual custom of retaining the exact words of the interpreter has been followed. The description is as follows: This diagram represents the path of life from youth to old age, the tangent which appears at each angle representing a temptation. There are seven of these tempta- tions. The first tangent represents the first temptation which comes to a young man. If he yields to it he will not live long. The second tangent represents the second temptation, and the penalty for this also is that he will not live long. With the third temptation the element of religious responsibility appears, and the man (supposedly a member of the Mide'wlwin) is asked: "How did you act when you were initiated into the Mide'wiwin? Were you respectful to the older members, and did you faithfully fulfill all obligations? " The fourth tangent is placed beyond the angle of the line. It represents a tempta- tion coming to a man in middle life. Fig. 3. MIde' diagram of the path of life. With the fifth temptation the man begins to reflect upon his own length of days, and asks himself: "Have you ever been disrespectful to old age? " The sixth temptation returns to the religious idea, and asks whether all religious obligations have been fulfilled. The seventh temptation is said to be the hardest of all, and if a man can endure it he will live to the allotted age of man. At this time an evil spirit comes to him, and if he has even so much as smiled during a Mide^ ceremony, he must reckon with it then. The word "temptation," as used in this connection, implies pri- marily a trial of strength and motive. There seems a significance in the fact that, with the exception of the first and last, these tan- gents occur after an angle or turn in the line, suggesting that some sharp turn in the life of the man is followed immediately by this testing of his character. Initiation Ceremony of the First Degree The following description of an initiation ceremony is compiled from statements made by several members of the Mide'wlwm, all of whom belong to the Mille Lac band of Chippewa, but are now living on the Wliite Earth reservation. The entire account has been veri- a Drawn l)y the elder Main'ans, the explanation being interpreted by Mr. John C. Carl, a graduate ol Haskell Institute. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 45 PLATE 3 ^^^F '^Wi ^^^^^^^^^KV i^ ^^V"r /fyjjjjm i * ^^^^^^^^^H^^^ /^^oMf^ .i% IRSf"^ £^ /T^ ■/»do - na - gi - ci - ma we uin-do-pwa-gfin e niu - do Niudo'nagicima' I am raising Nin'dopwa^giin My pipe Analysis. — The singing of this song was i)receded by very rapid drumming, the drum l)eats being in the value of sixteenth notes, at J'=144 (two drumbeats to each beat of the metronome at 144) ; with this rapid drumming the ejaculatory ho ho ho ho of the Mide' was given. This song begins on the unaccented portion of the measure, which is somewhat unusual. The melody begins on the twelfth and follows the descending intervals of the fourth five- toned scale. The harmonic basis is the same as in the preceding song, but the use of the second as an accented tone places it (according to our present classification) among the songs whose structure is melodic rather than harmonic. Song picture NO. 0. The man raises his dish of food and also his pipe. 36 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 At the close of this song the leader la3's down his rattle, raises his hands with palms extended, and motions the people to follow him as he dances out of the lodge. It is expected that those who have been invited to this feast will build the Mide'wigan (Mide' lodge), where the initiation ceremony is to be held. This is done soon after the close of the feast, and as so many are at work — some cutting the poles and others cutting brush or bringing dry hay — the building of the lodge requires only a short time. Plate 5 shows a Mide' lodge with a ceremony in progress. At this ceremony Wa'wiekiim'ig w^as advanced to a high degree. The struc- ture is made of a framework of ])oles interlaced overhead to form a roof whose arch suggests the dome of the sky. In unfavorable weather this framework is covered with branches. The size of the lodge varies according to requirement. It is usually from 50 to 100 feet long, 12 to 15 feet wide, and about 8 feet high. In the old days several hundred i)eople attended the Alide'wiwin and the lodge at that time is said to have been so long that a person at one end could not hear voices at the other end and could judge the progress of the ceremony only by the sound of the drum. For an initiation into the first degree the lodge (see fig. 4) extends east and west, with a door at each end. For an initiation into the fourth degree the lodge is built with four doors — east, west, north, and south. If necessary for warmth, two fires are made, one in front of each door. A large stone is placed a short distance west of the fire which burns near the eastern door. This stone symbolizes the power of the ]\lide' as a defense, one man stating that the Mide' is like a stone to throw at an enemy. West of the center of the lodge is the pole belonging to the person to be initiated and known as his medicine pole. If he is to take the first degree this pole is decorated with a narrow blue band at the top, below wdiich there is a broad band of red, the remainder of the pole being unpainted. For an initiation into the second degree the pole is decorated with a broader band of blue, the width of the band of red remaining the same. It is also placed nearer the west door. For the third degree an effigy of a bird is placed near the top of the pole, for the fourth degree a cross- bar is placed in the same position, and for each succeeding degree there is a prescribed form of decoration. On the day set for the initiation ceremony, just before sunrise, the oc'kabe'wis and the person to be initiated go to the lodge carrying on their backs the gifts which the latter wall present to the initiators. They go around the lodge four times, enter the east door, and hang the gifts upon poles provided for the purpose. These gifts consist of blankets and cloth as well as tobacco and food. The oc'kabe'wis remains in the lodge to complete the arrangements. ULLETIN 45 PLATE 5 INTERIOR VIEW '\ ta"*^ p^ ^ S ^v^M rajgm y •^ f Vt^ t^i^A.«^ ^ ^ T^%^ tt^ t6d Ttis though in fear. The fourth time he ])uts his head procession is entering and shoulders through the opening and looks the lodge, about as though in search of* danger. Then he enters the lodge, fol- lowed by the company. Maiii'ans, the elder, stated that in this 38 BUREAU or AMERICAN ETHNOLOGY [BULL. 45 entrance the leader impersonated the bear, who is intimately asso- ciated with the Mide'. As the company march around the lodge the leader extends his hands toward the stone, the miti'gwakik', and the medicine pole. This is an act of reverence. Voice J =168 Recorded without drum -^ -^ #- -/ ^ s ©^ #: :4=t 4E^^ £e£ nin-djin- o - cka-na - ki pin - di - ge yan Nin - kjiii - o - cka - na - ki 1 1 wa -•- pin - di -ge - yan ^» F -^^«- ^— -^ ^ b.— J i -E~[|4 -'^ 1 1 y Sl^ :t:=p m \^=t=z nin -djiii - o - cka - na - ki wa pin - di - ge - yan ^^-E^ ^=P=P= i TZ^-^-W—^ ^—^-^- 3=^^ he he g^lE^?^ ha ni da ya -^—^—n- nin-djiil-o - cka-na -ki wa ■o— [- ^BEj | ^:^i-g-g i g pin-di- ge - yan niu-djin-o - cka-ua-ki wa - pin-di-ge - yan gS^ ^^-=^ ^ :^ t niu-djifi - o - cka - na - ki wa - pin - dl - ge - yan NinMjmgocka^naki The ground trembles Wapin'digeyan' As I am about to enter While marching around the inside of the lodge the company sings the melody which was sung as they marched around the outside, the following words being substituted : Cagwani'moyan' My heart fails me Wapin'digeyan^ As I am about to enter ManidoVigan'in The spirit lodge The company marches around the lodge three times, and while making the fourth circuit they sit down wherever they like. The diagram (fig. 4) shows the arrangement of the Mide'wigan and the position of its occupants during the ceremony. The oblong DENS moke] CHIPPEWA MUSIC 39 represents the lodge. At each side of the eastern entrance are two figures. The first pair are "fiery dragons which disappear into the ground if the candidate has the proper oft'ering;" the pair nearest the entrance are "servants of the Mide' manido', who may refuse to admit the candidate if they are not satisfied with him." The foot- prints at the entrance indicate that tlie man who entered impersonated the bear. The candiihite sits next to the eastern entrance; beside him are tlie leader and the oc'kabe'wis. The four initiators sit near the western entrance, on the north side of the lodge; their position is, however, not arbitrary. Along the sides of the lodge sit the inem- -/- w Fig. 4. Diagram showing arrangement of MIde'wTgan during initiation ceremony of first degree. (Drawn l)y the elder Main'ans.) bers of the Mide'wiwm. A fire burns near each entrance. The stone near the eastern entrance is shown, also the medicine pole and the pile of gifts beside it. The figure east of the pole shows the second position taken by the candidate for initiation; the dot west of the stone is where the drum is stationed during the initiation; the two dots east of the stone show the position of tlie drum after the initiation, at which time it is played by the old leader and the oc'kabe'wis; the four dots near the center of the lodge represent mi'gis and will be explained later. (See p. 48.) The followinii; sons; is sun"; after all are seated. No. 8. InTRODXTCTORY Song (Catalogue no. 55) Sung by Be^cigwi^wizans Analysis. — The tempo of this song is even more rapid than the preceding, the metric unit being the entire measure. It is based on the major triad in the upper and lower octaves, with the sixth as a connecting tone, the sixth being more prominent than in most songs of similar harmonic structure. Song picture NO. 8. The gifts are again shown. After this song the invitation sticks are collected, counted, tied in a bundle and laid at the foot of the medicine pole. 40 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 Next a feast is served, each person receiving his or her portion in the pan brought for that purpose. At this feast tlie dog is served; portions of rice or other food may be carried away but it is required that all of the dog be eaten in the lodge. Voice Jz=84 Recorded without drum f^ fl fl tl -fl^ ^ e>-. =f==F=? A - i -ffwG gi - wi - ml - de ■Gi-^ -»- -•- -0- ni - kan a - i-owG ^' -0-0 — •— r-(5'-i -• — • «* -6'-=- -•- -•- -•- £EE 15>— I gi - wi-ml - de wi - 1 - go ni kau a - i - gwfi gi - wi-mi -de - ^^^ =lH ^^=ff=ft r=t: a wi-i-go ni - kau a - i-gwfi gi-wi-mi- de - wi-i-go ni - kau. WORDS I Aigwu' We are now Giwi'mide'wiigo' To receive you into the Mide'wiwin Nikan' Our MTde^ brother Halfway down the lodge sit the za'gimag', whose faces are not painted. The leader then dances around the lodge carrying the miti'gwakik'. He moves along the curves indicated in the diagram (fig. 5). After Fig. 5. Diagram showing course followed l)y leader during initiation ceremony of first degree. encircling the lodge he leaves the miti'gwakik' in front of the two za'gimag', who begin to sing the ni'miwtig' (dancing songs), during which any persons who wish may rise and dance in their places. There are a large number of these dancing songs and they are greatly enjoyed by members of the Mide'wiwin. Main'ans, the younger, stated that he sang the following song when he was a za'gimag'. The words contain a reference to water. This reference occurs frequently in the Mide' songs; it will be noted that the water is usually represented as in action — bubbling, flowing, seething, or casting up the white Mtde' shells. densmorb] CHIPPEWA MUSIC 41 No. 9. Song of the Za'gimag' (Catalogue no. 242) Sung by Main'ans Voice J= 120 Drum J =120 ( Drum-rhythm similar to No. 1 ) -f2- ■± t: -^ •— r« ^^ ^ 1 ^- — ^ p-f' ^ f' f' — r -F r-H- :^^ Wac ke 3 boo Ao ho ni -\va - a - ac ke - a - bo£ ^ ho ho ho ho ho ho ho ni - wa - ha-ha wac - ke - a - bog :4=?: ^»-' • »— • -F— ^— ^ ±^ Ao Ao ni - wa -Aa-/ia wac-ke - a - bos Ao /io ni - wa-a-ac- -•-^•- |S^=J^B3# g% ke - a - bog o Ao /(O ni - wa - a-a i wac-ke - a-bog ± Tto Ao we -wen - dj i — •-= — • — •— •— •-n i - d j i - •' vfiii e he he I— i — • — •- we- — • • r wen - dji- dji- wfin -Hii 5—1 h-r-r— ^ -^— ■ r k4— 1 h^i — ^ — ;l f ^ # • t ±- 4 /— U — 14 ' ' 1 ' -4-1 1 V— L^ 7- e he he he ni-wa - ha-ha - wac-ke -a -bog ho ho ni Niwa^wacke'abog' A bubbling spring We'wendji'djiwufi' Comes from the hard ground Analysis. — This song is an excellent example of the manner in which ejaculations are interpolated into the Mide' songs. In portions of the song the rhythm is rigidly maintained. For instance, in the measures containing four quarter notes these notes are of exactly the same length, and the difference between the 3-4 and 4-4 measures is unmistakable, but in the fifth and sixth measures, where there is a repetition of the s^d- lables, the rhythm is irregular. The pulse of the drum is absolutely regular through- out. The peculiar succession of measure lengths gives an appearance of great rhythmic irregularity, yet the metric unit of the quarter note is, with the exceptions mentioned, quite regularly maintained. Song picture no. 9. The course of the stream is shown. 42 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 Other examples of the ni'miwfig are o;iven at the close of this chapter. The za'gimag' then carry the miti'gwakik' around the lodge and place it west of the stone, where it remains during the rites of initiation. The leader then encircles the lodge four times, with right hand extended, left hand shaking the rattle, and head bent forward; this being finished, the oc'kabe'wis takes down the gifts from the place where they have been hung; the blankets are folded and laid at the foot of the pole, care being taken to have them placed in the proper order for distribution, the other gifts being conveniently })laced on the ground. The person to be initiated is then escorted to the pole by the leader, moving along the dotted lines indicated in the diagram (fig. 6). Fig. 6. Diagram showing course followed hy candidate, escorted l>j' leader, in dance at MIde' initiation ceremony' of first degree. He moves slowly at first, then very rapidly, ejaculating hi hi hi, and shaking his rattle. The candidate is seated on the pile of blankets at the foot of the pole, facing the east. "VMiile escorting the candidate to the pole the following song may be sung: No. 10. Escorting THE Candidate (Catalogue no. 237) Sung ])y Main'ans Analysis. — This song was sung three times, the transcription being from the third rendition; the others are identical in the pulse of measure beginnings and the outline of intervals, but A^ary slightly in unimportant note values. This song is a particularly good example of a feature which char- acterizes the Mide' songs and which has a direct bearing on the problem of musical development. The unvarying portion of the song is the pulse of the measure beginnings, which is uniform in all the renditions, while the pulse of the "counts" in the measures is not mechanically regular and more nearly resembles the rhythm of cere- monial speech. This suggests the possibility that the transition from densmore] CHIPPEWA MUSIC 43 ceremonial speech to song may be by the adoption of large rhythmic pulses which are first made absolute, the rhythm of the intervening portions being less rigidly controlled and retaining the character of ceremonial speech. Voice ^ . = 54 Drum J — 92 (Drum-rhythm similar to No. 1) E=£="E^"E=-'^^ ^p=t= ^L_#L Mi-de-wi-ga - a - an gi-wa-ni - no- so he he he he ni - [ ? 1 J ^ | T _, ■!— I ^-1 r^^ P ^ r-^ ^ ka - a - §-n gi - wa -ui-no - Aa-ni -no ho ho ho ho ni -•^^ ^5fe=b=k=a zdt^ -ft-^n—ft- Az ^=^=p=i=^=£=^ ka - a - an gi - wa-ni-no - se he he ui-k§, - a -an ci =^=^'^-^ — h- - -4-P wa-ui -no so Ae /le ni-ka - d-an gi wa - ni - no - se. WORDS Nikan'' Our Mide' brother Giwa'ninose' You are going around Mide^wigan The Mide^ lodge The rhythm of the drum is mechanically regular and its metric unit has no relation to that of the voice. After escorting the candidate to the pole the leader summons the men previously selected to perform the rites of initiation. These men move along the northern side of the lodge and take their places at the south side of the eastern door, the man designated as ne'mita'maufi' being first in the line and the man designated as we'daked' being last. Each of these men has a mi'gis (a small white shell used in the Mide') in his mouth. The ne'mi- ta'matin' then blows on his medicine bag and dances, standing in his place. He then walks toward the candi- date, ejaculating we ho ho ho ho! and extending his medi- cine bag with each ejaculation. As he reaches the can- didate he "shoots" him, thrusting the medicine bag toward him and ejaculating with great vehemence. It Song PICTURE NO. 10. The candi- date for initia- tion is seen ap- proaching the medicine pole. The branches of the sapling are here shown in the drawing, though they are cut when the pole is in use. In this connec- tion thej' sym- bolize the life of the tree. (Com- pare drawings of songs nos. 44 and 55.) is dillicult to 44 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 describe this ejaculation, which is not loud but very forceful, with a peculiar throbbing tone. It is exceedingly impressive, and the hearer can not fail to realize that the entire power of the speaker is being projected toward the person under treatment, whether that treat- ment be intended to remove some inner defect, as in the Mide' ceremonies, or to cure some bodily ailment, as in the treatment of the sick. Wlien the ne'mita'maM' ''shoots" the candidate for initiation the man is said to feel the force of it in some part of his body and in- dicates his responsiveness by laying his hand on his shoulder, knee, or whatever part may be affected. The ne'mita'maun' then passes along the northern side of the lodge and takes his place at the end of the line. The man next to him does precisely what he has done, and is followed by the others, who in turn take their places at the end of the line. After each "shooting" the candidate indicates in what part of his body he feels the effect. This "shooting" draws heavily on the resources of the person performing it and is very exhausting. A man often calls upon his brethren to assist him. They do not leave their places but are expected to exert their power in his behalf. A woman frequently finds herself unequal to the exertion, although she has been ap- pointed one of the initiators. In that case she may ask a man to take her place by doing the more exhausting portion of the work. She breathes on her medicine bag and hands it to him for his use. They move forward together, he walking close behind her, uttering the ejaculations and moving the medicine bag in the prescribed manner. Before the we'daked', or the last of the initiators, moves toward the candidate, he may turn to the leader and say, "Now I will stir up the spirit that is in me ; I will stand and dance and I ask your assist- ance." He then dances in his place. In his hands he holds all four of the medicine bags and breathes on them that the power may be intensified to the greatest possible degree. "He extends his right arm to its fidl length and moves toward the candidate, raising the medicine bags and bringing them down with the force of a heavy blow as he ejaculates wa a hi hi hi wa a hi hi hi!, throwing all the strength of his being into the motion and the rhythmic sound. Slowly he moves forward. It is the climax of the entire ceremony and the members of the Mide'wiwin wait in, tense silence until the candidate falls prostrate on the ground, overcome by the "spirit power" of the initiators. The following is an example of the song sung at this point in the ceremony. Other examples are given at the close of this chapter. A large number of these songs is available; the selection is made by the leader of the ceremony. bensmorb] CHIPPEWA MUSIC 45 No. 11. First Initiation Song (Catalogue no. (J1) Sung by Be^cigwi^wizans Voice (5^:1^44 Drum J — 96 ( Drum-rhythui similar to No. 1 ) -19- -f9- -0- -•- -»- ^ -m- -0- -•- -•- - ^ig^|^3^£^EE r-r-r -F=F= ±^. It ^K^^-- Wa siu-don-dl-ua -wa Aa ni-kan i na wa sin-don-di-na S ^- =^=^ ?= wa /la iii - kan i na wa siii -don -di-na - wa ha £=P=F gi^:^=^=^=F=^=^E±=i =EEf • &- -f- i=g :| ni - kan i na wa sin-don-di - na - wa ha ni - kan i na Interpolation 1st rendition, after 6tli measure ^ m -<9- hi 2d rendition, last measure \^^ hi hi hi hi 3d, 4th and 5th renditions, last three measures J . = 44 ^4*63: hi hi hi hi hi hi hi hi hi hi hi hi hi hi hi Wasu' From a long distance Nindon^'dinawa' I am shooting Nikan^ My Mide^ brother Analysis. — This song is sung during the actual "shooting" of the candi(hite and presents an exam- song picture no. ii. pie of the combination of song and ejaculation which is used at this portion of the ceremony. Six renditions of the song are on the pho- nograph record and the interpolated syllables differ in the successive 46 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 renditions. In order to make this clear, the transcription of the song is followed by a transcription of these syllables. The metric pulse of the measure beginning is maintained throughout the ejacu- lations, although after the second rendition these syllables are given in triple time. This shows the i)u]se of the measure beginning to be clearly established in the mind of the singer. There is no relation between this and the metric unit of the drum. After being "shot" by the we'daked' the person who is being initiated falls prostrate on the ground with arms extended. While he lies on the ground the four initiators gather around him, place their medicine bags on his back, and sing the following song: No. 12. Second Initiation Song (Catalogue no. 62) Sung by Be^cigwi^wizans Voice J = 72 Dpum J— 92 ( Drum-rhythm similar to No. 1 ) -•- -•- -•- -19- wm^^^^^ :tj ^ ~-Wl^ ili wi-ua-ke ?u lii hi wi-ua-ke ni hi \Ti-na-ke ni #— • ^— • ^bSEEEE^SEE t: seeep :li SE ^ Sa-ES hi hi wi-na-ke ni /ii wi-na-ke ni hi Ai-wi-na-ke ni 3t=#: -d —^—^—*- i^izf^ i hi wi - ua - ke ni hi hi wi - iia - ke ni hi wi- na - ke ni WORDS Wa^wina'ke I have shot straight Analysis. — This melody begins on the fifth of the key and ends on the fifth, having a compass of one octave. It contains only the tones of the minor triad and the fourth. There is no relation between the metric unit of voice and drum. Following this song the four initiators raise the candidate to a sitting posture and a mi'gis comes from his mouth. One of the initiators then takes the ini'gis and walks once around the lodge. Paus- ing near the candidate, he breathes on the mi'gis and extends it toward the east, breathes on it again and extends it toward the south, repeating the process and extending the mi'gis toward the west, north, and the zenith. This being done, the mi'gis is said to disappear again into the body of the person being initiated, who falls Song picture no. 12 DEN smoke] CHIPPEWA MUSIC 47 prostrate as before. While he Hes prostrate one of the initiators fastens on his back a medicine bag corresponding to the degree he has taken. In the first degree this bag is made of the white skin of a weasel. The initiators then raise the candidate to his feet and with- draw to the eastern end of the lodge, the following song being simg: No. 13. Third Initiation Song (Catalogue no. 63) Sung by Be^cigwi^wizans Voice ^ _ 80 Drum J ^^ 96 (Drum-rhythm similar to No. 1) z^m 11^: 4: ^ f — (*• 1 Ha bi - mi - ma-dwe - we ni - in! - de - \vi yan i ha -n n — ft—^^ ^ — -^. r-s » — -s— r.. a-^ — ^- m^- bi - uu - na - dwe we — *- ui - nil - de - wi yan bi '^- mi - ma - ha - dwe ni - mi - de - wa - yan e bi - 9ii= p-- i ml - ma - ha - dwe m ~=F=1: ni - ml -de - wa - yan e bi ::&■ mi ma - ha - dwe loe ni - mi - de - wa - yan WORDS Bi'mimadwe''we There comes a sound Nimide^wayan^ From my medicine bag Analysis. — Beginning on the twelfth and moving freely along the descencHng intervals of the fourth five-toned scale, tliis song is purely harmonic in character. It begins on the unaccented portion of the measure and contains few interpolated syllables. After this song the person who is being initiated takes his medicine bag and goes toward the four initiators, ''shooting" first the we'daked', who sits down. After encircling the lodge he "shoots" the next in line, and so on until all are seated, the lodge being encircled after the "shooting" of each man. When all are thus seated the person being initiated takes the gifts on his arm and presents the proper articles to the leader, the initia- SONG PICTURE NO. 13. 48 BUREAU OF AMERICAN ETHinOLOGY [bull. 45 tors, and the oc'kabe'wis, personally thanking each for his share in the ceremony. It is considered that after the distribution of tin se gifts the candi- date is fully initiated. The next event is the showing of their mi'gis by the four men who have performed the initiatory rites. The leader requests them t(j do this. A blanket is spread on the ground east of the medicine pole, and a man is appointed to stand beside the blanket and receive the mi'gis. (Fig. 4 shows four mi'gis laid in the position indicated.) The ne'mita'mauil' leads the line of initiators. As they approach the blanket each man in turn makes a rasping noise in his throat and takes a nii'gis from his mouth. These shells are received by the man appointed, who lays them in order on the blanket. Wlien all the mi'gis have been deposited there the ne'mita'maun' looks along the line to see that all are ready. The men are watching him, and at his signal they all replace the mi'gis in their moutlis with a uniform motion. After showing the mi'gis the initiators return to the miti'gwakik' and sing together. The ne'mita'maiin' holds the stick and plays the drum first, the others shaking their rattles. Then he liands the stick to another of the group, and so on until all have played the drum. Four cici'gwan (rattles) are used in this portion of the cere- mony, no two having exactly the same tone. (See pis. 1,2.) The miti'gwakik' is then removed to a position between the stone and the eastern entrance (see fig. 4) ; the leader takes his place at one side of it and the oc'kabe'wis at the other, the leader pounding the drum and the oc'kabe'wis shaking a rattle. Wlien they begin to sing the members of the Mide'wiwin sitting on the south side of the lodge spring to their feet, advance toward those on the north side, and "shoot" them with their medicine bags. The latter fall insensi- ble, but in a short time recover consciousness and advance toward those now seated on the south side, "shooting" at them with their medicine bags. These in turn fall insensible, and the ''shooting" is continued until all present have been "shot" with the medicine. This ceremony of initiation usually lasts until late in the afternoon. Meantime food is being cooked outside the lodge and when the ''shooting" is finished this feast is served and anyone who likes may freely enter the lodge. This is the social feature of the event. Only members of the Mide'wiwin are present at the initiation, but all the members of the tribe may share in the feast and the dance which follow. The nature of this feast is not prescribed. The dog was a feature of the ceremonial feast which took place in the early part of the ceremony. Food for this feast is provided by various members of the tribe and a portion is usually carried home by each person. According to custom, the old men are served first. The following song is sung when the food and tobacco are brought in and placed before the leading members of the Mide'wiwin: de.vsmorb] CHIPPEWA MUSIC 49 No. 14. First Song of the Feast (Catalogue no. 65) Sung by Ki'tcimak'wa ('' big beak ") Voice ^ = 69 ( Recorded without drum) + g^^ ES -^— ^— ^1 ii: 2i: -g -^_^_ ^ Ni-kan-ug e e nin-da - ca-uii-£rog e ni-kaii ^^I.^ — ^ — ^-i-*^ It — ^ — 3 ^ ^ ^ ft • 1 — r — ^^- ^ |SZ (2 M^1 — \ — r~r~ ^g^ — ^ — ^— ^ -2 ha ni ni-kan-fig i hi nin-da - ca-mi-gog e nin-da- ca-mi-gog e he ni-kan-Gg i hi na Nikan'ug My Mide' brethren Nin^daca'migog^ Have given me this feast Analysis. — This is a particularly free melody, begin- ning on the second, ending on the fifth of the key, and having very little feeling for the fundamental chords of the key. The intonation usually falls on the second of two similar tones. The rhythm of the song is peculiar, the first five measures constituting a rhythmic unit. The repetition of this unit is regular throughout the song. A rhythmic unit regularly repeated suggests that a rhythmic idea or impulse may be the nucleus of the musical composition. It is of interest therefore to note the occurrence of the rhythmic unit in tliis series of songs After the feast is served the following song is sung: 12692°— Bull. 45—10 1 Song picture N o . 14. A hand is showTi bestowing the feast, which the singer stretches u p his own hand to receive. 50 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 No. 15. Second Song of the Feast (Catalogue no. 66) Sung by Ki'tcimak^wa Voice J — 76 Recorded without drum =y^^- P^M_f=-^ -•-. • ^ ^ -^-M Ca - we - ni - mi - wa - ad ni - kan - fig e he he ca m^s^: f — I* f ==T- :t: 4=v- i^r=^=EEEE^ we - ui - mi - wa - ad ui kan - tig e he he he ca )-ni-rai-wa -ad ni-kan-tig e he he ca - we-ni-mi -wa -ad ni- S^^^ :^?^=i=^^=*t ^—^ :]=^=^ kau-tig e /ie he ca - we-ni-mi -wa - ad ni-kau-tig e he he , WORDS Cawe'nimiwad^ I have received great kindness Nikan'ug From my Mide^ brethren Analysis. — The phonograph record shows an interesting feature of this song which it is impossil)le to transcribe. On the second and third coinits of each meastu'e tlie tone is sounded shghtly before the proper time, giving a pecuhar effect of rhythmic irregularity. This may be due to the fact that no driun was used and that the drum is usually struck shghtly before the metro- nome time. The voice may have unconsciously imitated the drum in this respect. The joyful character of this melody presents a contrast to the serious ceremonial songs which pre- cede it. The tones are those of the fourth five- toned scale and the song is distinctly melodic in character. After the feast is finished the men wdio have received gifts carry them to their own lodges w4th their portion of the feast; later they return to join in the dance, which is of an entirely social nature. At this dance a man may sing Song picture no. 15. The MIde'wInl'nl holds in his hand the blankets and other gifts which he has re- ceived from the per- son initiated. DENSMORK] CHIPPEWA MUSIC 51 liis favorite ''medicine song" and any others who know the same song may rise and tlance. A great variety of Mide' songs are used at this final dance. When it is time for the company to disband, tlie four initiators stand together at the southeast corner of the Mkle'wigan, the ne'ml- ta'mauiV at the head of the hne. The music is very hvely and everyone is in the best possible humor. The initiators are the first to leave the lodge, dancing out at the western door, followed by the company and the newly initiated person, the leader being the last to leave the lodge. The person who has been initiated takes with him the medicine pole and the stone, which are his personal property; these he carries to his lodge and makes a feast in their honor. After the feast he takes both the pole and the stone to some secluded place in the woods known only to himself. There he often goes, keeping the place clear of rubbish and undergrowth. The stone remains there always, but the pole may be removed \)y its owner for use in future ceremonies. The person who has been initiated also retains as liis personal property any songs which he can remember from hearing them sung during the ceremony, it being considered that his gifts to the leaders are sufficient to entitle him to these without further payment. Each of the men who assisted at the initiation ceremony and received gifts is expected to make a feast after the ceremony and invite the newly initiated. At this feast he gives the newly initiated the mi'gis which he exhibited at the ceremony. Thus the initiated receives one mi'gis from each of the men who assisted at the cere- mony. These he keeps in his Mide' bag, adding from time to time such medicines as he has learned to use. Ceremony for a Dying Chief An opportunity for the writer's personal observation of this cere- mony occurred in July, 1907, at Leech Lake, Minnesota, during the last hours of Nigan'Ibmes' ("leading bird of prey"), the hereditary chief of the Pillager band of Chippewa. Nigan'Iblnes' was son of the famous chief Flat Mouth and was always known by his father's name, which is used therefore in this description of tlie ceremony. After the agency physicians in consultation had concluded that the old chief could live only a short time, he asked and was granted permis- sion that a MSfde' ceremony be held in the hope of prolonging his life, or at least of making liis last hours more comfortable. Accordingly preparations were begun and a man named Na'joi'se ("two persons walking ") was selected as oc'kabe'wls, or herald. It was decided also that the leader of the ceremony should be Ge'miwunac' ("biid that flies through the rain"), the oldest Mide'winl'nl on the reservation, 52 BUREAU OF AMEEICAN ETHNOLOGY [bull. 45 almost totally blind, but supposed to be very powerful (see pi. 9). Invitations were sent to eight members of the Mide'wlwln. These invitations were in the form of round sticks, about 5 inches in length. Each member brought his invitation-stick with him, and prior to the ceremony the sticks were tied in a bundle and laid on the ground at the foot of the medicine pole. For several days before the ceremony the Mide'winl'nl sang with the ISIide' drum in Fhit Mouth's wigwam. The singing was also con- tinued at intervals throughout the entire night. The ceremony took place on the afternoon of July 24, 1907. Early on the morning of that day a Mide' lodge was made and Flat Mouth was taken from his wigwam, carried thither, and laid upon a bed of boughs shaded by small birch trees stuck into the ground. The inclosed space was about 60 feet long and 20 feet wide, with rounded corners. At the openings, at the east and west ends, blankets were hung between tall poles. The inclosure was formed of pine branches stuck into the ground and woven together, forming a barrier about 3 feet in height. Flat Mouth was laid in the place of honor at the south side of the eastern entrance. A medicine pole was erected in the center of the lodge about 20 feet from the eastern entrance, and between this pole and the entrance were located a fire, and a kettle in which a dog was cooked. The ceremony was given according to the fourth degree, which was the degree held by Flat Mouth. The decoration of the pole cor- responded to this degree. In the morning six members of the medicine party entered the lodge, one of whom sang; he was evidently in charge of this part of the ceremony. The songs were unaccompanied, the rattle being used by him while marching and while "treating" Flat Mouth. The rattle was similar to that shown in plates 1 and 2. After each song the leader led a procession around the lodge, shak- ing his rattle and ejaculating Wa hi hi hi hi', Wa hi hi hi hi'. Behind him came a woman with food in a pan, then a man with a rattle, then a woman, then a man and a woman, each with food in a pan. After circling the lodge several times the party stopped at the eastern entrance and the leader made a speech, to which the others frequently answered ho'. Then the leader walked before Flat Mouth, shaking his rattle at arms, limbs, and body with ejaculations of ho ho ho'. This continued during the morning. In the afternoon Flat Mouth was laid upon a bed of boughs in the center of the lodge, west of the medicine pole. At this time the ceremony proper took place, under the direction of Ge'miwrlnac', while Na'joi'se continued to act as herald and another member of the party took charge of the cooking of the dog. DEXSMOEE] CHIPPEWA MUSIC 53 The members of the medicine party were in the center of the lodge, the rekxtives and friends of Fhit Moutli being seated along the sides of the inclosure. At the opening of the ceremony Flat Mouth was carried several times around the inclosure on his green blanket and laid gently upon the bed of boughs. Then a man from Pine Point said he wished to brew a medicine of his own for Flat Mouth. He told of the virtue of this medi- cine and said that it might not cure Flat Mouth but he believed that it would make him more comfortable. He said that the secret of this medicine was given him in a dream as a boy; that the prin- cipal ingredient was part of a large animal which he saw in his dream, and that he always carried this ingredient in his medicine bag. The consent of Flat ^louth being secured, the man proceeded to brew the medicine. As he did this, he gave the ya a hV, a hi, a hi, hi hi hi hi, so frequently heard in the Mde'. He was joined by another voice, beginning about a fourth higher and sliding down to a unison. When the brewing of the medicine was completed Xa'joi'se took the steaming cup and carried it five times around the old chief; then he gave the cup to Flat Mouth, who drank the medicine. This was followed by a ''prayer to the medicine pole," interrupted by frequent ejaculations of he he he. Then the feast was served. This consisted of the cooked dog, with the broth. It was required that all of this be eaten in the lodge. There were also bread and wild rice, portions of which were carried away by the guests at the close of the ceremony. Each member of the medicine party carried a medicine bag, cor- responding to his degree in the Mide'wiwin. The members now stood in a circle around the chief and each in turn sang a song, after which they marched once around the inclosure. The first few songs were without accompaniment, while the others were accompanied softly by the ]\Iide' drum. There was a marked individuality in the songs, suggesting that each person may have been singing his special medicine song. Xext the members of the party, each chewing his own medi- cine, marched around the dying chief, and spit into a box of sawdust at his feet. A man then stirred this mixture, which was rubbed on the soles of Flat Mouth's feet. Each member also laid a pinch of it on his body. Following tills, each of the medicine party sang a song and marched around the cliief, ''shooting" his medicine bag at him. Then all marched around the chief, carrying ^lide' shells in their left hands. Each person laid one shell on the chief's body in pass- ing, and after circling his body took up the shell again. These shells were similar to the mi'gis mentioned on page 48. By this time the old chief was faihng so rapidly that it was deemed advisable to carry him into his wigwam. This was done, the men 54 BUREAU OF AMEEICAN ETHNOLOGY [bull. 45 bearing him gently on his green blanket. Then they sang in his lodge. Instead of the Mide' drum they used the sharp, thin, doctor's drum and two rattles. The songs were different from those previously used, and of a melancholy cadence, the interval of the sixth being flatted. Two hours later Flat Mouth died, his death being announced by twenty rifle shots. This is the custom of the tribe, a few shots announcing the death of a child and a larger number that of an adult. As is customary with the tribe, the body was immediately arrayed in the best apparel and ornaments of the deceased; beside it were laid his pipe, fan, and rifle, also a cushion with a woven cover. In the early evening the ceremony was concluded briefly, as few had the heart to dance. Flat Mouth's widow sat next the eastern en- trance, where he had lain that morning, and the dancers "shot" their medicine bags at her as they passed. The chief's sister held a Mide' shell in her hand and frequently extended it toward Flat Mouth's widow, who breathed on it, whereupon the sister danced again around the drum. The Mide' drum used on this occasion was decorated in black, with a border at the base consisting of a broad band and four deep points. This was said to represent the pointed top of the Mide' inclosure. Above this was the recumbent figure of an animal similar to that shown in the drawing of song no. 94 (catalogue no. 1). The top of this drum was of tanned deerskin, held tightly in place by a hoop wound with cloth. The singers stood and held the drum by the corners of the leather which formed the top. Occasionall}^ the widow of Flat Moiith rose and, taking hold of a corner of the leather, stood silently and sadly beside the singers a few moments. There were usually four singers at the drum, one after anotlier acting as leader; each pounded on the drum. One or two rattles were also used. At the close of the dance the medicine party went to their respec- tive lodges, each carrying a bundle of small gifts. All that night the sound of the Mide' drum and the monotonous singing were heard. The next morning the Mlde'wlnl'nl conducted what corresponded to a funeral ceremony. The lodge was tightly closed, but the voices could be plainly heard. The leaders were rehearsing the beliefs of the Mide' and assuring the family of Flat Mouth of their reality. Then they addressed the spirit of the dead chief, as it is believed that the spirit lingers near the body until burial. One after another they sat beside him, telling him to he careful to avoid certain turns in the road to the Spirit Land, or to trust certain spirits who would meet and assist him. They spoke with extreme rapidity, punctuating the words with occasional sharp beats on the drum. DE'BWAWEN'DUNK DENSMORE] CHIPPEWA MUSIC 55 At the conclusion of this ceremony the writer was permitted to pho- tograph the (k^acl chief. (See pL 7.) On entering the lodge, the medi- cine party were found eating the funeral feast, which consisted of fruit, cakes, bread, and rice. The body of Flat Mouth was concealed by a curtain of white cloth. When the feast was concluded several photo- graphs of the dead chief were taken, the upper coverings of the wig- wam being removed to admit the light. Immediately afterward the body was lifted on its green blanket and laid in the casket, which was the best that could be purchased at the neighboring town. Beside it, in the casket, were placed the fan, pipe, war bonnet, and cushion. The fan consisted of an eagle wing decorated with dots of red in a design which belonged especially to Flat Mouth, being used by him alone. The cover of the cushion was a bag woven of yarns. This weaving of a bag without a seam is becoming a lost art among the Minnesota Chippewa. A long procession followed the body of Flat Mouth to the "heathen cemetery," a village of low wooden shelters above the graves. There was no ceremony of any kind when the casket was lowered. The grave was dug very large and almost circular in shape. Visiting the spot a few months later, the writer found that a pointed wooden house had been erected over the grave, according to the custom of the Chippewa. The name Nigan'Iblnes' was painted on a narrow board placed on the peak of the roof, and beside the grave floated an American flag. Songs for Initiation into the Sixth Degree Sling by De''bwawen'dunk The songs of an initiation ceremony differ with the degree which the person assumes, each degree having its special songs. The fol- lowing songs given by De'bwawen'dCink" (pi. 8) are those used when initiating a member into the sixth degree. Before singing the first song De'bwawen'dunk made a short speech in Chippewa, speaking to the four MIde' manido', explaining that he was not going about the city belittling their religion, and begging that they be not offended because circumstances made it impossible for him to smoke the customary pipe before singing. This speech was recorded by the phonograph. The singer stated that if these songs are to be sung in private or at a small gathering the men lay down their medicine bags, as they are to "sing to the bags." The man who is to sing the first song fills his pipe and smokes it; then he calls on the four Mkle' manido', who live in the four "layers" beneath the earth. One song is sung by each man. a An old man from the Bois Fort reservation, a most devout adherent of the MIde'. These songs were recorded at Washington, D. C, whither De'l)wawgn'dflnk had come with an interpreter on business connected with tribal affairs. 'I'he translations were given by his interpreter, Rev. Frank II. Pequette. 56 BUREAU OF AMERICAN ETHNOLOGY rBrr,L. 45 No. 16. First Song (Catalogue no. 122) Voice J — 144 Drum 144 ( Drum-rhythm similar to No. 1 ) @S E lEE EEE i^ m Dji-ca- wa - Ae - ni - ml - ^i - gog ho ho ho ho ho ^i *=F ^lii^^^^^Ei ni - hi - ka-hau e he he dji-ca - we-^e-ni-mi-M-gog ho ho j==^=^ ^ p ho ni - hi -ka-han e he he e -na-we-Ae-bi-w1ig^i go ho ho ni-kan e he he e - na-ioe- he-ni - bi-wug e he wl—^-^ ni-kan e he he di-bi-sko-^o-ka-mi - ig — -0- -0- he he e he he ^i -0 — • — •- '—. — r -Ti r- I — rrri-* — *- •-•-o-r*-^^~*~~ri n '^ — ^1 ni - ^i - ka-han e he he ga-ca - we - ni- mi-wfi-lig e he he he Djicawa^nimigog I am blessed Nikan^iig My Mide^ brethren Di^bicoka^mlg By the four Mide^ spirits Ena^biwug^ WTio live in the four layers Ga'cawe^nimiwiig^ Of the earth Analysis. — This song abounds in the inter- pohited syhables which characterize the Mide' songs. The measure lengths are irregular and their succession appears erratic. However, two records of the song were made, an interval of about a week elapsing between the making of earth; from there they sing, them ; ou Comparison it is fouud that the rec- This is a sixth degree song i •ix-i- i jjIv and so the people who sing o^^s are identical m every respect, except that it live in the fourth layer in the lucasure marked X the second rendition under the eartli." i ,1 11 i 1 t t ^i 1 ± shows the syllables ho ho on the second count. This change is very slight, but as it is the only one which occurs, it is Song picture no. 10. The singer gave the following ex- planation of this drawing: "The circle is the earth. These three people live in the fourth layer under the densmore] CHIPPEWA MUSIC 57 worthy of mention. In this as in other Mlide' sono^s the ])ulse is not meclianicall}' regidar and the same variations are found in the second as in the first rendition. This variation usually consists in a ver}^ slight prolonging of the accented tones. This song and the succeed- ing song contain syncopations, which are extremely rare in the Chip- pewa songs. No. 17. Second Song (Catalogue no. 123) Voice 72 Drum J =126 (Drum-rhythm similar to No. 1 ) Wen-djl - mo -ki - yan e e wen-dji - mo - ho - ho -lii - yan ^^ r eE T=aF • • (S> F-M- K— F=ff= ^ r" 11 F 4 f e he he weii-dji- mo-ki-yau e he /ie wen- dji-mo - ho- ho - ki-yiin m^ l^^—\^ :F=f=EF e he he . wen -dji -mo -ki - yan e he he wen-dji -mo - ho m ?Tt -m m m — ti ^' :b SE ho - ki - yan e ua-wo-k(im-i-gan a ge he he w§n - dji WORDS Nawo^'kiimigan'' In the center of the earth Wen''djimo^kiyan^ Whence I come This and the remaining songs of the set were recorded a few days later than the first song. At this time tobacco had been provided, which the old chief smoked in silence. When he was ready, he seated himself before the phonograph and again made a speech, translated as follows: I am not doing this for the sake of curiosity, but I have smoked a pipe to the Mide' manido^ from whom these songs came, and I ask them not to be offended with me for singing these songs which belong to them. Analysis. — This song is of unusually small com- pass, and it is interesting to note the drop of a minor third to D with a return to the tonic F. This is rare in the Chippewa songs recorded, but has been noted in other primitive music. In this song the metric unit is the measure, the pulses of the parts of the measure being less uniform and regular. The song closely resembles a chant. Song picture no. 17. The "center of the earth" is plainly indi- cated in the drawing. 58 BUREAU OF AMEEICAN ETHNOLOGY [bull. 45 No. 18. Third Song Voice 96 (Catalogue no. 124) ^ ( Drum-rhythm similar to No. 1 ) ■Ih- Nin - go - Ao - sa Aa ha nin-go - ho - sa niu - go - ho 1 =i:_ . Li-zi: **»iSl -• — •- m^ r- sa ha ha nin-go- ^o - sa nin-go- ^o-sa uiu-go-sa nin-go- « — •- -y- ^ =^:r= -• — •- -(S"- -•-^ — • — (S> i^— I ir- --^ =t=4: sa nin-go-Ao-sa nin-go-sa nin-go- sa nin-go-sa ni - gi :2^: wa - a-miii e - bid e ma - ni - do i ne uin-go-sa niu - go - sa WORDS Ningo^sa I am afraid of Nikan^ My Mide^ brother Nigiwam'in In my lodge E'bid Who dwells Analysis. — The chief musical interest of this song lies in the fact that the first word is variously accented. We find the musical accent falling on each of the three syllables. In all Mide' songs the words are subordinate to the music, a peculiarity which is well illustrated in this instance. The beginning of the song on the unaccented portion of the measure is somewhat unusual. The remaining songs of the series are given in out- line instead of full transcription. This shows the trend of the melody, l)ut does not indicate either the rhythm or note values. The metronome indication which precedes the songs has no reference to the sym- bol as written, its only purpose being to show the metric unit of the voice and of the drum, for the pur- pose of comparison. The beat of the drum is almost uniform through- out the series, being in unaccented strokes, two of which are equiva- lent to the metronome beat 126 or 132. Thus by metronome test there are approximately four pulses of the drum to one of the voice, but this correspondence is not evident to the ear. The relation between the two is not accurate, for the rhythm of the voice varies, while the drum does not vary, being entirely independent of the voice. Song picture no. 18. The MIde' lodge and the person to be ini- tiated are shown. DENS more] CHIPPEWA MUSIC 59 The words of the songs are contiimall}^ broken and separated by the syllables hi lii Id, which occur even more I'requentl}' than in the initiation songs of the lower degrees. Only two of these songs are of minor tonalit3^ One of these, no. 19, is interesting in that the singer began the last half slightly too high, thus changing the key from C minor to C sharp minor. The relations of the tones in the last half are well sustained. In this series we find three songs containing the tones of the major triad with the sixth added, two instances of the octave complete except the seventh, one instance of the octave complete except the second and seventh, one instance of the octave complete except the fourth and seventh, and two songs of minor tonality. Musically, the chief value of these songs lies in the relation of voice and drum and in the peculiar ending of the songs. Compare these songs in this respect with the melody outline of songs nos. 25-34. It will be readily seen that the latter have a much stronger feeling for a defmite close either on the tonic or with the tones of the tonic chord. An indefinite manner of closing a song may l)e considered character- istic of a ]>rimitive stage of musical culture. No. 19. Fourth Song Voice without perceptible metric unit (Catalogue no. 125) Drum J — 126 §^ m ppiis^* \3^m 1 WORDS Awe^nen Who is this De^wene' Sick unto death BemaMjiug' Whom 1 restore to life The words of this song refer to the person who is being- initiated. Many sick persons are initiated in order that they may be restored to health. The Mide' com- prehends health of body, mind and spirit in one general idea. It is supposed to benefit the individual as a whole and the lines of demarcation between his various needs are not sharply drawn. Song picture NO. 19. On the body of the person to be initiated lire seen lines represen t- i n g the "strength " lie is to re- ceive through the MIde'. 60 BUREAU OF AMERICAN ETHNOLOGY Ibull. 45 No. 20. Fifth Song (Catalogue no. 126) Voice ^ ~ 60 Drum J— 132 ( Drum-rhythm similar to No. 1 ) mi :0 Song picture no. 20. This is the only drawing of a pipe which occurs in connection with these songs. WORDS NiwiMubima^ I am sitting Nai'ud In the fourth lodge Opwa'giin With my pipe The meaning of the word transhited 'Modge " is not clearly defined. It refers to a progression in the Mtde', a similar idea occurring in songs. No. 21. Sixth Song (Catalogue no. 127) Voice ^ = 60 Drum Jr=: 132 ( Drum-rhythm similar to No. 1 ) M ^^^^^^^m Ni^jawen^imigog^ They have taken pity on me Gawa^bikweMjig The white-haired ones It is said to be the white-haired Mlde' spirits who enable the members of the Mlde'wiwln to attain long life. The chief purpose of the Mide' is the securing of health and long life to its adherents. Combined with the assurances of its power to confer these benefits are ^^^^ picture no. strict injunctions concerning rectitude, obedience to its undrifteliTyrS instructions, and temperance. These qualities doubt- resents one of the less united to produce the promised results. Mide'?pirii'''^ dexsmore] CHIPPEWA MUSIC No. 22. Seventh Song 61 (Catalogue no. 128) Voice ^=60 Drum J— 132 ( Drum-rhythm similar to No. 1 ) _u_u m ^ • — a — • - ' . '-ir ^m WORDS Wewe'ni Diligently Bizm'dau Listen thou Kaiya'gigido^djig To those who speak No. 23. Eighth Song Song PICTURE NO. 22. He who speaks and he who listens are shown. (Catalogue no. 129) Voice J _; 60 Drum J= 132 ( Drum-rhythm similar to No. 1 ) m^^^^^^ m WORDS Ge'ga Almost Bizinda^gonan'' He \v\\\ listen to us Manido^ Manido' Song picture no. 23. This outline is frequently used to repre- sent a manido'. . , . rT^^ • • l^ p (Compare draw- Analysis. — 1 his song comprises the compass oi an ings of songs nos. octave, extending from the dominant above to the dominant below the tonic. The melody is based on the tonic triad with the sixth added, and, as frequently occurs in these songs, the entrance of the tonic is delayed. More of the recorded Chippewa songs begin on the twelfth or fifth than on any other tone and the first interval of descent is frequently a minor third. This is repeated several times and is followed by the descent of a major third, which completes the major triad and introduces the tonic. 62 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 No. 24. Ninth Song (Catalogue no. 130) Voice ^=z60 Drum J =132 ( Di'um-rhythm similar to No. 1 ) =91; 1 Song picture no. 24. The subject recurs to that of the first song in the series and the circle is again shown, with one of " tlie people wlio live in the fourth layer under the earth." corded, with the wen'diink of the Ca^cabondeckwa'gwan . . They are going through all the Manidog^ Rooms of the MMe'' lodge, it appears Bi'tawaka^mig The Mide^ spirits, who live A^bidjig^ In the four layers of the earth Ceremonial Songs Sung by Na'jobi'tun« The following twenty-six songs consist of four series, each having its own type of music and its distinct character of words. The first series may be sung at the close of a ceremony ; the others are connected with the initiation of members. The music is the most primitive which the writer re- possible exception of the songs given by De'bwa- Bois Fort reservation. SERIES 1 — ANALYSIS Musically, the songs in the first series are very similar, yet no two are exactly alike. The songs were sung firmly and without hesitation, showing that they were not improvised. Before singing a song Na'jobi'tun sometimes retired to the next room in order quietly to hum over the song and to be sure that he remembered it correctly. Many of the songs were sung several times, the renditions being identical, except occasionally in unimportant measures near the close. The words of the first series relate to the water-spirit — his dwell- ing, his action, and his manifestation as a male beaver. Mention is made of the mermen. It is believed that manido' in the form of both mermen and mermaids live in the water and at times appear' to the members of the Mide'wiwtn. Song no. 33 ftirnishes an interesting example of the difficulties encountered in securing translations of these songs. The first inter- preter said the last words meant "I will gather it in the place of a An old man living at Boy Lake, a portion of the Leech Lake reservation about 30 miles from the agenc.v, reached only by water. Na'jobi'tiln (" two men walking") was almost blind and was in every way the most isolated individual with whom the writer came in contact. He was a firm believer in the Mlde'wlwln and its power. DENSMORE] CHIPPEWA MUSIC 63 a circle;" later, another interpreter gave as the meaninfj^^'a place where the water moved in a circle;" the place was finally iden- tified as a portion of Lake St. Clair where the water is said to form eddies or small circles. This suggests thai the song may have come from Walpole island, where many Canadian Chippewa make their home, or from some other group of Chippewa in that vicinity. In this case it is reasonable to assume that the "long rapids" referred to in no. 25 are the rapids at Sault Ste. IMarie. These songs are not fidly transcribed, only the outline of the melody being given. This takes no accoimt of rhythm or note values, l)ut shows the melodic trend of the song more clearh^ than a full transcription. The songs contain frequent interpolations of hi hi hi hi; the syllables of the words are repeated; and in many instances the songs resemble chants. The musical material of many of these songs consists of the major triad with the sixth added, yet the principal interval is the descending minor third. The descent of the minor third characterizes the most primitive music, and the five-toned scale characterizes music which may be termed semideveloped. The major triad with the sixth added is the five-toned scale lacking the second, and in songs nos. 28, 30, and 33 of the present series we find this tone present as a passing tone, thus completing the tone material of the five-toned scale. In all these songs, except no. 20, the feeling of the tonic chord is very strong. The ending of no. 20, as written, suggests a transition to the relative minor, but as sung it gives us the impression that the song is suddenly left in midair. Yet the ending was conclusive, followed by the customar}^ ho ho ho ho. The accidentals in songs nos. 26 and 27 were firmly given, but seem intended as an ornamenta- tion rather than suggesting modulation. No. 25 (Catalogue no. 10) ^. I WORDS Keno'djiwaniifi' At the loiiii; rapids Nimadwe'nadonii'so.. , ,1 am called to go in iciobm digean^ Nikan^ug My Mide^ brethren Song picture no. 25. 64 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 ^ No. 26 (Catalogue no. 17) I Song picture no. 26. Kiga''winanan''domigog^ We may call upon you for assistance Kikan^ug We, your Mide^ brethren Miziwe'mide'wug Assembled from every- where No. 27 (Catalogue no. 18) # -•- m # t7# \>0 « m -^ Tl ^ii ^^a Daya^wengumi' Daona^umi^ Daonun''gumi' Geundjima'mwekiyan . m-- [Free translation] When the waters are calm and the fog rises, I will now and then appear No. 28 Song picture no. 27. The circle represents the sky, which is overcast with drops of moisture; emerg- ing from this is the face of the manido'. (Compare drawing of song no. 97.) (Catalogue no. 19) ^^m Song picture no. 28. The MIde' lodge and the jjct- son being initiated are shown. WORDS Kigacob'unde' You will pass through Endad' The dwelling of Manido' The water spirit Nikan' My Mide' brethren densmore] CHIPPEWA MUSIC No. 29 65 (Catalogue no. 20) ^m\ Babidiwe'wt'djiwiin' The sound of flowing waten Enda^yan ( 'omes toward my home When this is sung the members of the MJde'- wlwhi rise and dance during the remainder of the series of songs, the change being indicated by a Hue across the stri}) of birch bark, between the song pictures. No. 30 Song picture no. 29. A pointed tipi represents the honi« of the Mlde'- wlnl'nl. It is interest- ing to note that the wavy lines indicating the pulsating sound reach the body or heart of the man, not his ears. (Catalogue no. 21) ;0 Song picture no. 30. Reference to song no. .34 shows tliat the speaker is a beaver. This drawing represents hisappearance above the water; also one of the "men of the deep." Kayciiin'moki'yan .. When I ai:j^pear MamwekaMogowug'. The men of the deep Memegwa^siwilg' Will be cast up by seething waters No. 31 (Catalogue no. 22 m^ i WORDS Memweka^bogowtlg^.. They are being cast up by seething waters Wabimi'giswug^ The white Mide^ sheila 12692°— Bull. 45—10- SoNG PICTURE NO. 31. On the crest of the waves appear the mi'gis, or white MIde' shells. 66 BUREAU OF AMERICAN ETHNOLOGY. [bull. 45 No. 32 (Cataloo;ue no. 23) ^m^j ^E^^^^^^^i^^^^^^^^^^^^iE== ^ Dabima'mwekiwug'.. Now and then there will arise out of the waters Nikan'ug My Mide' brethren Nigigwuc;' The otters Song picture no. 32. The circle represents a lake from which two otters rise. No. 33 (Catalogue no. 24) ^m I WORDS Beba'manioyan' I am gathering Wananan'dawioyan^ . . That with which Wawiya'tamung' I will treat myself Geilndina^man In the Lake of Eddying Waters, I will obtain it ^ Song picture no. 34. A beavor is seen rising from the water. Song picture no. 33. In his hand the man holds some substance gathered from the lake, which is believed to have medicinal properties. No. 34 (Catalogue no. 25) WORDS Keget' Verily Nimanidon' I am a spirit Muki'yan To be able to become visible Nabe^mikowiyan' -I that am a male beaver SERIES 2 ANALYSIS The second series consists of songs used at the initiation of members in the Mide'wlwhi. In songs nos. 35, 38, and 40 the initiators speak; in nos. 36, 37, and 42 the person to be initiated speaks; and nos. 39 and 41 appear to be the words of a manido' densmore] CHIPPEWA MUSIC 67 represented by or existent in the leading man's medicine pouch. The mention of metal in nos. 37 and 42, as well as the mention of the high hill in no. 39, would indicate that the song had been used in a part of the country where minerals and mountains were familiar to the people. These songs show somewhat better musical material than those in the first series. Two of the songs are on the fourth five-toned scale, five contain the tones of the major triad with the added sixth, thus presenting the partially formed five-toned scale mentioned in the analysis of the first series, while no. 36 contains only the tones of the minor triad. Song no. 39 of tliis series is of more than usual interest and is tran- scribed in full. No. 35 (Catalogue no. 26) 3^^ I W^ Kigawa'bamiig You shall now behold Mide^widjig They of the Mide' No. 36 -• . c m. /^y^n-^VrnTTTTn^-T Song picture no. 3,5. This draw- ing shows the MIde'wIgan, the medicine pole, the stone, and the assembled members of the Mlde'- wiwln. The candidate for initia- tion sees and hears the ceremony mentally before entering the lodge. Note the eyes and the ear of the candidate. (Catalogue no. 27) *= • g=: •— -9 n WORDS Na Listen Migaye'nin I shall also be blessed MinawTn' And my life prolonged En'dayan^ Like MideVag Those of the Mide^ Endiwad^ Whom I now behold The candidate for initiation is assured of the bene- fits which he will derive from the Mide'. This assur- ance is often needed as the candidate regards the initiation as a difficult ordeal. He has a part which must be properly performed, in which he has been instructed by the initiators. Song picture no. 3 ti. T h e t w o figures are ex- actly alike, the heart being shown and the straight lines indicating "strength ." Thus the candi- date assures him- self that he will receive all the benefits enjoyed by other mem- bers of the MI- de'wlwln. 68 BUREAU OF AMEEICAN ETHNOLOGY [BULL. 45 SiftE No. 37 (Catalogue no. 28) Song picture NO. 37. In this drawing both straight and wavy lines diverge from the figure. The wavy lines are said to indicate "the song" and the straight lines to indicate "strength." WORDS Mi'nawina' Is it that Ain'nweyan'' \\Tiich my voice resembles? Biwa'bikun Even metal Ain'wev&n' The sounding of my voice? No. 38 (Catalogue no. 29) ^m m^ ^'- Anindi' Where is Abigwen' The dwelling Manido' Of the greatest spirit? Nikan' My Mide' brethren Wabunafi^ In the east Abigwen' Is the dwelling Manido' Of the greatest spirit Nikan^ My Mide' brethren Mioma' Here Abigwen' Is my dwelling Manido^wivan' I who am the greatest spirit Song picture no. 38. It was stated that the horizon- tal figure and head represented the East man- ido' and that the upright fig- ure and head represented the South manido'. This record was played for Na'waji'bigo'kwe, a mem- ber of the Mide'wiwin, who drew the pictures for these series of songs ; she said tliat this is a new form of an old song, and that the younger men of to-day are arrogant enough to use it, but that the old and correct form of the song gives the last two words as follows : Cawamiii^ Toward the east Abigwen^ Is his dwelling densmore] Voice ^ . — 69 Recorded without drum CHIPPEWA MUSIC No. 39 69 (Catalogue no. 30) §ii# g T= ^ s: Wa-dji-wiu ge, en-da-uwe-wi - da - ma - au wa-dji-wlii-gre eu-da- _C\± • • an fSi!-: (S-: 1 1 f e, « « — « « « ^_: s>-^ nwe-wi-da - ma - au wa-dji-wifi gre eu-da-nwe-wi-da - ma - an =i=a: =§5 • — f-»H -^ — a<- wa-dji-win ge eu-da-nwe-wi - da - ma - au wa-djl-wlu ge eu-da- I :^z=it :it:^ *-^— ^- :t=q - eJ . ' eJ uwcj-wi-da - ma - au wa-djl-win gre eu-da-nwe-wi-da- ma - au Wadjiwing' From beneath the high hill En^danwewidaman^ My voice echoes forth Song pictur e no . 39. Dancing begins with this song and continues durino- in this drawing the the remainder of the series. "[,, ^ '"''P'"*^^™*^ ^ No. 40 (Catalogue no. 31) assg H- Song picture no. 40. In this drawing the circle represents the earth; note the interrup- tion of the circle at the lower WORDS Anawi'na -i I will cause it to ap- Nimo'kiwina' j pear Tibickoka'mig That which is beneath the earth Ebigwen^ 1,,, , t, • K -/ Although I bring it up Anawi^na \ . *? -^ ^ Nlmo^kinina' " '" 70 BUREAU OF AMERICAN ETHNOLOGY [boll. 45 No. 41 (Catalogue no. 32) ^■ ^''^^^W i Song picture no. 41. In this drawing the circle represents the sky; note the interrup- tion at the upper edge. Men- tion of a bird occurs with spe- cial frequency in songs of the second, third, and fourth de- grees. Nipo^niyan^ I am about to alight ToTwa^bamiyau' That you may see me Tibic'koka^mig Upon the level ground Tciwa'bamiyau' That you may see me Nipo''niyau' I am about to alight Tciwa'bamiyau' That you may see me No. 42 (Catalogue no. 33) I ^SfeS 6* WORDS Wabik^ The strength of metal Owibiyan^ .... Has entered into my arrow point Manido^ A spirit Ninda^nisa' I could kill Wabik^ The strength of iron Owibiyan' . . . . Has entered into my arrow point SERIES 3 — ANALYSIS Song picture no. 42. A bear and an otter are represented in this drawing. The words of the third series are characterized by very strong affirmation of the power and beauty of the Mide' rehgion. In this series the affirmative used is 7nan'dan, which is the customary word among the Canadian Chippewa, the affirmation used by the Minnesota Chippewa being Tcegetf, or gegef. This suggests a Canadian origin for the songs. The translation of no. 50 was the subject of much discussion by the interpreters and members of tlie Mide'wiwm, as the words contain the idea of a year and also the idea of indefmite continuity. It may be best explained as meaning that the power of the inspiration is indefinite, but that it is expected that members will reassemble at the end of a year for the purpose of strengthening and confirming their faith. I'Ll.NSilOKE] CHIPPEWA MUSIC Musically, this series presents interestino; material. The first two ongs are on the second five-toned scale. The tonality of no. 45 is of luuisual interest. Songs nos. 46 and 47 show the t)ctave complete except the seventh, while nos. 48, 49, and 50 show the incomplete five-toned scale men- tioned in the analysis of the first series. The |)rincipal interest ('(Alters in tlie first thvoc sonjjs of the series. No. 43 c (Catalnsue no. .34) =!:l2: WORDS Anawi^na Although Manido' lie is a spirit Nikan^iig j\Iy Mide' l)rethron Tcimaya^wTii fin' I will raise him up No. 44 Song pictlire no. 43. The MIde'winl'nl holds in his hand an otter, repre- senting his MIde' bag. (Catalogue no. ,35) -»- # ^i, ^mi Song picture no. 44. In the renter of the MIde'wIgan are two poles, suggesting that two persons are to be initiated. Above the lodge is a star in the circle of the sky. (Compare drawings of songs nos. 2 and 10.) Awinegi'rig Naawind [Free translation] . , / '"' Beautiful as a .star hanging in Agode > o » M.,.,,.r.,,'/ the sky is our Mide^ lodge The words of this song are idiomatic and a tran.s- lation was secured with difficulty. The song was recorded at Leech Lake, where two inter})reters worked on it. Later the phonograjih record was played for Na'waji'bigo'kwe, at White Earth, She drew the song picture and this translation was finally decided on as giving the essential idea of the song;. V2 m BUREAU OY AMERICAN ETHNOLOGY [bdll. 45 No. 45 (Catalogue no. 36) Song picture no. 45. The man holds in his hand a mi'gls, or white Mide' shell, its power being in- dicated by the nianido' rising from it. ^e^ WORDS [Free translation] Niwawa^gawia I have gained such spirit-power that I can tame it in my hand Man^dan It is true Gibinan' Even our white shell Niwawa'gawia' I can tame it in my hand No. 46 (Catalogue no. 37) is^ _• — »_ m^ ^H Gi'cig Wi^kanTna'. . . Manidowan'... Nin'a Wen^dabiyan'. [Free translation] The sky is clear where one brother in the Mide' is sitting Song picture no. 4ii. The several circles represent the several skies which are supposed to e.xist, one above another. In one of these the Mlde' brother is seen to be sitting, while beside him are the moon and the stars. If the flay is fair it is consitlered that the person to be initiated will be especially blessed; stormy weather is considered an unfavorable omen. The song does not express a desire or hope for fair weather but affirms it as a fact. Compare song no. 70. Dancing begins with this song and continues during the remainder of the series. DENSsMORE] CHIPPEWA MUSIC No. 47 73 (Catalogue no. 38) ^^1 (Addressed to a sick person whose infirmity malces it impossible for him to walk) [Free translation] Ani'yankiin You will recover; you will walk again. ^1'^ ^'^ It is I who say it; my power is great Man^da n > Through our white shell I will enable Bimose'hinan' ^^^^^ ^^ ^^.^Ij, ^„^-^^^ Gibinan^ J No. 48 Song picture no. 47. The lines on the man's limbs indi- c-ate the"strength" which he is to re- ceive through the MIde', enal>ling him to walk. (Com- pare drawing of song no. 19, in which the straight lines are on the body, the desired strength here lie- ing of a more gen- eral nature.) (Catalogue no. 39) m WORDS Gego^ .... I Do not speak ill of the Mide^ Inota waken' ) Nikan' My Mide' brethren - ,''' I [Be sure to heed my words Inota'niscin SONGPICTUEENO.48. ' ,, i /i , In this as in no. 49 Nikan' My Mide' brethren wavy lines are used to represent speech . Analysis. — The descending minor third is the principal interval in this song. The tonality is major and the melody follows the tones of the major triad, the sixth being added in the latter portion of the song. In common musical terms the song would be said to be in the key of F, yet the tonic does not appear until the middle of the song. Comparison will show this to be a marked pecuharity of Chippewa songs. The progression F-D-F does not occur frequently in the songs analyzed. 74 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 No. 49 (Catalogue no. 40) S^il I ^^± Gego' 1 * . - , , ^ Do not speak ill of the Mide^ Inota waken' J '■ Nikan' My Alide' brethren Ningotcl' Wherever you may be Ikwe'wail Do not speak ill of a woman Nikan' My Mide' brethren (Catalogue no. 41) I Song picture/no. 49. No. 50 — = • — • — • — •— • WORDS Tci^giglwa'basogwen' . . . We may live by it always Nikan^ My Mide' brethren Manido'wan It is spiritual Nin'esewin' The inspiration we receive SERIES 4 — ANALYSIS The fourth series is composed of sono:s which are sung after a man has been initiated and has ^^^^ ^^^^^^^ ^^ ,„ j„ ^^ been given a medicine bag corresponding to hand the Mide'wim'ni holds xi 1 1 1 i 1 a Mide' shell. the degree lie has taJ^en. Song no. 54 contains a reference to the water spirit. De'bwawen'dunk stated that song no. 58 refers to a yellow bear, whose shaggy fur resembles feathers. As already stated, the bear is closely connected with the Mide' No. 59 refers to the fact that the white shells used in initiating members into the Mide'wlwln are supposed to penetrate the skin, and it is the duty of the initiators, having ''shot" these shells, to remove them. The work of these shells is a cleansing work, and if any of them remain in the body it is supposed that the cleansing is incomplete and the person suffers correspondingly. These shells issue from the mouth of the person being initiated. DEXSMORE] CHIPPEWA MUSIC 75 In the instance of this song one of the shells was difficult to remove antl was found to be in the heart of the person under initiation. As an example of this, a woman stated to the writer that her arm had been lame ever since she was initiated into the Mlde'whvln. She said that her husband asked her if she was sure that the initiators removed all the shell or ''medicine" and stated that if any remained it might produce this lameness, which had continued about thirty years. The words of no. GO refer, of course, to a manido'. These songs are in a difTerent style from the three preceding series, yet it is impossible to indicate this in the melody outline, the pro- gressions being about the same. Most of the songs in this series are chanted in a very dignified and impressive manner, producing a pecu- liar effect, quite difTerent from that produced by the same tone material in the form of the more rhythmic songs. No. 51 presents the minor triad with minor seventh added. This combination of tones is fully considered elsewhere in this paper (see p. 130). No. 52 contains the major triad with the second added, a somewhat unusual feature. Nos.53 and 54, one in the major and the other in the minor, show the octave complete except the seventh. No. 55 is on the fourth five-toned scale, and nos. 56 and 57 are on the second five-toned scale, lacking one tone. No. 58 is an interesting study of tonality. The ending was given firmly and the melody is particularly effective. Nos. 59 and 60 consist of the tones of the fourth five-toned scale with the second lowered, the first song being minor and the second major in tonality. No. 51 (ratalo{?ue no. 42) l^^^j== E^EE^^E^^^^E^ ^':=,^=.=^^ ^ WORDS Umbe'' Corae Nagumoda^ Jyet us sing Umbe^sano^ecigabo^ida Come, we are now song picture no. 51. In this standing before drawing are shown the Mlde'- you bendino-down wigan, the pole, the stone, the ' '^ oc'kabe'wi.s at the entrance, the leader of the ceremony, and Nikan' My Mide'' brethren Kibima'diziwm'dotaman^ We ask long life for the candidate for initiation. As you this series of songs is used for Misaniu'ingegigabo^iyan^ That is what I my- initiation into the second or , i- f third degrees, the leader has an self am seeking tor assistant who is seated between you him and the novitiate. 76 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 No. 52 (Catalogue no. 43) ;B m-- Long picture no. 52. The man holds his weasel- skin medicine bag. WORDS E wina' Here it is liawina^ Here it is A^cigosi^wayan^ The weasel skin (medi- cine bag) Geda'bimiin^ Through it I shoot the white shells No. 53 (Catalogue no. 44) ^iisfes m. WORDS Ni^bawiyan^ Here I stand Na Behold Boske^asin'' A stone is filled Ma^nidowid^ With spirit power Nibanin' With it I shoot No. 54 Song picture no. 53. A stoae is at the point of the man's arrow. (Catalogue no. 45) SiSS 1^"- ^ Song picture no. 54. The mi'gls is shown in the circle of the sea. WORDS Nawigitci^gami^we. ... In the middle of the sea Genodog''gitcigami' The lengthy room of the sea Andana'biyan^ There I am sitting No. 55 (Catalogue no. 46) ;0 ^i WORDS Waka^oseyan' Walking around Mide^watiguiV The Mide' pole Manine'aman^ Coming upon it stealthily Miyuwen'tciayasoseyan^. I make a noise as I fall, leaning Nigiinoseyan' When I lead them all Song PICTURE NO. 55. Compare song drawings nos. 2 and 10. DEN SM orb;] CHIPPEWA MUSIC 77 In this song the singer represents himself to be a bear, walking around the Mide' pole and trying to strike it. (Compare fig. 6, p. 42.) No. 56 (Catalogue no. 47) m ^0 WORDS Ninbeba^miseyai/ I that hasten around Nabosedini'niwejiud' I shoot at a man and he falls in a trance Nigagwe^dina^ Then I feel with my hand Ninbeba^miseyan' To see if he is still alive No. 57 Song picture kg. 56. A wavy line connects the bird and the sky- circle. The double line before this draw- ing divides the series into two parts, as \\ritlen on the birch- bark strip. The peo- ple dance during the succeeding songs. (Catalogue no. 48) ^ ^Ji^ WORDS Anima^kizine' Going with footwear on his feet This song is said to be about a bear's paw. Song picture no 57 No. 58 (Catalogue no. 49) ©lit =='^=^='=^*='=j^^ -. — ''=^fl WORDS Wa^cine'biyan' I who live in a cave Kimico^misinan^ Our grandfather Onika^sa Arms he has Omi^wanun' With feathers WVshine^biyan^ I who live in a cave Song picture no. 58. The'Teathcredarms" are shown i n tlie drawing. 78 m^ BUREAU OF AMERICAN ETHNOLOGY [bull. 45 No. 59 (Catalogue no. 50) =i;i WORDS Nikanfin' My Mide^ brother Na^donamawin^ Is searched OdeiiV In his heart is found Mi^konamawa^ That which I seek to remove Migisun' A white shell Song picture no. 59. The mi'gis is shown iu the heart of the Mide'. No. 60 1^ -bb.- (Catalogue no. 51) Cingus^ Weasel Nan'domiyan' Thou art calling me Song picture no. 00. In his hand the man holds a weasel , representing his Mide' bag. There is a large number of songs which may be used during the initiation of a member of the Alide'wlnin. Each of the old men accustomed to lead the ceremony lias his favorite songs and brings with him the birch-bark rolls on which the songs are written. Before each ceremony these rolls are examined and the songs discussed by the initiators but the s^election is usually left to the leader. The three following songs are not parts of series but are detached songs belonging to the portion of the ceremony in which the candidate is ''shot." by the initiators. densmoue] CHIPPEWA MUSIC 79 No. 61. Initiation Song (Catalogue no. 69) Sung by A^gwitu'wigi^cig i^"" skipping a day") Voice ^ = 96 Recorded without drum 1 Gi - a - win nin - da - sa ya ha nin da gi - a - win nin - da • ^: sa ya ha nin da gi - a -winiiin-da-sa ya ha -•- -• -»' -0- ^ ^m sa ya ha nin da gi - a-wiii niu-da - sa ya ha nin da Gi'awnV Into thy body Nindasa^ I shoot Manidowid' The spirit This song is sung while the initiators march around the Mide' lodge, the man to be initiated being seated beside the medicine pole. Analysis. — A particularly pleasing melody is shown in this song. The principal tones are those of the major triad, the second and fourth being used as passing tones. With the exception of the last measure of each phrase the rhythm is a triple rhythm throughout the song. The following narrative concerning the Mide' shells was given to the writer by ]\Ir. Charles Moulton, a member of the Otter Tail band of Chippewa. Mr. Moulton stated that several years ago in the fall he shot two ducks. In one of them his wife found two small white shells of the variety used in the Mide', commonly known as IMlde' shells. His wife is a granddaughter of De'dadj, the leading Mlile'- wlnl'nlof the Otter Tail band, and from her childhood has heard the traditions of the Mide'whvln. She knew that these shells are rarely found in ducks and that to find two in the same duck was "very great medicine." Accordingly she showed the shells to De'dadj, who said, "Put the shells into a box, wrap the box tightly in a cloth, do not open it for a year, and at the end of that time you will find four 80 BUREAU OF AMERICAN ETHNOLOGY [bull, 45 shells in the box mstead of two." She followed his instructions. The box was placed at the bottom of a trunk and not disturbed for a year. It was then opened and was found to contain two small shells in addition to the two originall}^ placed there. It was im- possible that De'dadj could have put them into the box, as he was almost blind at the time and furthermore did not know where it was hidden. Mr. Moulton stated that a member of the MIde'wIwIn would have kept these four shells very carefully, secured small particles of them by rubbing them on a piece of iron and placed these fragments in water as a medicinal drink for the sick. No. 62. Initiation Song Sung by A^gwitu'wigi'cig (Catalogue no. 70) Voice J = 76 Recorded without drum f^Um=^: m m te Ni - nil -de - wa - yan ni - nil -de - wa - yan :t= ni - mi - de - wa - yan e ni-ml-de-wa-yau e ni-ml-de-wa-yan e ni-mi-de-wa-yau e ni - mi - de - wa - yan e ni - mi - de - wa - yan Ni^mide'wayan' My Mide' bag K During tliis song the person to be initiated is "shot" j^ l)y the initiators. Analysis. — The tonality of this song is obscure. It is transcribed exactly as sung, the different renditions being Song picture -^ ^' i i- i i • i NO. 62. In his identical, yet the key is not definitely established, neither hand the man modulations indicated with sufficient clearness to be holds the ani- mahvhichrep- safel}' assuiiied. The steadily descending progression Mide^ba ^'^ ^^*^^'® found is interesting and the melody itself is unusu- ally attractive. densmoke] CHIPPEWA MUSIC No. 63. Initiation Song Sung by Ma-ix^ans 81 (Catalogue no. 254) Voice J— 168 Drum J- 176 (Drum-rhythm similar to No. 3) -•- ^-_ ;•- -S>- '±± -f=f=t: JP_ Ba - do-gw6n e gi - bi - nan e ba - do-gwgn e gi-bi-nan i '^£i=E=L=Pfe -^ 1 — -i^^iS> a a m it-t=t ba - do-gwen e gi - bi -nan e ©tt^ E^S :i :2 ba - do-gweu e gi - bi - nan Al ba -do-gwen e gi - bi-nan hin de - mu-sa grwn ;i - wi - ne - wa ba - do-gwen e gi - bi - nan e ba - do-gwen m s .fe=^ :=T^ 1^ gi - bi - nan ba - do-gwen gi - bi - nan Badogwen' It never fails Gibinan^ The shell Demusa^ Goes toward them Song picture no. Gi^winewa'' And they fall 63. This draw- ing represents a This song is sung during the "sJiooting" of the can- ""'^'''• didate for initiation. The song is unusual in that the first descent of the voice is the interval of a fourth. The melody follows closely the minor chord, all other tones being readily identified as passing tones. No. 64. Initiation wSong Sung by Ki'tcimak^wa (Catalogue no. 67) Fair weather is symbolic of health and happiness. Thus the words of this song predict health and happiness for the person to be initiated. Analysis.~An unusual nunil)er of vowel syllables are used to fill out the measures of this song. Longer than most Mide' songs, its spe- cial musical interest is the manner in which quadruple measures are introduced into a triple rhythm. 12692°— Bull. 45—10 6 82 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 Voice J::=80 Recorded without drum _^ ^. j^ -0. f—P ZfTZW :ztl;4: m We-go- uen i wi ne e e wa-ya- /le - he- he- da-mo - non ha ha ipqi^ -fS- 7t=W- X-- -n — P- :[=: ha ha ha we-go- nen i we ne e he we - & - wi - hi - hi - da - mo lion ha ha ^: ^t sl^Kili=« ^-^-f-^ 4; ha ha ha we-go-neii i tee de ge=^ i^zzp: :t=t ^ — ^ e e e wa-ya- -^_ ^- ^- -,- we - Tie - e - da - mo na }ia ha ha ha ha mau-da-gi - cig wi ^11 #-e- #— P- :p=t ^t=r=r:^f^-^-=f=^=:# t: Tie ^e dji-wa-we - he - he - na-go - deg he he he he T= :t:= t he dji-we-nen - i - go -deg he he wa - ya - wi - /ii- en -da- mo \m- :p=t^: ip^itt ^ — ^- -b._ih :pEzzp_ :^ non a he he he we - go- nen S^ gg^ 4=e: :p=p: 4: wa-ya -we - he - he - da, - mo - non ha ha ha ha ha ne Wegonne^ What is this Wayawindamonon^ I promise you? Mandagi^cig The skies shall be bright and clear for you Djiwawe^nagodeg^ This is what I promise you Songs to Insure Success ^°ThewaxTtoe^repri During the dance which follows an initiation cere- sents the song mony it is ciistomary for the members of the Mide'- which, rising to the ^ ^ , • ,^ ' c ii • • i j- • T+ sky, will make it wiwin to smg the songs of then' special medicmes. It bright and clear, jg Said that a man whose hunting medicine is particu- Ssong no. ST^"^^ I'^^'l^ strong may rise and dance and sing his hunting- densmoue] CHIPPEWA MUSIC 83 charm songs and that lie may b(^ jouiod ])y any otlior persons wliose special medicine pertains to the hunt and who know the same songs. The following set of five hunting songs were sung by Be'cigwi'- wiziins (''striped boy") and are of this character. They were sung by their possessor before starting on a hunting expedition. The first, second, and third songs assert the ability of the Mlde'- wlnl'nl to control the wild creatures of the woods; the fourth and fifth songs are concerned with the means which are ejnployed. No. 65. Hunting Sonci (a) Sung by Be^cigwAvizans (Catalogue no. 56) Voice J^ 152 Recorded without drum ^- -p- ^- ^ -^ -•- .t=t: -^2- t= 3 Me - gwfi-yak ka nin- don - dji bi ha ^— • A_ me-gwtl-yak A:a nin-don-dji - bi - na gi - ga- gi - kwa- wi -ni - nan ^— ^— ^ m 2 1 1^ :&TEa me-gwii-yak ka ain-don-dji-bi - na me- gwfi.-yak ka nin-don-dji - bi - C\ • 'n ' j j *-!.. 17 /^ . * ^ m _,— ' 1 ^ b K 1 1 1 1 1 ^9 [ 1 t ' na he na ya me-gwH-yak ka uin-don-dji - bi - na ha na A ^ ^ ^ • , , t^' h L J __ 1 Q P m *-». fl ^^1 r —— 1 '» ' 11 -^ b k 1 1 '*'-^ C' 17 l'4- ^^ 1 1 me- gwCi-yak ka nin -don - dji - bi - na gi - ga - gi - m m m ..^^ ^ ^ 1 p 1 1 1 1 r i r r 1 -^^jT— ^-^ ^ — ^ F — Lh ^_i ^ U P -^ ^ -^^-^f74 1 b , t \- H ' ] kwa me-gwH-yak ka nin-don - dji - bi - i^^EE A-^ £ :t==^: i me-gwfi-yak ka nin -don -dji - bi - na he na ya MegwCiyak^ Out of the woods Nindon^djibi^na We will bring Gigagikwa^'wininaii' Even as we are telling you Song picture no. Analysis. — Attention is called to the varied measure *"'5- The animal is lengths and rapid metric unit in this song. It is also the"hunter°^''''"'^ 84 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 interesting to note that the F flat and succeeding F natural ^vere accurately given. No. 66. Hunting Song (h) (Catalogue no. 57) Sung by Be'cigwi^wizans Voice J— 176 Recorded without drum m M^^m^^Es^mws f^-0 — ig — I'^"TZ*~~^| EEEEEEEES Sg?^f E3E3: :^M t=t ^^-f- -f^ #=P= ^ ::2z- ^— ^^- Ninba^gaako^kwan . My war club Gi^cigun Resounds through the sky Dee^dagwe^wesif/. . To summon the animals to my call Analysis. — The words of this song were too indis- tinct for transcription. This is an instance in which the entire song constitutes a rhythmic unit. Each tone in the first measiu'e was given with equal Song picture no. 06. accciit, the tempo throughout being unusually well Above the singer are marked. The major third is the largest interval seen his war dub and .... the resounding sky. OCCUmng in tlus SOllg. No. 67. Hunting wSong (c) Sung by Be'cigwi'wizans (Catalogue no. 58) Voice 176 m Recorded without drum -^^-^ f==E 3=^: fe==P===1 _^ Um-be sa ta - di-da ci - ci - gwe ta -di - da we gin- -C^'t? P r f* m 1 1 V 1 1 1 II ^J^'ft 1^ 1 r • • • 1 LZ . .. > 1 fS ^ . w -^ ^ i \ — \ 1 — \ — [i-A—T r — r — 1 U-r — p— — 1 — 1 ^'— ■■! ■^■— U_J h- — L_^_ — t- ta - gi - ma - ni - do wa a hi ha na Umbe' Gome Sa Behold Ata^dida^ Let us have a contest Cici^we O rattlesnake Gina^tagimanido' . . Most subtle of reptilea Cici'gwe O rattlesnake Song pictitre no. 67 densmore] CHIPPEWA MUSIC 85 This son^ is addressed to the rattlesnake as beinp; the most dreaded and subtle of reptiles, which always succeeds in whatever it under- takes. The idea of the song is that the Mkle' has enabled the man to compete successfully with even the wiliest of creatures. Analysis. — The rhythm of this song is as subtle as the subject. Attention is directed to the melodic and rhythmic effect in the fifth and sixth measures. The minor third is the largest interval occurring in the song. No. 68. Hunting wSoNG (d) (Catalogue no. 59) Sung by Be^cigwi^wizans Voice J =192 Becorded without drum ^-^ ^ - - - - - ^ dja-kdm-ig ki-yan a-ya - dja-kdm-Ig ^^^ m ^ e=?: See ki - yaii ^E3 hi jail- we-ci-wa-yan a i jau- ^^^-^ S ?S ^-^-H we - ci-\va-y2,u a i jau we - ci - wa-yau a i e Aya'djawakum^ig From all parts of the earth Mokiyan' I make my appearance Janwe^ciwayan^ Clothed with the skin of the marten The singer stated that the words of this song refer to a Mide' bag made of the skin of a marten, which "has power to drive together the animals from all parts of the earth," It will.be remem- bered that the manido' mentioned in the account of the origin of the Mide' (p. 23) carried hving otters in their hands. Song no. 13 (p. 47) speaks of a sound as coming from the Mide' bag, and song no. 60 (p. 78) contains the words, ''Weasel, thou art calling me," the song referring to the Mide' bag carried by a member of the first degree in the Mide'wTwm. In song no. 81 (p. 105'; a medicine bag made of the skin of an owl is represented as speaking. A comparison of these songs is of interest. Analysis. — This is one of the few songs in wliich the first })rogres- sion is an upward progression. Rhythm constitutes an important feature of these hunting songs, yet the rhythm of each is distinct and peculiar. Song picture no. OS. "All parts of the earth" are rep- resented by two circles, between which is seen the form of the marten. 86 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 No. 69. Hunting Song (e) (Catalogue no. 60) Sung by Be^cigwi^wizans Voice J = 168 Recorded without drum =i^ & §=t=p =F=F -^=w- -^ — f- A-nun-guu roe he na a ni gwe he a -nun-gun tH^^' F= -^ — ^ =^ ^, -p— • — •- ■S^U=^: i=E=^ loe he na a ni gwe he a-nun -gun _A- -A- -m- P P ^(2- Tue /ie =9itEeE^t^ 3se3 -i2_ :S^ :p=: :9i=^=t=t na a ni gwe he a - we - sin ha-na-ba - mig he na ^^ :S^: :a=e ^ a ni gwe he a-nun-gun we fie na a ni gwe he WORDS Anun^guil Like a star Nindina^bamig I shine Awesin' The animal, gazing, is fascinated by my light Song picture no. 69. The correspondence between The Writer wRs informed that the use of a ho;ht SdicTd^'Tst^iS^ht in hunting at night was known by the Indians line. before the coming of the white man. Analysis. — This song shows a distinct rhythmic unit of four measures. This unit occurs three times at the opening of the song, is followed by five measures in a different rhythm, after which the rhythmic unit is used in closing the song. Such regularity of musical form is seldom found in these songs." It is also unusual for rests to occur, even the repetitions usually being given with no appreciable pause. There appears to be no limit to the number of times a song is sung and the continued repetition has a rhythmic swing of its own. At a social dance the drum gives a signal indicating that the song will be sung only once more. This is understood by the dancers, but is scarcely noticed by an outsider. The time for this signal is deter- mined by the man at the drum, who started the song. a Songs recently secured show greater regularity. dexs.more] CHIPPEWA MUSIC 87 No. 70. SoxG FOR Securing a Good Supply of (Catalogue no. 64) Maple Sugar Sung by Ki'tcimak^wa Voice J — 72 Recorded without drum ^ ^ -^ -P- -PL -^. ^. P f^ m- m m—P- 1^ Wi-dji-ga - wi-ni - na - ha hin-di-yan + e wi-dji-ga- wi-ni- =§^i£l#=F=F ^f=:b^b=L=L ^^ei £^EHS ^^ ^ mi na - hahin-di-yau ^m ^^s& f=p~p^0 e wi-djT-ga-wi-ni m e wi-dji-ga- wi-ni - na - ha hin-di - yan . + atiizit na - ha hui-di-yan 6 wi-dji-ga- wi-ni It ii^ F=F= S sp: t na - ha hin-di-yan - e ml-ti-ga wi-ni - na - ha hin-di-yan- ^i^^ SSSEf T=E ii^^^^iiip^^^ e gi-gi-gog wi-ni - na - ha hin-di-yan e wi-dji-ga- wi-ni- Eiaft^^^^^Et;i T^- im E^Sp a:2; na - ha hin-di-yau e wi-dji-ga- wi-ni na- ha hln-di-yan-e Widjiga^viwina'ha _ (Obsolete) HmMiyane' (Obsolete) Mitigon^ From the trees Gion^igog' The sap is freely flowing The makino: of mai)le siitjar constituted a pleasant industry amonor the Chippewa. From their scattered /JJV^ abodes they assembled at the sugar camp in the spring, song pictuhe no. The events of the winter were fully discussed, and gen- 'L fdJt 1 ■-.■|. Til 11 tt- lilt: Stip IS eral sociability marked the gathering. Maple sugar is seeu flowing into a favorite luxury and is prepared in various attractive Ltft'L It forms. An abundant supply is greatly desired, and ^^^ shown in this song is supposed to secure it. ' '^' '''''''■'°^- The words furnish an example of the affirmation which strongly characterizes the Mide' songs. There is no request; the song simply 88 - BUREAU OF AMERICAN ETHNOLOGY [bull. 45 asserts that the sap is flowing freely, thus presentino; to the mind a vivid picture of the conditions which would produce the desired supply of maple sugar. Analysis. — This song shows a characteristic tendency to lower slightly the pitch on the second of two similar tones. Throughout the song a double measure is followed by a triple measure. Each rhythm was given distinctly and for that reason it was not deemed advisable to combine two measures in one 5-4 measure. The principal words are mispronounced, as frecjuently occurs in the Chippewa songs. Love-charm Songs Sung by Na^waji'bigo'kwe The love charm is a very popular form of magic among the Chip- pewa. Of the following set of four love-charm songs no. 72 was first sung for the writer by a woman on the Red Lake reservation, the circumstances being as follows: The writer was engaged in the col- lection of folk-tales and persuaded this woman to tell a story. She consented with reluctance as it was the summer season and she said that snakes would certainly bite her at night if she told stories in the summer. After writing down a story the writer asked her to tell something about the Mide'wiwin and to sing one of its songs. This request was received with still greater reluctance. The woman finally consented to sing one song in some secluded place wdiere she was sure no one could hear her. When asked what the song would be she replied that it was a love-charm song. She was a woman about sixty years of age and was the most dirty and unattractive woman with whom the writer has come in contact. In a thin, nasal tone she sang the song, which was noted down by ear, no phonograph being available. With coy shyness she said the song meant that she was as beautiful as the roses. She also drew a crude picture of the song. Later this picture was shown to Na'waji'bigo'kwe at White Earth. She recognized the picture at once and sang the song into the phonograph. When the transcription of this record was com- pared with the memorandum made at Red Lake the identity of the song was readily discerned. The singer at Red Lake promised to come back and sing other songs the next day, but some friends who knew that she had sung a Mide' song threatened her with calamity and she did not return. The singer at White Earth said that this is the first of a set of four songs. All were recorded by Na'waji'- bigo'kwe, but the first is the most interesting of the set; only the words of the others therefore are given. Analysis. — One measure constitutes the rhythmic unit in this song, being repeated with absolute regularity. Attention is directed densmoke] CHIPPEWA MUSIC 89 to the range of voice. The singer was a woman, but her voice was in tlie tenor register. This was found to be the case with the voices of otlier women who sang the Mide' songs, being due, perhaps, to the fact that they were accustomed to singing with the men and adopted a unison tone. No. 71 (a) Voice J — 88 Recorded without drum (Oatalnsjue no. 73) A - ni - na « m m .. - ji -•- - a - ne • • a - ui - na 1* * ' - Ji - a - ne t:\- k 1 1 K 1 1 _ p -f-^ ^ 1 J ^^^i V- — ii— — 1 -^-^ ^"^^?^ 1 a - ni - na ji - a - ne a - ni Ji - a a - -•- - ni -•- - ua - ji - -•- a - m ne - ni - ba - -0- uu -•- e =^^ 1 1 1 ^, .L_ 1 ..J 1 • 1 1 --L.. ' \ ^ — ^ ^ 1 • =d a - ji - na i!s^ go - o - yan a - ni a - ni - na t:=t ]i - a - ne ]i - a i=^ ji - a - ne a - m - na _0 0.^ — III ji - a - ue a - ni ji - a WORDS A^ninajun' What are you saying to me? Ogini'bagufi' I am arrayed like the roses Ajina^gooyan^ And beautiful as they Song picture no. 71. The heart of the fig- ure is shown. (For drawing of roses, compare song no. 99.) 90 BtJREAlJ OF AMERICAN ETHNOLOGY [bull. 45 No. 72 (b) (Catalogue no. 74^ Song picture no. 72. The lines diverging from the figure of the man were said to represent "feeling." (Compare drawing of song no. 103.) Niwawin^gawia^ I can charm the man EnFniwa^ He is completely fascinated by me No. 73 (c) (Catalogue no. 75) Ninda^agagia'' FenFni Namundj^ En^dogwen^.. Wi^agudjiiig' WORDS [Free translation] I can make that man bashful. I wonder what can be the matter that he is so bashful Song picture no. 73. No. 74 (d) (Catalogue no. 76) WORDS Mi'sawe^kiimig' In the center of the earth A^yagwen^ Wherever he may be Ana^makiiY Or under the earth Song picture no. 74. dknsmore] CHIPPEWA MUSIC No. 75. Love-charm Song 91 (Catalogue no. 52) Siino: by Manido'gicigo^kwe (" spirit day woman ") Voice J := 72 Recorded without drum -=t i^i 0. .0- .0. -4. -0-. .0- .0.. -#- -#-. ~\- ig: -V :it The singer of this and the following song is a woman whose personality is unique and interest- ing.'' Analysis. — It is impossible to indicate by any notation the peculiar nuances of this singer. A slight prolonging of certain tones gives the songs a fascinating effect, heightened by a slight glis- sando. The songs are also sung with the nasal quality affected by the Chippewa when singing love songs. Attention is directed to the fact that this, like man}^ other Chippewa love songs, has a slow metric unit. Song picture no. 75. The power of the love charm is shown by the manner in which the woman attracts the man, who appears rather reluctant. a A description of this singer is given in connection with song no. 133. See also pi. 11. 92 BUREAU OF AMERICAN ETHNOLOGY [bdll 45 No. 76. Love-charm Song (Catalogue no. 53) Sung by Manido^gicigo^kwe Voice J = 84 Recorded without drum Songs Connected with the Cure of the Sick The treatment of the sick is conducted by the okler membei's of the Mide'wlwm, special songs being sung in connection with the use of medicinal herbs. This treatment is frequently given in con- junction with an initiation ceremony, the person being initiated in order to cure him of his bodily illness. Reference is made to song no. 47 (p. 73), the words of which are more characteristic of the Mlde' than the words of the songs which follow under this heading and which are connected with personal incidents. In song no. 47 the power of the Mide' to cure the sick is affirmed and emphasized, it being further stated that the white shell is the means used to that end. This element of affirmation is very strong in the Mide' and to it may largely be attributed the power of the Mide' over the minds of the Chippewa. Mi'jakiya'cig C' clearing sky"), an aged woman who is a member of the Mide'wlwin, sang the two following songs associated with her personal experience.'* We'nabo'jo and his grandmother are the principal characters in Chippewa folklore. We'nabo'jo is also connected with the Mide', though the connection is not clearly defined. a Mi'jakiya'clg stated that she was very ill when she was a young woman. Her parents prepared a feast and sent for a MIde'wInl'nI. After partaking of the feast the Mlde'wInJ'nl "spoke to the manido'," saying that she wished to have her life prolonged by means of the Mide'. He then smoked the tobacco which her father had provided. A few days later a, larger feast was held and many members of the Mlde'- wlwln were invited. After all had smoked, the first MIde'wInl'nI told them her desire; then he sang these two songs, the people dancing as he sang. Mi'jakiya'clg stated further that her health was entirely restored. de.nsmore] CHIPPEWA MUSIC No. 77. Healing wSong Suns; by Mi'jakiya'cig 93 (Catalogue no. 78) Voice J= 104 Recorded without drum "We - on - di - kwe - bi - \vu a ^ w^ ^' =^ 4-L-^ =F 3^3: kuo - mis fm on - dl kwe - bi - wtiar It' ^ ^ -t we - on - dl - kwe - bi - wHec e We'ondikwe'biwi'ig' They are in close consultation with their heads together We'nabo'jo We'nabo'jo Okwomisiim' And his grandmother Analijsis. — Two strongly ascending ])rogressions at the first of this song mark it as different from the ma- jority of Mide' songs. The dotted quarter at the begin- ning of each measure forms the foundation of a simple rhythmic unit which is repeated with little change throughout the song. No. 78. Healing Song Sung by Mi'jakiya'cig Voice J =: 100 Recorded without drum Song picture no. 77. We'nabo'jo and his grr. nd- mother are shown in this drawing. (Catalogue no. 79) Szi:^ >4 -*— •- iii^-Eii^^ Ni-ma-ni-do- wi - na - wa ui-kan-tig i hi e ni-ma-ni f^ — ^~ F|-4 — u z:[|QT5J*:rr]izzp:z do - wi - na wa ni -kan -fig i hi e ni- ma-ni do - wi - ta l^iA: ?s I ^s^^3^^ wa ni - kau - tic hi ni - ma-ni- do ni-kau - tig 94 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 Nimanido'winawa^ I see a spirit likeness Nikaii^ In my Mide^ brother Nimanido'witawa^ He speaks with spirit power Nikan^ My Mide' brother Analysis. — The rhythmic unit of this song occurs four times and is readil}^ discerned. Attention is directed to the range and tenor register of this song, which was sung by an old woman. The voice was harsh in quahty, but fairly accurate in intonation. No. 79. Healing Song Sung by O^deni^gun (Catalogue no. 71) Voice Jrz 116 Drum J=z 116 ( Drum-rhythm similar to No. 1 ) §9^1 t—^—fi- te: M-^—^ ± ^^ ^ — n- Si^^l^E^gSlSii iiip=i=p=^ l^=l=t;t ©^==i 4 -« — 4- i + _^_^ — ft n—n — ^ il \—ft- .t==: ■P — n- p—n — (^- A - di- zo - ka- n--^z=^-^==(|:^' -^^-b-4 •— ip=^J^ •'— F|^4 =y Main'ans Voice J — 120 Drum J= 120 (Drum-rhythm similar to No. 1) -!*- -^- -f- _ _-•-■«-•-#--•- ^^*-^iLM=,t^ ■jr_ ^^^=^=t I Ma-ni-do - wi-djig he he he he he nin-ge - ka - i -gog o ho ^^m^^i =P=^=B= pre he he eu-da-na -bi-au j hi hi hi hi yo a he he he ^i; -n—n—»- =t==F=f:: fe-3=rEr-:^EES= p=^=t^t^=^=f:=bt=^t=^=p: H 2/0 a /ie 2/" « Ae he he he he he he yo a he yo a he 108 BUREAU OP AMERICAN ETHNOLOGY [bull. 45 Manido^widjig'' Those who are spirits Ningeka^igogf' Are making me old Endaiia^bian^ Where I am sitting Analysis. — This song is purely melodic in cliar- acter, following the intervals of the second five- soNG PICTURE NO. 90. toncd scalc. It clearly illustrates the custom of of the Mide' a man interpolating Syllables in the words of the !Mkle' songs. lives to be so old This is said to be a very old song. that he leans on a ' " staff as he walks. No, 91. "To THE Spirit Land' Sung by Main'ans (Catalogue no. 253) Voice J =138 Drum J=:112 (Drum-rhythm similar to No. 1) ay -•- -•- -•- -•- •ttt :t=t: A - ui - ma - dja ha ha a -ni-ma-dja ha ha a - ni - ma =F=EE^s: ^^^^^- dja ha ha a -ni-ma-dja ha ha a -ni-ma-dja ha ha a-ni-ma- PiSpE £ :p: z\i=-. dja ha ha a - ui - ma - dja :t: EEEf; a - - da - ua - wlil - :p=:zp: he he hiu - di - no he he st EEEEE -p a - ni - ma dja ha ha a-ni-ma - dja ha ha li||=^S^^^ feEt=EEEE=iEil dja ha ha ha a - ui - ma - dja ha ha a - ui - ma - dja WORDS Aoda^nawiiie' To the spirit land A^nimadja' I am going Hin^dinose^ I am walking Before singing this song the singer said, "It is hard now when a man dies, but death was more tragic among the Indians in the old days." dexsmore] CHTPPEWA MUSIC 109 Analysis. — This song has the smallest range of an}^ song analyzed. It was sung five times, each rendition ending on F sharp. The tempo is plainly 5-4, and the pulse of the measure-beginnings is exact, though too slow to be indicated b}^ the metronome. The divisions of the measure are imperfectl}' indicated by note values, the first tone in sev- eral measures being slightly })rolonged beyond the value of a dotted quarter. It is these delicate distinctions in time values which give to a song, as sung by the Indian, its peculiar expressiveness and appealing cjualit}^. As in other songs of this character, the accidental is the lowered sixth. At first the singer did not sing tins accurately, but later jrave it with correct intonation. No. 92. "I Will Sing" Sung by Main^ans Voice J=;84 Drum J =92 ( Druiu-rhythin similar Lo No. 1 ) A- ^- =t: ztL (Catalogue no. 255) T=4: Ni - da - zou -ga-gi-dau da -zou -ga-gi-dau ni-da - zou - ga-gi-dau e ni-da-zou- ga-gi-df Sg^ ni - da - zon - ga-gi-dau e ni - da - zou - ga - gi - dan g^( 3= ni-da - zon - ga - gi - dan e ni - da - zon - ga - gi - dan -• — # 1 h -* ^ — • • — a — r* ■ Ml -de - wi-\viu ni - da - zou - ga - gi - daa e ni- da WORDS Nidazon'gagidan' I will sing with the great pc .wer Hide'wiwiu Of the Mide^viwTn This song was sung during tlie preparation of the medicines, not during the ceremonv of initiation. 110 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 Analysis. — This song contains one accidental tone, which occurs only in the introductory measures. Considerable freedom is allowed the singer in beginning a song. The portion of the song following the word "Mide'wiwm" is recorded seven times, each repetition returning to the point indicated and com- pleting the circuit with no variation except that the two measures between the double bar and the word " Mide'wiwin " are once omitted. The transfer of the accent from the second to the first syllable of the Song PICTURE NO. 92. first word is clearly marked. The melodic progres- wavy lines repre- gj^j^g ^j.g ^f giiorht importance and the intonation is sent the song. „ ■, ,' . . » , , j_i u • faulty, the transition from one tone to another being frequently glissando, but the metrical repetition of one word is con- tinuous and emphatic. No. 93. ''I AM Walking' Sung by Maix'Ans (Catalogue no. 256) Voice 92 m Drum J _ 92 (Druiu-rliythm similar to No. 1 ) ^ufcTh^-^ ±f-^ J^ft f— ^ :3=L__=:=1 "^^^l 4: Da - bi-na-wau gi - no - se - yan i ne da - bi - na ^—f- -ft — (•— f* — ft ^_^_i_ i -^«M :j== wan gi - no - se - yau i ne infi-ka-de-wa-kfim-ig ^p=pq mM fii'f*^ yan i m ^: A—t -^ — •- da - bi - na wan gi - no - se yan da bi - na wau gi - no - se 'yan Dabi'nawa' Toward calm aiiy were afraid of nothing except being blown down by the wind. ^\ hen the boy awoke he made up this song, in which he repeats what he heard the trees say. The true meaning of the words is that there ia no more chance of his being defeated on the warpath than there is that a tree will be blown down by the wind. Analysis. — The rlwthm of this sono; is energetic, vivifying, and full of action. The rhythmic unit is short and easily recognized, con- sisting of a measure in triple time followed by a measure in double time. The song was sung five times, the renditions being identical in every respect. The rhythms of voice and drum are greatly at variance, but each is steadily maintained. The harmonic structure is evident and consists of a major triad in the upper and in the lower octave with the sixth as a connecting tone. No. 113. SOXG OF THE Thunders (Catalogue no. 207) Sung by Ga'gandac^ Voice J^ 120 Dru.m J- 120 (Drum-rhythm similar to No. Ill) ^^. ^- -ft- 4t- 4 - 4r_ ^— p- ■/s. Na - nln - so - di - uunk i we uin - ba - ba - ca- wen - ^^^gi^ dan ni - yau ba - ba - ma - ci yan n - CIS - m 5^=F= ;ii WORDS Na''ningoMinunk^ Sometimes Ninbaba^cawen'dan I go about pitying Niyau' Myself Baba^maciyan' While I am carried by the wind. Gicigun' Across the sky 128 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 This sono; forms an example of the strange personation which char- acterizes many of the dream songs. In this the singer contemphites the storm mystery of the sky until he feels himself a part of it and sings its song. Analysis. — This song is divided into two parts. The first contains only vowel syllables and consists of nine measures, in which the rhythmic unit occurs twice. This unit is comprised in the first three measures. The second part of the song contains the words. This part of the song constitutes a rhythmic unit in itself. Attention is directed to the harmonic character of the song, although the melody moves with great freedom. No. 114. "My Voice is Heard" (Catalogue no. 208) Sung by Ga^gandac^ Voice J =112 Drum J =116 (Drum-rliythiii similar to No. Ill) =§iitr 4= :[=-— "-T-£; l== ^-rf-rf^ :s f f ^•--"•- -G>- r V- r -•-t,8 ^^- 0-0 p • -R- l7-fc^ -^ \s0^ — i ' ■( — -u—^ — P— r J— -T b— -^ w^ — - '*^ — ^ — -1 ^^- ^ \> fZ ^_ f: ^^«E« ^± £^_^>! 3^ -ff — ^ ^ ^ S-. — F Mi - si - we a - kin e niu-de - bwe-wi- dfim S ;0 densmokk] CHIPPEWA MUSIC 129 Misiwe' All over Akiii The world NinMebwe'widGm^ My voice resounds In this song, as in the preceding, the singer contemphites the storm. He hears the reverberation of the thunder and in his dream or trance he composes a song concerning it. Analysis. — This song is definitely major in tonahty and was sung in exact time throughout. The metric unit of the dnmi is sHghtly faster than that of the voice and ])roduces an effect of hurrying the voice. The lowered sixth occurs as an accidental. It is impossible to indicate the exact deviations from pitch and the i)eculiar porta- mento of voice used in this song, but the manner of the rendition strongly suggests that they are used to heighten the effect and do not form an actual ])art of the song. No. 115. "The Approach of the Storm Sung by Ga^gandac' Voice J= 112 Drum J- 116 ( Drum-rhythm similar to No. Ill ) (Catalogue no. 209) A- bi 3 gwen ka - bi - de - bwe-wi-dun tfi gi - cig-ufi e - bi Abitd' From the half GiciguiV Of the sky Ebigw6n' That which lives there Kabide'bwewiduiV Is coming, and makes a noise The Thunder manido' represents to the Indian the mysterious spirit of the storm, and he imagines that this manido' sometimes makes a noise to warn him of its approach. This is his interpreta- 12692°— Bull. 45—10 9 130 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 tion of the distant thunder which precedes a storm. Hearing this, the Indian hastens to put tobacco on the fire in order that the smoke may ascend as an offering or signal of peace to the manido'. The idea which underhes the song is, ''That which lives in the sky is coming and, being friendly, it makes a noise to let me know of its approach." This means much less to the white race than to the Indian. We are accustomed to noise; the Indian habitually ap- proaches in silence, unless he wishes to announce his presence.'* Analysis. — This song is harmonic in structure and contains the tones of the fourth five-toned scale. More than a year before the making of this record the same song was secured from a younger singer. On comparing the two records it is found that they differ much less in rhythm than in melodic progressions. The younger singer used exactly the same tones, but in some parts of the song lie used the intervals in a slightly different order. The characteristic rhythm is identical in the two records. No. 116. "As THE Hawk wSoars" (Catalogue ho. 210) Sung by Ga'gandac^ The second word in this song suggests to the Chip})ewa the course of a bird wliich flies forward a short distance, then circles, antl then flies forward again. The Chippewa thought tliat the hawks were halfway to the top of the sky because they flew so high, and tliis song was pr()bal)ly inspired by the sight of a flock of hawks flying and circling high overhead. Analysis. — The harmonic structure of this song divides it into two parts, the first based on the minor triad with the minor seventh'' added, and the second on the tonic triad and sixth. The tones of the first chord are repeated during fourteen measures, the F sharp sinking to E on the fifteenth measure. This introduces the tonic chord in the key of A, and the latter part of the song is composed of the tones of the tonic triad and sixth in the key of A. The first part of the song suggests the close attention with which one follows moving objects; the satisfying resultant chord and the free melody with its even rhythm suggest the return of the singer's attention to his song and to his more immediate surroundings. a The Indian who composed this song is now a clergyman of tlie Episcopal Churcli, Rev. George Smith. Wlien he was a little boy lie often painted his face and fasted five days because he wanted to I,c a "spirit man; " when he was 15 or 16 years of age he composrd this song in his dream. The preparation for his life work was according to the native customs, but he is doing that work in the white man's way. '' I'rof. J. C. Fillmore found this tonality among the Dahomey songs collected at the World's Colum- bian Exposition at Chicago and Mr. 11. E. Krehbiel (in a paper read before the Folk-lore Congress, July, 1894) cited similar instances among the songs of the American negroes. Professor Fillnwe recorded a similar song from the Nass River Indians living in British Columljia. This tonality is found also in the following songs of the present series: nos. 51, 110, 127, 172. DENSM(>i;i:l CHIPPEWA MUSIC 181 A coiTespondence between the idea of a song and its melody or its rhythm can not be taken too literally or pushed too far. Music can not imitate a scene in nature or express a mental concept, yet either may inspire a song. Under such circumstances the song may reflect in some degree the source of its inspiration, yet it would be impossi- ble, in an}^ instance, to infer that source from the character of the song. Five renditions of this song were secured, the only variations being in the first part; the harmonic material remained the same, but the order of progressions differed slightly. The second part was iden- tical in all the renditions. Voice J. : 112 Drum J : 126 ( Dnua-rhylhin similar to No. Ill ) Sii^i m ±-'=t i-J+ • •— — • r -7, 'S'-^- i; ^^ A - bi - ta - wi - Sfl - ci &* ^^r> bi- T- iiii-kwe-kwe - ki - ka - ba - wi - yaii m^ ■ifc^^; T—0^ r-^:1=:1: zttJizMz ^-^ pr- :t=t: ^—4-- ^ -s<— m 14 measures. ANALYSIS 1 measure. 2 measui-es. 3 measures. Abita^wiRi^cig Halfway up the sky Bimikwe^kwekika'bawiyan' I am flying 132 BUREAU OF AMERICAN ETHNOLOGY [miLL. 45 No. 117. "In the Southern Sky" (Catalogue no. 2 u) Sung by Ga'gandac'' Voice J -112 Drum J = 116 (Drum-rhythm shuilar to No. Ill ) m^^3^^^^m^2mm i gggjg £.* ^ :£f: M^^m^^^^^ ca-wftn - u - bi- ^^ ^. Wz 4=E: ipH-^- I yan Ajig^wa Already Gi'ciguiV In the sky Cawun'ubiyan' I am sitting in the south Analysis. — In harmonic structure this song is similar to the preceding, the first fourteen measures being based on the tones of the minor triad with the minor seventh added, the sixteenth measure containing lower E, the remainder of the song being com- posed of the tones of the tonic triad. The last part of the song is simpler than that of the preceding song, but the general character is the same. It may be possible that both songs were composed by the same man, this coming first in the order of composition. In this, as in the preceding song, the last part was always sung in exact time. No. 118. ''Manido' Listens to Me" (Catalogue no. 212) Sung by Ga^gandac^ Analysis. — This melody contains only the tones of the major triad and sixth. The song was sung twice, the second rendition beginning on the last count of the fourth measure, suggesting that the first measures are an introduction. The custom of using an introduction to the first rendition of a song has already been mentioned. In this introduction the singer is allowed considerable freedom. dkxsmore] CHIPPEWA MUSIC 133 The meanino; implied in the (Miipj>e\va words is (hat the manido' who Hstens will iJ^rant all requests of the singer. Voice 112 Drum Jr=^120 ( Druoi-rhylhm similar to No. Ill ) I^E^^BrEf^E gg^^gJJE *^^ iS^S WORDS Nin To me Bisin'dag He listens Be^cig One Manido' Sj^irit No. 119. Song of the Crows (Catalogue no. 260) Sung by Henry Selkirk Narrative. — The following explanation of the song was given by the singer: A young man was fasting where his father had taken him. It was in the fall, and the flocks of crows were getting ready to go south. The young man heard the crows in the trees and imagined that he learned this song from them. Afterward the crow was his manido' because it had given him power to understand the language of the crows. The words of the song mean that the crows are the first birds to come in the spring, and bo the old-time Indians thought that the crows brought the spring rains. This was first a dream song and afterward it was used as a war dance. 134 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 Analysis. — This melody contains only llio tones of the fourth five- tonetl scale. Both melod}" and rh>'tlnn are of unusual simplicity. Voice J:= 108 Drum J=r 116 ( Drum-rhythm similar to No. Ill ) Be ba - 111 hi Ilia - di - rrof; bi - a^J rczzt: iMzf: Az V^^P^ .F=' El lie - Si- wii;; uiu-wGii-dji- gi - mi - wfiu an- deg-niii - di - go WORDS Be^bani^gani' The first to come Nin^digog' I am called BinS^siwug^ Among the birds Nin^wendjigi^miwiifi' I bring the rain Andeg'nindigo' Crow is my name The two followins^ songs were not composed durinsi: dreams, but during great mental stress. They are classed with the dream songs because they are s]^ontaneous melodies, said to have s])rung from the lips of the singers without conscious cfToi't on their ])art. These songs were given by a particularly relial)le singer. No. 120. Song of the Deserted Warrior (Catalogue uo. 259) Sung by IIknry Selkirk Voice ^ . -: 60 DruiM J~ 104 (Drum-rhythm similar to No. Ill) E^^=F -F= ~^=P -- ==F 4; Nin da tci dfim ^^ -<2- -s>~ ;0 wa - ba - mi - nan tci - ma - dja - yfiu ya ya Nindagi'tcinisa^nendum' I would be very sorrowful Tciwa'ljamiium' To see you Tcima'djay Ca/ Go away Narratlvi. — About forty years ago the Chippewa were at war with the Sioux near Turtle mountain in North Dakota. The Chippewa were concealed in a cornfield ready to attack the Sioux when their aml)ush was discovered, and in the fight one of dexsmore] CHIPPEWA MUSIC 135 the Chippewa was shot through the breast. Tlie man's name was N(/dinuk'\vum, which means Wind-Thunder. Ills friends attempted to carry him with them, Init it seemed that he wouhl surely die, and their own lives were in danger; so they left him with his face painted and a feather in his hair, to die like a warrior. After they had left him they heard him singing this song. It was an entirely new tune and two of the men remembered it and sang it after they reached home. The song affected the men as no entreaty could have done. They rushed back, dragged the wounded man to the water's edge, lifted him into a canoe, and paddled away safely. The man recovered and now lives at Pine Point. The singer said that he recently saw the man and also the scar of the wound. Anah/sis. — The metric unit in this sonoj is the measure, not tlie iniU- vithial count in the measure. This unit is reguhir. The divisions of the measure are not always exact, l)ut are indicated as nearly as possible. The melody tones comprise the minor triad and sixth. No. 121. "I Am Afraid of the Owl" (Catalogue no. 261) Sung by Henry Selkirk Voice J= 152 ( Recorded without drum) E - ui - wek ka - ye wek ka - ye '^M= E^ -^- ko - ko - ko nin - £.'0 ii ne - ]i ^=t 4z t=t=t: kc m wu - Li a be a nin be a WORDS Eniwek' Very much Gaye' Also Nin I Ko^okoo^ Oftheowl Ningosa' Am afraid NejikeVubianin' Whenever I am sitting alone in the wigwam Narrative. — The singer stated that he composed this song himself when he was a child. The cii-cumstances were as follows: His mother had gone to a neighbor's, leaving him alone in the wigwam. lie became very much afraid of the owl, which is the particular terror of all small Indians, and sang this song. It was just after sugar making and the wigwams were placed near together beside the lake. The people in the other wigwams heard his little song. The melody was entirely new and it attracted them so that they learned it as he sang. The men took it up and used it in their moc- casin games. For many years it was u.sed in this waj-, but lie was always given tho credit of its composition. 136 BUEEAU OF AMERICAN ETHNOLOGY [bull. 45 Analysis. — This sono; contains only tliree tones and may be said to consist of the minor third with the tone above as a preparatory tone. The chief rhythmic phrase is the quarter note followed by two eighths, a subdivision of a double measure which suggests fear. Dream Songs — ^yllite Earth Reservation Melodic Analysis TONALITY Major tonality. Minor tonality . Total. Number of songs. Catalogue numbers. 259,261 TONE MATERIAL Fourth five-toned scale. Major triad and sixth Minor triad and fourth Other combinations of tones. Total 8 200, 207, 209, 210,211 , 244, 246 200 4 212,213,245,259 1 201 1 208 BEGINNINGS OF SONGS Beginning on the twelfth. Beginning on the tenth... Beginning on the octave. . Beginning on the sixth. . . Beginning on the fourth.. Total. 7 206, 207, 209, 210, 211, 212, 213 1 244 3 245,259,200 2 208,246 1 261 14 ENDINGS OF SONGS Ending on the tonic. Ending on the fifth.. Ending on the third. Total. 14 206, 207, 209, 210, 211, 212, 213, 245, 2(i0, 2(il 208 244,240,259 FIRST PROGRESSIONS First progression downward. First progression upward Total 200, 207, 208, 209, 210, 211, 212, 244,246,261 213,245,259,200 DENS more] CHIPPEWA MUSIC 137 Melodic Analysis — Continued. ACCIDENTALS Number of songs. Catalogue numbers. Songs containing no accidentals 11 1 1 200, 207, 209, 210, 211, 212, 245, 246,259,200,201 213 208 Sixth raised a semitone Total 1 244 14 Rhythmic Analysis 10 4 Beginning on unaccented portion of measure 211, 212, 2.')9, 2(40 Total 14 1 1 12 207 261 Total 14 Structural Analysis Harmonic. Melodic Total. 206, 207, 209, 210, 211, 212, 213, 244 208,245,246,259,200,201 Miga'diwin'ixa'gumo'wix (War Songs) A wide range of material is included in this group. There are songs which have been used to incite war, songs of the warpath, songs con- cerning the brave deeds of warriors, and songs of the scalp dance. The border line between groups of songs is not absolute and all our classification must be regarded as general in character; thus there are war songs among the dream songs and there is a scalp dance among the "songs connected with special medicines." In these instances the writer has followed the Indian who made the phonograph record. Many songs are used in war dances. The following group ma}^ be considered, however, representative of the class. The drumbeat of the war dance is in even strokes; the drumbeat of the scalp dance is an accented stroke preceded by an unaccented stroke about one-third of its length. These are the ordinary rhythms but they may be varied by drummers of proficiency. 138 BUREAU OP AMERICAN ETHNOLOGY [bull. 45 No. 122 (Catalogue no. 179) Sung by Aki^waizi' C'olt) man ") Voice J:^69 Drum J=: 126 (I)rum-rhytliin similar to No. 1) Anali/sis. — This song is based on the second five-toned scale of E flat, the harmonic divisions being the minor third E Ifat-G flat followed by the major third G flat-B fiat, the song closing with a return of tlie minor third E flat-G flat. The rhythm of the voice is plainly J =69, while the beat of the drum is in unaccented eighths, J = 126; if the drum were J = 1.38 we should have four drumbeats to one melody note, but repeated tests have failed to bring the two parts into this relation. The drum is plainly of a sliglitly dilTerent unit from that of the voice and persist- ently retains that unit. The tempo of the voice is unusually even in this sons:. No. 123 Sung by Main^ans (Catalogue no. 182) mi Voice J — 76 Recorded without drum _-tr_ -^- £ =£^u=sEEte P ::\=^-'-t- -^- s^- H Analysis. — The princij^al intervals of progression in Chippewa songs are the intervals of the third and fourth. This song is very unusual in that its principal melodic feeling is for the interval of the second. The dominant of the key is unusually prominent. The third of the key does not occur in the song, yet the song is readily accompanied by the tonic, subdominant, and dominant chords of the key. The song contains seven measures and is an excellent ex- ample of the entire song constituting a rhythmic unit. Six rendi- tions appear on the phonograph cylinder. DENSMOItE] CinPPEWA MUSIC No. 124 Sunji; by (ia^gandac' Voice J - 200 Dkum J_ 112 ( Drum-rhythm similar to No. Ill) -;-> I I M i — .(2.. -0. -fSL. 139 (Catalogue no. 205) \A=L :5± # — ^ 1 -^- 1^ f-n# i^ ^^|:#EE^SI^e: a^^tas mm t-^- =s i^ ^ This song is said to liave been used about forty-five years ago l)y Chippewa who were trying to incite the tribe to an attack on the white settlers. The attempt was misiiccessfiil and it is the pride of the Chippewa that they have never been at w^ar witli the white men. Analysis. — The chief interest of this song lies in the rhythm, the general effect of which is martial and inspiring; yet the measure- lengths are very uneven, producing a rhythm which is fascinating in its irregularity. This is an instance of a special rhythm used for a special purpose. The object of the song was to control the will and influence men to act against their wishes and judgment. In view of this fact the peculiar rhythm of this song is worthy of attention. The tempo is very rapid, adding to the effect of the rhythm. Further consideration of rhythm of this character is given in the chapter on Mide' Songs. , No. 1 25 (fataloguo no. 215) Siinp; by Ga'candac' Analysis. — This song is said to have been learned from the Sioux. Its harmonic structure is interesting. The song is in the key of D flat, the melody showing the octave complete exce])t the sca enth. The song is in two ])arts, each of which oj)ens with tlie cliord of the relative minor. This passes to the tonic major cliord b}- (he change 140 BUREAU OP AMERICAN ETHNOLOGY [bI'll. 45 from B flat to A flat. The foHowinti; section of eaeli ])art contains only the third F-A flat, with B flat as a bytone, yet the major chord of D flat is plainly implied. Voice J = 88 ])rum J =88 ( Drum-rhythm similar to No. 1 ) ias==E£ •— r^ • m 1 n :^b^== rh — 1 ^ HARMONIC ANALYSIS 6 measures 5 measures o measures 5 measures ^ii<& M. I No. 126. Little Eagle's Song (Catalogue no. 229) Sung by Ga'gandac^ This is a song in honor of a warrior named Little Ea^le, who died about November ], 1907, at an advanced age. O'kitci'ta is a Sioux word. White Earth was the old battle ground of the two tribes and the word suggests that the song was composed by the Sioux, who do not grudge their tribute to a brave man, though he may be their enemy. Analysis. — The tones of this song are those of the second five- toned scale of F, with G as a passing tone. The unusual interest of the song lies in the E flat of the fourth measure, showing the interval of a whole tone between the seventh and eighth of a minor key. This is a characteristic of early English plain song. The rhythm of the voice is maintained quite steadily at J =72, while that of the drum is J =10,S, each stroke preceded by a short unaccented beat. It will be readily seen that this is in the ratio of two voice pulses to three drum pulses, but the stroke of the drum densmore] CHIPPEWA MUSIC 141 invariably follows the singmo; of the tone, and the voice and drum never coincide. This sono^ shows no descending; interval larger than a minor third, and the descent of the minor third occurs seven times in the melody. Voice J iii 72 DuiM J : 108 ( Drum-rhytliin similar to No. Ill ) -P- ^- ^- -•^~r^ -*- ^ ^ ±z=t= e i fi 4:=P=L ^- li^l «— ^— ^ -ki-tci- ta mi - fri-^ins ^^-m O^kitci'ta Leader of the warriors Miglslns' Is Little Eagle No. 127 Sunt,' by Ga^gandac'' (Catalogue no. 230) Voice J = 66 Drum J - 80 (Drum-rhythm similar to No. Ill ) t- i^ B^^4= t^ i^l^3 ©WFi^=F=f3r^ -^W • f»- p=P=?i^ --W^^—fZ- t-i :B HARMONIC ANALYSIS 3 measures 3 measures B~ 9i, -^' w I 142 BUREAU OF AMERICAN ETHNOLOGY [ lifLL. 45 This song is said to have been learned from the Sioux. The melody is divided into two ])arts of three measures each. The first part contains the tones of the minor triad with the minor seventh added, the sixth being used only as a passing tone. This is a very primitive tonality. Among the songs of the Chippewa this tonality is sometimes found in ])art of a song, but the song usually merges into a diatonic chord before the close. (See songs nos. 116, 117, 172.) Five renditions of this song were recorded; these are identical except that the first measure occurs only in the first rendition. The harmonic i)eculiarity of this melody is best seen by jdaying the chords which form the two j)arts of the song, as given at the close of the transcription. No. 128. Song of the Loons (Catalogue no. 271) Sung by GA'TciTcua'cio ("skipping a day "J VOKK J - 96 Drum J„ 116 ( Drum-rhylliiii similar to No. Ill) • ^ • « -P- -fi-'~T^ ^ ^ Ki-wi- -t m^^ ~p—j-— ^- p^p :L-=t= -^t=i ta - gi - clg ban ga - bi - Jies - i - mo - yan ^SEf^ZSgi^g ;E=£=E i=F: S3^B I Kiwitagi''cig Flying all around the sky Gabiufis'inioyan' The loons are suiging This is an old song, which was sung before starting on the war- path. The words refer to the Loon clan or totem which, according to William Warren, was very powerful among the Chippewa, even claiming to be the chief or royal clan. Analysis. — Harmonic in structure, this song follows the outline of the major triad in the upper and lower octaves with the sixth as a passing tone. This tone material is found in a large number of the songs under analysis and is that of the fourth five-toned scale, lack- ing the second. It is a form of tone material which appears transi- tional from the simple major triad to the complete five-toned scale. (See p. 63; also tabulated analysis, p. 9.) dexsmore] CHIPPEWA MUSIC 143 No. 129. "I WILL Start before Noon" (Catalogue no. 276) Suii'j; l)v Ga'tcitcigi'cig i f ■ Drum J^ 100 (Drum-rhythin similar to No. Ill) mm. =^.^3= I WORDS Tcinau'hwakwe, wortls were mis])ron()unced ; they contain many interpolated syllables. Analysis. — This song ])egins on a very liigli tone. It is liarnionic in structure and is a typical example of a simple song on the fourth five-toned scale. No. 130. Song of Cimau'gANIO (Catalo.i^me no. L'77) Huiiis; by Ga'tcitckji'cig In the old thiys it was customary for a woman to go out and meet a returning war party. If a seal]) had ])een taken she received it at the hand of the leader and danced in front of the war l)arty as it neared the camp, singing and waving the scalp. Tlie song under consideration concerns such an event as this. The singer stated that he had heard it sung by a woman on such an occasion. Sometimes several women went to me(^t the warriors, but one always preceded the others and received th(>, seal}). The return to the camp was 144 BUREAU OF AMERICAN ETHNOLOGY [bull. 45 Voice J^ = 168 (Recorded without drum) aiF t: S_¥: iilit4— p-^-^ — ^~-*- S: i^s Ci - mau-gau-ic gi - ni-ci-wed. Mi^^i^y^-^^J l ^ggj^^ ="-"^=^ ^-- ^ f 4:1- ::&: ^ ?:: t= gjl^P^ B ^gg^llE^gE^iEi^^^ !S Ci - mau-gan-Ic gi - ni - ci-wed =P^P^=FP.^ 4if: P— •- a:^^ Si^iliiglSi -^-^ ^=t^ j=i=^:8 =-^= 1 Ci-mau-gan-Tc gi - nt-ci-wed : gil§^sgi^jiteil i gg^g^g=E^ f- -•- 1- -•- « -•- -3^: t ^S -t:^ i^ ^ -f«-^ — ^■ t Ci- ^S a*i mau-gan-ic gi - nt-ci-wed dknsmoue] CHIPPEWA MUSIC 145 Cimau'ganic A man's name mcanini. Gini^shiwed' He killed in war ■'soldier" always followed by a scalp dance. This was sometimes performed around a pile of presents. Each scalp was fastened to a hoop at the end of a pole, and anyone to whom this pole was handed was obliged to hold it aloft as he danced alone around the pile of gifts. This is an old song in which the name of Cimau'ganic was introduced in honor of his special bravery. Analysis. — In this instance the entire phonograph record is tran- scribed. It consists of four renditions of the song and clearly shows the points in which the renditions vary. In this respect it is the record of a musical performance as well as the record of a song. The singer imitated the manner in which he had heard a woman sing the song, the high notes being given in a falsetto voice but with good intonation. The division of the measures into five counts is not mechanically accurate throughout the record. In certain measures the note values correspond exactly to the metronome beat; in others they vary slightly, but the rhythmic feeling is still that of a five-part measure. This song is a very free musical expression and is of special value, both from its structure and from the occasion of its use. No. 131. "The Shifting Clouds " (Catalogue no. 114) Sung by A^gwitu'wigi'cig Voice J =126 Recorded without drum mm -V- a IL :S^ ^ -^-T-» :t=f:: m^ m A - ni - go - si - wa - qed ba - bi - kwa si - go kwe m&^ E^ *=k^ Ana^qud The shifting Ba^bikwa'sin ( "louds This is one of the war songs with which a social dance is usually opened. Most of the singers carry some object in the right hand — a small gun whittled from wood, a turkey- wing fan, a bow with arrows, 12692°— Bull. 45—10 10 146 BUREAU OF AMERICAN ETHNOLOGY [BULL. 45 or even a war club with a wisp of hair danglino; in imitation of an enemy's scalp. With tliis they point as if to various objects, as an enemy at a distance or a footprint on the <2;round. Durino; this song the dancer would point to the clouds. Analysis. — This song is harmonic in structure. The irregularity of measure lengths is worthy of notice, as is the continuously descending trentl of the melody. No. 132. Scalp Dance (Catalogue no. lie) Sung V)y Gi^ciBANS^ ("little duck") Voice J- 168 Recorded without drum ^ ;2- piS"-— J -+- — i«^— -G>- Yo ho kwe a yo ho kwe a yo ho kwe a + e-kwa-wug en do - bi -og yo ho kwe a -•- yo ho kwe ^ . -0- a -G>- i^i: -^ L— ^- — 1 i m -| -V F— ^- \- : L-i 1 ■ B-rZ yo ho kwe a yo ho kioe a yo ^i -,_ -#- ^- -^ .,.. ^ t-d-^J ho kwe a ^mi [Az e-kwa-wv Mrs. Mee Voice J — 88 Recorded without drum hiJ^-^ ^ m-' :M^=!^i£ '^ ^ ■^ 1^— ' Na - bi - sa nin - do - ma ge - o - den - da - ma - ban ma - dja-kwi - wi - ja - sis a ya ya t I ya Nabi'sa Why sliould NinMoma' I . even I Geoden'damaban' Be jealous Madjakwi'wijasis^ Because of that bad boy? This song is not without its humorous side. It is said that in the old times an Indian maid would lie face down on the prairie for hours at a time singing this song, the words of which are so very independent and the music so forlorn. The song was as often sung by a young man, the words being appropriately changed. Analysis. — This is one of the few songs in which the key is fully established, as is shown l)y the fact that it can be readily accom- panied by the three ])rinci})al chords of the key of A. It is said to be a very old song and to ])e commonly used in recent times. The latter fact suggests that continuous use under semicivilized conditions may have modified the form of the melody to its present regularity of time and intervals. 152 BUEEAU OF AMERICAN ETHNOLOGY [bull. 45 No. 187. "I DO NOT Care for You Any More" (Catalogue no. 106) Sung l)y Ki'tcimak'wa (" big be.\r") Voice J rr 52 Recorded without drum 1 It £=^=^ £ -^— ^- Ka sfi gin gi - ba- ba - m6 - ni- uii- si- non i\ a-r^ N- ka win sli gin + gi-ba-ba- me-ni-mi-sl-uon ba-ka-nl-zi be-ba - me - ul-niug uin Kawin^ Su Gin Gibaba^menimisinon'. Baka^nizi' Beba^menimug' Nin [Free translation] I do not care for you any more Some one else is in my thoughts The mournfulness of this song, Hke the preceding, suggests that the Indian lias some difficulty in transferring his affections. Ki'tci- mak'wa, who sang the song, assured me that he was the best singer on the White Earth reservation. His voice is full and resonant. At the dances he sits at the drum for hours at a time, leading both singing and drumming. Analysis. — E flat is the only tone occurring in this melody which marks it as minor, and this was sung slightly higher than the proper pitch. This song is, however, plainly minor in tonality. Like most of the love songs, it is widely known on the reservation. Voice J = 76 Recorded without drum -•- -•- -9- -Ei^ — No. 138. "Do NOT Weep" Sung by Ki'tcimak^wa (Catalogue no. 107) i=i^ ;E3 te Ge - go - bi - na - ma - wi - ken, ge - go - bi - na - ma - wi - ken, ^P^^ i!3EEE^ WM £EEJ #=P= ^P- z^-r- ge - go - bi - na - ma - wi - ken, ka - win go - cu niu-da - nl - bo - si den'smoheI CHIPPEWA MUSIC 153 Gegobina'mawik6ii' 1 Kawin' Do not weep Gocu^ Nlnda'nibosi^ 1 am not going 1o die This song is widely known among tlie Chippewa. It is one of the sweetest of all their love songs. In it we do not find the fanc}' of youth but the deeper love and the nearness of the deeper sorrow. Analysis. — Although this song begins with a downward progres- sion, it is more strongly marked by upward movement than many of the songs. In this and in its plaintiveness lies its chief interest. Reference is made to song no. 200 (catalogue no. 145), in the section on Red Lake reservation music, which shows a repetition of this song by a singer on that reservation. No. 139. "He Must be Sorrowful" (Catalogue no. iio) Sung by Ki^osf/wini^ni ("fioon hunter") Voice J — 76 Recorded without drum m^ -t-iC ^ ^r-t:^ ' — r±^z± n^^ =^=p' -K}- -0-' -»- ,K -•- -•- ^ C\' \ -1 ' ' A (^ c \ \ • * m ^- 1 1 i— 1 -^ ' ..„ 1 1 1 1 1 /' ' ' / 1 fp E^^=E Gi - na-ni - na-wen - da -mo- dog ga -ni - ci- wa - na - dji - gi - gad + £ me-gwa we-ski - ni - gi-yau e Ginani''naw6n^damodog^ He [or she] must be very sorrowful Ganiclwana'djigad' Since he [or she] so deceived and forsook me Me'gwa During We''skinigiyan'' My young days Analysis. — This, like no. 136, may be sung by either a man or a woman. The song is chiefly interesting because of the flatted third as an accidental. The ex])ression of sadness by means of a minor interval is not so characteristic of Indian music as of oiu' own. 154 BUEEAU OF AMERICAN ETHNOLOGY [bull. 45 No. 140. ''When I Think of Him" (Catalogue no. 262) Sung by Henry Selkirk Voice J = 62 Recorded without drum . -•- -•- -•-• -f- -m- -p-M-f- ^ -s*- :#: i=E f=^ ^11 E^S ^: ^-^P^ ^— •— ^— • ^Ie^I A-no -gi - ya - i - ki-do-puu e a -no - gi - ya - i - ki-do-pun S«ste ^ a !:^; I 'y. gi - ya - i - ki-do-pun e a-wtiu-djic-i aJ P^^^ ii f -t^-^ S E go - ko nin-gac-ken - dum ka - mi-kwe-ni-ma-gin a-no-gi - ya Hifete 2j]Ljn : ^ ^x i Bee ::)=trjt i-ki-do - pun a-djic a-no gi - ya - i - ki-do-puu Anogi^yayai'kidopun' Although he said it A^wiindjic'igoko' Still Ningac^kendClm I am filled with longing Ka'mikwe^nimagin^ When I think of him This is one of the old love songs of the tribe and may be sung by either a man or a woman. Several months previous to the making of this record a song resembling it was recorded on the Red Lake reservation. On comparison it is found that the Red Lake song is more elaborate in both rhythm and measure divisions, but the general trend of the melody is the same. See song no. 160 (catalogue no. 151). Analysis.— The accidental in the second measure of this song is very effective and the compass of the song lacks only one tone of being two octaves. The ability of the singer to "pitch" properly a song of such range is worthy of note. No. 141 Sung by Ga^'tcitcigi^cig (Catalogue no. 275) Analysis. — A large number of words are used in the Chippewa love songs, but they are in tlie nature of conversation and do not form a sufficiently imi)ortant part of the song to be translated. New words are very often composed and names introduced into the song. This song is said to be very old. In a song of this character the length of the tones varies with the singer and with his mood. This DENS more] CHIPPEWA MUSIC 155 rendition is transcribed as nearly as possible, but one can not be sure tliat repetitions by other singers would be identical. The song was sung very slowly, with the peculiar nasal tone affected by the Indians when singing love songs. Voice J =i 50 Recorded without drum ^^m m-^-f-^- -^ ^_^ ^ ^U=q &^Se3=£ s — ^- ?3: S :9i=&=t=t ^-^A sH (z I » -^- ffi ;i ■«'-^ =P: ^— • t=tl:4=^ Lo?;e Songs — 1F/(?V^ Earth Reservation. ^ Melodic Analysis tonality Number of songs. Catalogue numbers. 3 G 99,104,110 Minor tonality - - 98, 101,100, 107, 2fy2, 275 Total 9 TONE MATERIAL Fourth five-toned scale. . 1 1 2 1 1 1 2 104 Second flve-toned scale 202 99,101 275 98 106 107,110 Total 9 156 BUREAtT OF AMERICAN ETHNOLOGY [bull. 45 Melodic Analysis — Continued. BEGINNINGS OF SONGS Beginning on the twelfth. Beginning on the octave. . Beginning on the third. . . Total. Number of songs. Catalogue numtjers. 98,262,275 101.104,100,107,110 99 ENDINGS OF SONGS Ending on the tonic. Ending on the fifth. . Ending on the third. Total 101,106,107.110,202,275 98,99 104 FIRST PROGRESSIONS First progre.ssion upward First progression downward. Total 98,99,101,104,262,275 106,107,110 ACCIDENTALS Songs containing no accidentals Sixth raised a semitone Fourth raised a semitone Fourth and seventh raised a semitone. Total 104,106,107,110 101,262,275 Rhythmic Analysis Beginning on accented portion of measure Beginning on unaccented portion of measure. 101.104,107,110 98,99,106,262,275 Structural Analysis Harmonic. Melodic. .. None Ata'diwin'ina'gumo'win (Moccasin-game Songs) The moccasin (^ame is the princij^al form of gambhng; practised by the Chippewa at the present time. A characteristic of the moccasin- game songs worth}^ of special note is the combining of a rapid metric unit of drum with a slow metric unit of voice, strongly indicating dexsmoke] CHIPPEWA MUSIC 157 the elements of excitement and control which prevail in the game. Words may or may not be used, one instance bein