. Bulletin. De l'ethnologie. DENSMORE] MUSIQUE Teton Sioux 227 cris prolongés ou d'appels. Dans un de ces cas le tambour a été poursuivi, et dans l'autre, elle était silencieuse. L'habitude est pour le morceau de se poursuivre au cours de ces appels ou d'appels. Dans la chanson suivante les adresses de pierre son propriétaire comme ''grand- père" : n° 70. "Je suis tenu de Roam" (No 668) chanté par Gkay Whirlwind Voix J. Dkum 69 J. l."}Druiu rliythm siruilur 2-lo No 19 ^^^ f t : UN^^^S P fl JL ^fl'-^^^^^^-  + -W- -ii- j = p^^ ^ p- ± Tuij-ka-gi-la raa-ko - ce kin j-ye-ki 4L. Un ^. ^. ^^ ^ ^ j p. ya

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. Bulletin. Ethnology. DENSMORE] TETON SIOUX MUSIC 227 prolonged cries or calls. In one of these instances the drum was continued, and in the other it was silent. The usual custom is for the drumbeat to be continued during these cries or calls. In the following song the stone addresses its owner as ''grand- father": No. 70. "I Am Required to Roam" (Catalogue No. 668) Sung by Gkay Whirlwind Voice J._69 Dkum J. l."}2 Druiu-rliythm siruilur lo No. 19 ^^ f^ t: A^ S^ P fl^JL ^fl'-^^^^^ +-^ -W- -iâ ii-=^^ p p ^- ± Tuij-ka-gi-la raa-ko - ce kin i-ye-ki 4L. A ^. ^. ^ j^ ^ ^ p. ya ma - nima-si ye ttâP-P-ft-. WORDS tuQka^sila grandfather mako^de kii) 'â the world iye^kiya observing ma^ni roaming ma^^i ye (this") I am required (to do) Analysis.âThis is one of the songs in which a single change in the time seems to give a certain "swing" to the entire rhythm of the song. This rhythmic peculiarity was frequently observed among the Chippewa songs. Thus, in two of three renditions of this song the fourth measure was sung as transcribed, while in the other j-endition an additional measure was inserted, the fiirst two counts of the fourth measure forming a measure in double time, followed by B flat (final count of the fourth measure) prolonged into a triple measure. An additional measure does not seem to trouble an Indian singer, as the form of a song as a whole seems to be less defmite among Indians than among musicians of the w^hite race. Tliis melody is major in tonahty and harmonic in structure. The tonic triad forms the framework of the first four measures, after which the descending minor third B-G sharp appears, the song closing with a descent to the third of the key. This melodic outline is unusual and interesting. The opening of the song has force and definiteness, and the prominence of the fourth in the latter portion. Please note that these images are extracted from scanned page images that may have been digitally enhanced for rea

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