NOTES
[21.] Burton, Frederick. American Primitive Music. Part II, p. 1. An interpretation. Moffat, Yard. N. Y. 1909. (Now published by Dodd, Mead, N. Y.)
[22.] Ibid., Part II, pp. 29-30. An interpretation. The Princess Tsianina includes this song in her repertory.
[23.] Troyer, Carlos. Traditional Songs of the Zuñi. Theodore Presser. Philadelphia.
[25.] Austin, Mary. The American Rhythm, p. 88. Harcourt, Brace & Co., N. Y. 1923.
[26.] Curtis, Natalie. The Indians’ Book, p. 57. Harpers. N. Y. 1923.
[27.] Leland, Charles G. Algonquin Legends of New England, p. 318. Houghton, Mifflin. Boston. 1884.
[28.] Burton, Frederick. American Primitive Music, Part II, p. 11. An interpretation.
[29.] Curtis, Natalie. The Indians’ Book, p. 50.
[30.] Hale, Horatio. The Iroquois Book of Rites, pp. 153-154. Library of Aboriginal Literature. Philadelphia. 1883.
[31.] Austin, Mary. Harper’s Magazine, Vol. 143, p. 78. (June, 1921). See also The American Rhythm, p. 84.
[32.] Eastman, Charles A. Old Indian Days, p. 32. McClure. N. Y. 1907. (Now published by Little, Brown, Boston.)
[33.] Curtis, Natalie. The Indians’ Book, p. 317.
[34.] Ibid., p. 225.
[35.] Riggs, A. L. Dakota Songs and Music: Táh-koo Wah-kán, p. 462. Boston. 1869.
[36.] Dorsey, J. Owen. The Cegiha Language, p. 611. Bur. of Amer. Eth. Washington. 1890.
[37.] Spinden, H. J. Home Songs of the Tewa Indians, p. 78. The American Museum Journal. Amer. Mus. of Nat. Hist. N. Y. vol. XV, no. 2.
[38.] Ibid., p. 73.
[39.] Curtis, Natalie. The Indians’ Book, p. 370.
[41.] Goddard, Pliny Earle. Myths and Tales of the San Carlos Apache, p. 62. American Museum of Natural History. N. Y. 1918.
[42.] Rink, Henry. Tales and Traditions of the Eskimo, pp. 68-69. Blackwood. London. 1875.
[43.] Cushing, Frank. Zuñi Folk Tales, p. 255. Putnam’s. N. Y. 1901.
[44.] Powell, James. Mythology of North American Indians, p. 23. Bur. of Amer. Eth. Washington. 1881.
[45.] Curtis, Natalie. The Indians’ Book, p. 462.
[46.] Fletcher, Alice C. The Hako, p. 303. Bur. of Amer. Eth. Washington. 1904.
[47.] Ibid., pp. 305-306.
[48.] Ibid., p. 342.
[49.] Curtis, Natalie. The Indians’ Book, p. 317.
[50.] Densmore, Frances. Chippewa Music II, p. 254. Bur. of Amer. Eth. Washington. 1913.
[51.] Converse, Harriet Maxwell. Myths and Legends of the New York State Iroquois, pp. 180-183. New York State Museum. 1908.
[56.] La Flesche, Francis. The Osage Tribe, pp. 295-296. 36th Ann. Rep. Bur. of Amer. Eth. Washington. 1921. In this poem, each line represents a complete stanza in the original—a stanza built up of repetitions and vocables.
[57.] Curtis, Natalie. The Indians’ Book, pp. 365-366.
[59.] Matthews, Washington. Navaho Legends, p. 27. Houghton, Mifflin. N. Y. 1877. For the American Folk Lore Society.
[60.] Corbin, Alice. Red Earth, pp. 27-28, with note on p. 57. R. F. Seymour. Chicago. 1920.
[62.] Curtis, Natalie. The Indians’ Book, p. 432.
[63.] Ibid., p. 431.
[64.] Ibid., p. 432.
[65.] Ibid., p. 484-485.
[66.] Ibid., p. 483.
[67.] Ibid., p. 485.
[68.] Ibid., p. 479. Muyinga is the god of germination and growth.
[69.] Stevenson, Matilda Coxe. The Sia, p. 124. Bur. of Amer. Eth. Washington. 1896.
[70.] Ibid., p. 124. See also Mrs. Austin’s “Rain Songs from the Rio Grande Pueblos” in The American Rhythm, pp. 92-94.
[71.] Russell, Frank. The Pima Indians, pp. 333-334. Bur. of Amer. Eth. Washington. 1904-1905. “The first songs ever sung to bring rain. Ho-oni was the name of the Corn God who left the Pimas for many years and then returned to live at the mountain north of Picacho, Ta-atûkam, whence he sang as above.”
[73.] Ibid., pp. 331-333. The vivid imagery of the original is lost in the translation. Compare the phrases from the free translation with the more literal rendering:
“Darkness of evening falls” and
“Blue evening drops”;
“The white light of day dawn
Yet finds us singing” and
“The white dawn rises.”
In stanzas III and IV, when the phrase Hitciya yahina-a stands alone as a line, it has been inserted. It appears in the original, but was omitted by Mr. Russell in his translation. In fact, it concludes every sentence in the song. Observe that the introductory phrase is the same for each stanza. Mr. Russell does not use the full repetition of the original.
[75.] Lummis, Charles. The Land of Poco Tiempo, pp. 49-50. Scribner’s. N. Y. 1902. A corn-grinding song, relating to the birth of the corn.
Line 5. The thunder.
Line 17. The tail of the pheasant.
[77.] Curtis, Natalie. The Indians’ Book, p. 489.
[78.] Troyer, Carlos. Traditional Songs of the Zuñi Indians. Lines 1 and 2, 8 and 9, 15, 20, and 21 are given as echo calls.
[79.] Ibid.
[82.] Ibid.
[83.] Ibid.
[84.] Goddard, Pliny Earle. Gotal—a Mescalero Apache Ceremony, Putnam Anniversary Volume, pp. 385-394. This is the fifty-third song, sung at sunrise on the last morning of the ceremony.
[85.] Matthews, Washington. The Mountain Chant, p. 463. Bur. of Amer. Eth. Washington. 1887.
[86.] Matthews, Washington. Navaho Myths, Prayers, and Songs, pp. 27-28. University of California Publications, vol. V, no. 2. Beauty is synonymous with happiness in the Navaho songs.
[87.] Fletcher, Alice C. The Hako, p. 323.
[88.] Ibid., p. 324.
[89.] Ibid., pp. 322-323.
[91.] Ibid., p. 330.
[92.] Leland, Charles G. The Algonquin Legends of New England, p. 379.
[93.] Barbeau, C. M. Huron and Wyandot Mythology, pp. 318-321. Dept. of Mines. Geological Survey, Ottawa, Canada. 1915.
This song-sequence begins with the death of Mah-oh-rah. Seeking to bring her back from the spirit world, her father rides in pursuit across the sky. The Grandmother, guardian deity of the Wyandots, transforms the flying group into stars, Dehn-dek’s three stags becoming the stars in the Belt of Orion.
Line 5. The spirit world.
Line 6. Our Grandmother was the daughter of the Mighty Ruler of Heaven. The Creation myth relates her accidental fall from heaven, her rescue by the Swans, and the creation of the Great Island (North America) for her home. In her subterranean city, she ruled over the Wyandots with her fiery torch given by the Thunder God. After the Wyandots came out to live on the earth, their spirits visited her on their way to the Land of the Little People.
[95.] Goddard, Pliny Earle. From the literal translation of Song V, The Masked Dancers of the Apache, Holmes Anniversary Volume, pp. 134-136.
[96.] Ibid., Song III, p. 134.
[97.] Russell, Frank. The Pima Indians, p. 280.
“On their emergence upon the surface of the earth, the Nether-World people danced together and with Elder Brother sang this song.” Since this is an archaic song, with its theme of the beginning of the race, we may consider it, in the original, an example of the earlier rhythms.
[98.] Ibid., p. 274.
The last four words are added, in Mr. Russell’s own words, to show that the original song closes with a repetition of its opening. The complete version, in seventeen lines, uses the opening group three times. This song is archaic; and its rhythm is undoubtedly one of the earlier types.
[99.] Matthews, Washington. Navaho Myths, Prayers, and Songs, p. 61.
[101.] Matthews, Washington. The Night Chant, pp. 280-281. Amer. Mus. of Nat. Hist. N. Y. 1902.
[102.] Ibid., pp. 279-280.
[103.] Curtis, Natalie. The Indians’ Book, pp. 361-362.
[104.] Ibid., pp. 357-358. Sung to consecrate the hogans, or dwellings, of the gods; and in later times, to consecrate the hogans of the Navahos.
[107.] Ibid., pp. 363-364.
[109.] Matthews, Washington. The Night Chant, p. 140.
[110.] Curtis, Natalie. The Indians’ Book, pp. 354-356. Each song is sung four times, with the substitution, in the sixth line, of the name of another mountain.
[114.] Matthews, Washington. The Night Chant, p. 81.
[116.] Curtis, Natalie. The Indians’ Book, p. 352.
[117.] Curtis, Natalie. The Indians’ Part in the Dedication of the New Museum, pp. 31-32. Art and Archæology, vol. VII.
[119.] Curtis, Edward S. The North American Indian, vol. I, p. 37. The North American Indian, Inc. N. Y. 1907. Stenatliha—woman without parents—goddess of creation.
[120.] Matthews, Washington. Navaho Legends, pp. 269-275.
“This prayer is addressed to a mythic thunder-bird...; but the bird is spoken of as a male divinity.”
[125.] Matthews, Washington. Navaho Myths, Prayers, and Songs, pp. 47-48.
Stanzas II, III, and IV vary chiefly in the first two lines: the conclusion repeats four times, “It is finished in beauty.”
[128.] Matthews, Washington. The Mountain Chant, p. 420.
[129.] Mindeleff, Cosmos. Navaho Houses, pp. 504-505. 17th Ann. Rep. Part II. Bur. of Amer. Eth. Washington. 1898.
[131.] Curtis, Edward S. The North American Indian, vol. III, p. 72.
[132.] Curtis, Natalie. The Indians’ Book, p. 53.
[133.] Fletcher, Alice C. The Hako, pp. 319-320.
[135.] Ibid., pp. 343-344.
[136.] Fletcher, Alice C. The Omaha Tribe, pp. 586-587. Bur. of Amer. Eth. Washington. 1907.
[138.] Ibid., pp. 557-558, p. 573: “In the ritual, the primal rock, ... that which rose from the waters, is addressed by the term ‘venerable man.’ His assistance is called to the ‘little ones,’ the patients about to be administered to.”
[142.] Ibid., pp. 115-117.
[144.] Ibid., pp. 119-122.
[145.] La Flesche, Francis. The Osage Tribe, pp. 150-151.
[146.] Fletcher, Alice C. The Omaha Tribe, p. 130. See also A Study of Omaha Indian Music, p. 39. Archæological and Ethnological Papers, Peabody Museum, Harvard University. Vol. I, no. 5.
[147.] The Omaha Tribe, p. 394.
[148.] Curtis, Natalie. The Indians’ Book, p. 153. This Cheyenne song was sung by the old men, often from the summit of the hills at dawn.
[152.] The recessional movement appears in The Song of a Wolf in Miss Densmore’s Teton-Sioux Music, p. 190. Bulletin 61. Bur. of Amer. Eth. Washington. 1918.
[154.] Moulton, Richard G. Literary Introductions: Modern Readers’ Bible, pp. 1457-1458.
[160-1.] Matthews, Washington. (1) The Night Chant, pp. 282-283. (2) Navaho Legends, p. 269.
[161.] Matthews, Washington. (3) The Night Chant, pp. 294-295.
(4) Ibid., pp. 279-280.
[162.] Curtis, Natalie. The Indians’ Book, p. 10.
[163.] Cushing, Frank. Zuñi Folk Tales, p. 255.
[164.] Mr. John P. Harrington is one of the few investigators who have taken account of the use of pitch in an Indian language. His discussion of this element in the Tewa speech may be found in his study of the Tiwa Language, Dialect of Taos, New Mexico, page 15. Papers of the School of American Archæology, number 14; also in American Anthropologist, volume 12, number 1. 1910.
[166.] See Dr. E. W. Scripture’s discussion of oral verse, Die Verskunst und die experimental Phonetik, Wiener Medizenische Wochenschrift, 1922.
[172.] See Mrs. Mary Austin’s The American Rhythm, pp. 3-65.