something of European origin, as exemplified in the specimen illustrated on. [Pl. XXI], Nos. 1 and 2, showing both the obverse and reverse. The specimen is made of ash wood and measures about ten inches in length. On the obverse side, besides the figures of man´-idōs, such as the Thunder bird, the serpent, and the tortoise, there is the outline of the sun, spots copied from playing cards, etc.; upon the reverse appear two spread hands, a bird, and a building, from the top of which floats the American flag. This specimen was found among the effects of a Midē´ who died at Leech Lake, Minnesota, a few years ago, together with effigies and other relics already mentioned in another part of this paper.
[ MUSIC.]
In addition to the examples of Indian music that have been given, especially the songs of shamans, it may be of interest to add a few remarks concerning the several varieties of songs or chants. Songs employed as an accompaniment to dances are known to almost all the members of the tribe, so that their rendition is nearly always the same. Such songs are not used in connection with mnemonic characters, as there are, in most instances, no words or phrases recited, but simply a continued repetition of meaningless words or syllables. The notes are thus rhythmically accentuated, often accompanied by beats upon the drum and the steps of the dancers.
An example of another variety of songs, or rather chants, is presented in connection with the reception of the candidate by the Midē´ priest upon his entrance into the Midē´wigân of the first degree. In this instance words are chanted, but the musical rendition differs with the individual, each Midē´ chanting notes of his own, according to his choice or musical ability. There is no set formula, and such songs, even if taught to others, are soon distorted by being sung according to the taste or ability of the singer. The musical rendering of the words and phrases relating to the signification of mnemonic characters depends upon the ability and inspired condition of the singer; and as each Midē´ priest usually invents and prepares his own songs, whether for ceremonial purposes, medicine hunting, exorcism, or any other use, he may frequently be unable to sing them twice in exactly the same manner. Love songs and war songs, being of general use, are always sung in the same style of notation.
The emotions are fully expressed in the musical rendering of the several classes of songs, which are, with few exceptions, in a minor key. Dancing and war songs are always in quick time, the latter frequently becoming extraordinarily animated and boisterous as the participants become more and more excited.
Midē´ and other like songs are always more or less monotonous, though they are sometimes rather impressive, especially if delivered
by one sufficiently emotional and possessed of a good voice. Some of the Midē´ priests employ few notes, not exceeding a range of five, for all songs, while others frequently cover the octave, terminating with a final note lower still.
The statement has been made that one Midē´ is unable either to recite or sing the proper phrase pertaining to the mnemonic characters of a song belonging to another Midē´ unless specially instructed. The representation of an object may refer to a variety of ideas of a similar, though not identical, character. The picture of a bear may signify the Bear man´idō as one of the guardians of the society; it may pertain to the fact that the singer impersonates that man´idō; exorcism of the malevolent bear spirit may be thus claimed; or it may relate to the desired capture of the animal, as when drawn to insure success for the hunter. An Indian is slow to acquire the exact phraseology, which is always sung or chanted, of mnemonic songs recited to him by a Midē´ preceptor.
An exact reproduction is implicitly believed to be necessary, as otherwise the value of the formula would be impaired, or perhaps even totally destroyed. It frequently happens, therefore, that although an Indian candidate for admission into the Mīdē´wiwin may already have prepared songs in imitation of those from which he was instructed, he may either as yet be unable to sing perfectly the phrases relating thereto, or decline to do so because of a want of confidence. Under such circumstances the interpretation of a record is far from satisfactory, each character being explained simply objectively, the true import being intentionally or unavoidably omitted. An Ojibwa named “Little Frenchman,” living at Red Lake, had received almost continuous instruction for three or four years, and although he was a willing and valuable assistant in other matters pertaining to the subject under consideration, he was not sufficiently familiar with some of his preceptor’s songs to fully explain them. A few examples of such mnemonic songs are presented in illustration, and for comparison with such as have already been recorded. In each instance the Indian’s interpretation of the character is given first, the notes in brackets being supplied in further explanation. [Pl. XXII, A], is reproduced from a birch-bark song; the incised lines are sharp and clear, while the drawing in general is of a superior character. The record is drawn so as to be read from right to left.