Music of Acoma, Isleta, Cochiti, and ZuÃ±i Pueblos - Flutopedia.com

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pj J JlM^ J ^—W- Dbnsmobb] PUEBLO MUSIC 111 (Catalog No. 2478) No. 82. Deer dance song V' j[ J n hv i #--^ j??^ 'i^^ i P -'- n^^ i l i J]îJ;î.is i v=^! J I n
112 BUREAU OF AMERICAN ETHNOLOGY [Bull. 165 note, while 28 percent begin on the keynote (table 2). Forty-five percent end on the keynote and 32 percent end on the fifth above the keynote (table 3). This outlme of the melodies resembles that of the songs in the cumulative group. In the relation of the entire melody to the final tone, this group differs widely from the large group. The final tone is the lowest tone in only 50 percent of these songs (table 4), while 68 percent of the songs in the large group and on the lowest tone of the compass. The final tone is approached by an ascending progression in only 4 of these Pueblo songs, while the large group contains 184 songs (about 12 percent) with this ending. In the Pueblo songs, as in the large group, a feeling for the simplest overtones of a fundamental is sho^vn in the compass of the melody, the songs with a compass of an octave constituting 27 percent of the series, while 10 percent have a compass of 10 tones (table 5). The largest compass among the pueblo songs is 11 tones, while the cumulative group contains 23 songs with a compass of 14 and 17 tones. The proportion of songs on the second and fourth 5-toned scales (minor and major pentatonic) is 20 percent in the Pueblo songs (table 6) and 28 percent in the cumulative group. The general trend in the 1,553 songs comprised in the cumulative analysis is downward, 60 percent of the intervals being descending progressions. This test was applied only to the 40 Acoma songs in which the intervals were counted. It was found that 57 percent of the intervals were descending progressions. In the 82 Pueblo songs under analysis, the descending trend begins with the opening interval more frequently than in the large group, 46 percent of the Pueblo songs having this initial progression (table 7) which occurs in 41 percent of the cumulative series. The tribes under analysis differ widely in the opening rhythm (meter). Seventy-seven percent of the Pueblo songs begin on the accented part of the measure (table 8), while only 55 percent of the combined group have this beginning. The tribes in the large group vary from 45 percent in the Menominee to 64 percent in the Northern Ute songs with this initial rhythm. Double time is preferred in the opening measures of these Pueblo songs, 60 percent beginning in 2-4 time (table 9) . This opening varies in the cumulative group, in which the highest percentage is 71 in the Yuman and Yaqui songs, and the lowest is 50 percent in the Chippewa songs. A change of measure lengths occm-s in 97 percent of these Pueblo songs (table 10) and in only 80 percent of the combined group. The Sioux are next to the Pueblo songs in frequency of a change of measure lengths, 92 percent of the Sioux songs having this varied rhythm. The Pawnee and Yuman and Yaqui are lowest in
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Music of Acoma, Isleta, Cochiti, an
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SMITHSONIAN INSTITUTION BUREAU OF A
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FOKEWORD The songs of Pueblo Indian
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ILLUSTRATIONS (All plates except fr
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VIII LIST OF SONGS SITUI DANCE SONG
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. LIST OF SONGS ACOMA—PART 2 Cata
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XII LIST OF SONGS SPECIAL SIGNS USE
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