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

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* Densmorb] PUEBLO MUSIC 19 (Catalog No. 1903) ^m J. 108 # — No. 16. Deer and antelope song ^^ #— r —P- ^1 ^ fff itart.ri^G^-rp"hT^ :3t: m p — 0- 3 -^^-L uiL: r i ^^'m Analysis.—The most prominent tone in this song is A, yet the melody contains the tones of the fourth 5-toned scale with D as its keynote. The song has a compass of only six tones, but the number of progressions is unusually large. Twenty-six of the 40 intervals are whole tones.
20 BUREAU OF AMERICAN ETHNOLOGY [Eut.t.. 165 ACOMA SONGS: PART 2 The foregoing songs, as stated, were recorded for Dr. M. W. Stirling, who kindly made them available. The remaining Acoma songs were recorded by the present writer. HUNTING SONG The hunting customs of the Acoma center around the possession of a small object called a hunting dog (cf. p. 94). Information on this subject was supplied by James Paytiamo, a native of Acoma, who said the hunting dogs, or fetishes, used by this pueblo were made by prehistoric people and found by the Acoma. They are not natural formations.^ Every successful hunter has a collection of these hunting dogs, inherited from his ancestors, and when a young man succeeds on the hunt he is presented with one of them. A ceremony accompanies the presentation. If a young man does not receive one as a gift he makes one for himself, hides it and goes to find it, taking a witness with him. A hunting dog acquired in this manner is believed to have the same power as one given ceremonially by an old man, and, it is worn at all times, tied in a corner of the neckkerchief. When a hunter has kiUed an animal he puts the huntmg dog beside it, as though feeding the game to the dog. A prayer is offered at this time. The hunting song here presented is social in character and would be sung at night, in the camp, when the hunters were getting near the game. Such a song might be composed by the leader of the expedition who would sing it alone, the other hunters dancing. Such songs were sometimes composed by one man and sometimes by two men working together. The accompaniment usually consisted of beating upon a packet of stiff deerhide with a wad of sheephide inside it. The packet was about the size of a smaU pillow and was laid on the ground. One man beat upon it with an ordinary stick. He knelt beside it on one or both knees, changing his position as might be necessary for his comfort. When a huntmg party returned successful, the leader might start the same song and all the company would smg it with him as they danced. ' A "hunting dog," or hunting fetish of the Zuni, was seen in 1939 at Wisconsin Dells, Wis. It was part of a necklace of turquoise and shell owned by Blue Sky from Zufii, the husband of Margaret Lewis. Blue Sky Inherited this necklace from his gi-andfather. The opportunity to see it was accidental. It had been placed in the noonday sun and the writer chanced to be present when It was brought into the building. Margaret Lewis (pp. 7, 103) said, "Turquoise dies if it is not put in the sun once in a while" and this necklace had been placed in the sun "to give it life." Among the pieces of turquoise was a "hunting dog," recognized at once. It was a natural formation, somewhat oblong in shape with a projection at one corner that suggested a little, pointed head. In this "head" were two tiny black dots, supposed to represent eyes. The size of the piece was about 1 inch by IJ^ inches. It was said "when a hunter attended a hunting ceremony he carried such a 'hunting dog' in his bag, together with corn pollen and certain medicines believed to attract animals, especially the deer."
Page 1 and 2: Music of Acoma, Isleta, Cochiti, an
Page 3 and 4: SMITHSONIAN INSTITUTION BUREAU OF A
Page 5 and 6: FOKEWORD The songs of Pueblo Indian
Page 7 and 8: ILLUSTRATIONS (All plates except fr
Page 9 and 10: VIII LIST OF SONGS SITUI DANCE SONG
Page 11 and 12: . LIST OF SONGS ACOMA—PART 2 Cata
Page 13 and 14: XII LIST OF SONGS SPECIAL SIGNS USE
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