Indian Tribes of the Upper Missouri: Edited with Notes and Biographical SketchDenig, Edwin Thompson
History
Indian Tribes of the Upper Missouri: Edited with Notes and Biographical Sketch
Denig, Edwin Thompson
Assiniboine Indians; Indians of North America -- Missouri River Valley
At the close of this speech the winds blew, the thunder rolled, the
lightning flashed, and a terrible storm arose, amidst which the monster
disappeared. The other returned to his people, told them the story of
his travels, and to this day corn is sacrificed to the Missouri by the
Gros Ventres to appease the spirit of the Wau-wau-kah.
SONGS; MUSIC[60]
[60] For the recording and interpretation of Siouan music see Miss
Frances Densmore, Bull. 61, Bur. Amer. Ethn.
The construction of the Indian flute and music produced by it have
already been described, although we are not able to state in what
manner, if any, it resembles the Arcadian pipe.
Most ceremonies, dances, public demonstrations of joy or grief, and
other matters of general interest are accompanied by songs, which have
appropriate names, but these chants are for the most part only tunes
or modulations of voices in concert, with the introduction of a few
words in some of them. They are in fact a continued chorus consisting
chiefly in repeating the meaningless syllables “Hai-yah, hai-yah,
hai-ai-ai-yah-ah-ah, hai-yah, he-e-e-ah, hai-yah,” etc., fast or slow
as required by the nature of the song. Where words are introduced they
are composed of five or six syllables or three or four words, bearing
some relation to the event which is honored with the song, but are of
no consequence, so that all question regarding their rhyme or poetical
compositions may be passed over in silence. The tune is generally begun
by one person pitching it, who after singing a few notes, is joined
by the whole choir, or sometimes, as in the scalp song, the women add
their voices in the second part of the tune, where the name of the
warrior who killed the enemy is mentioned. The modulations are bold and
wild, by no means discordant or disagreeable, and they are remarkable
for keeping very exact time either with the voice, drums, or feet, and
where words are added they are so few, and the syllables so separated
to accord as scarcely to be understood or distinguished from the rest
of the chant.
Public-domain text, read in full here on John Shaqi.
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