The songs are measured, accents occur at fixed and regular intervals, being mostly the same in beats as the Scotch reel time. The effect intended is produced by action, energy of voice and motion, costume, and the wild intonations of the time, not from words repeated. These songs are suitable to the occasion, and the whole when well got up has a decidedly unique appearance, singularly correspondent in all its component parts. These chants are very difficult for us to learn and scarcely less so to describe, but are preferred by them to any music, vocal or instrumental, of white performers yet presented to them. The length of a tune is about equal to eight bars of our common time, and the syllables to each beat vary from four to eight, but in some of the medical songs the intonation is so rapid as scarcely to admit of being counted. Songs for dancing, medicine (that is, the practice of healing), and on other assemblies are generally accompanied with drums, bells, rattles, flutes, and whistles, of all of which the drum is the principal instrument, for though on some occasions all of them and several of each kind are used, yet there are none in which the drum is not used, but several where the rest are dispensed with. Independent of public songs, singing is a very common amusement for the young men at nights, principally to attract the attention of the females, and often intended as signals for secret assignations. Subjoined is a list of most of their songs, in reading over which it will be observed that there are none denominated “Hunting songs,” that employment not being celebrated in song in any way, either for success or failure, unless the incantative song by the Master of the Park to bring the buffalo toward it would be construed in that light. The uses of the others can be traced in their names, taken in connection with what has already been written concerning their ceremonies. The words “do-wan” attached to all means “a song.” SONGS OF THE SIOUX, CROW, AND ASSINIBOIN NATIONS