Dancing is thus interwoven throughout the whole texture of Indian society, so that there is scarcely an event important or trivial, private or public, which is not connected, more or less intimately, with this rite. The instances where singing is adopted, without dancing, are nearly confined to occurrences of a domestic character. Among these, are wails for the dead, and love songs of a simple and plaintive character. Maternal affection evinces itself, by singing words, to a cheerful air, over the slumbers of the child, which, being suspended in a kind of cradle receives, at the same time a vibratory motion. Children have likewise certain chants, which they utter in the evenings, while playing around the lodge door, or at other seasons of youthful hilarity. Some of the Indian fables are in the shape of duets, and the songs introduced in narrating their fictitious tales, are always sung in the recital. Their instruments of music are few and simple. The only wind instrument existing among them is the Pibbegwon, a kind of flute, resembling in simplicity the Arcadian pipe. It is commonly made of two semi-cylindrical pieces of cedar, united with fish glue, and having a snake skin, in a wet state, drawn tightly over it, to prevent its cracking. The holes are eight in number, and are perforated by means of a bit of heated iron. It is blown like the flagolet, and has a similar orifice or mouth piece. The TAYWA'EGUN, (struck-sound-instrument,) is a tamborine, or one-headed drum, and is made by adjusting a skin to one end of the section of a moderate sized hollow tree. When a heavier sound is required, a tree of larger circumference is chosen, and both ends closed with skins. The latter is called MITTIGWUKEEK, i.e. Wood-Kettle-Drum, and is appropriately used in religious ceremonies, but is not, perhaps, confined to this occasion. To these may be added a fourth instrument, called the SHESHEGWON, or Rattle, which is constructed in various ways, according to the purpose or means of the maker. Sometimes it is made of animal bladder, from which the name is derived, sometimes of a wild gourd; in others, by attaching the dried hoofs of the deer to a stick. This instrument is employed both to mark time, and to produce variety in sound. ORAL COMPOSITION.