Northern Ute Music

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from Northern Ute Music, 1922 An interesting, contribution to this work is comprised in the tone photographs of portions of two of these songs, taken with the phono deik and analyzed by Dr. Dayton C. Miller, head of the department of physics, Case School of Applied Science, Cleveland, Ohio. This cooperation is gratefully acknowledged by the writer. Acknowledgment of assistance is tendered also to Fred Mart, a member of the Ute tribe, who acted as interpreter; to employees of the Uinta and Ouray agency at Fort Duchesne and Whiterocks, Utah; and to members of the staff of the Bureau of American Ethnology. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1922 edition. Excerpt: ...C, Path of dancers in structure. The closing song contains only two tones, is simple in rhythm, and has a drumbeat in unaccented eighth notes, the other songs having a drumbeat in quarter notes. The accompanying instrument was a hand drum. Analysis.--We have before us for consideration two renditions of a song by the same singer (cf. Nos. 77, 78), the first rendition being recorded in 1914 and the second in 1916. The duplication was accidental, which adds to the interest of the comparison. On the first occasion the song was sung three times and on the second it was sung twice. Comparing the transcriptions of the two renditions, we find in the second a more regular rhythm and also an ornamentation of the melody, as in the third measure. The firstnamed peculiarity is shown by the presence of rhythmic units, the latter by a larger proportion of whole-tone progressions. Inquiry was made concerning the life of the singer during the two years elapsing between the making of the records, as the rhythm might possibly be influenced by an adaptation to the ways of the white man. The Government officials on the reservation were, however, of the opinion that no appreciable change had taken place in the singer and the difference in the records was attributed by them to a difference in mood at the time of recording. On comparing the analyses of the two renditions, we find the following resemblances and differences: RESEMBLANCES Tonality Major. First tone Octave. Last tone Fifth. Compass 12 tones. Tone material Octave complete except seventh. Structure Melodic. First progression Upward. Time of first measure 2-4. DIFFERENCES 'Interesting features of the second rendition are the first and second endings and the connective phrase. In both renditions the...

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.