Music of Acoma, Isleta, Cochiti, and Zuñi Pueblos

Musc of Acoma, Isleta, Cocht, and Zuñ Pueblos by Frances Densmore (1867-1957) Ths PDF s provded by www.flutopeda.com as part of a collecton of resources for the Natve Amercan flute. The full ctaton for ths dgtal copy of the orgnal source materal s provded below, as well as the specfc detals of the source of ths reference and how t was dgtzed (f known). As part of the Flutopeda effort, extensve metadata (ttle, author, ctaton, etc.) has been encoded nto ths fle. Select Fle/Propertes n any Adobe product to vew ths nformaton. You also can use text search on ths document, based ether on the OCR encodng done durng the orgnal dgtzaton or durng Flutopeda document preparaton usng the OCR faclty of Adobe Acrobat 9 Pro. Based on our best efforts, we beleve that provdng ths materal from www.flutopeda.com to users n the Unted States does not volate any legal rghts. However, please do not assume that t s legal to use ths materal outsde the Unted States or for any use other than your own personal research and self-enrchment. Also, we cannot offer gudance as to whether any specfc use of ths materal s allowed. If you have any questons about ths document or ssues wth ts dstrbuton, please vst http://www.flutopeda.com/ for nformaton on how to contact us. Ctaton [Densmore 1957] Frances Densmore (1867-1957). Musc of Acoma, Isleta, Cocht, and Zuñ Pueblos, Smthsonan Insttuton, Bureau of Amercan Ethnology, Bulletn 165, publshed by the Unted States Government Prntng Offce, Washngton, D.C., 1957, retreved March 16, 2010. Contrbutng source: The Smthsonan Insttuton Lbrares Dgtzng sponsor: The Smthsonan Insttuton, Bodversty Lbrary Dgtzed by: The Internet Archve on November 18, 2009 Processed by Clnt Goss [clnt@goss.com] on Thursday, Aprl 7, 2011 at 4:54AM EDT on host Saturn

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 165 PLATE 1

SMITHSONIAN INSTITUTION BUREAU OF AMERICAN ETHNOLOGY BULLETIN 165 MUSIC OF ACOMA, ISLETA, COCHITI AND ZUNI PUEBLOS By FRANCES DENSMORE UNITED STATES GOVERNMENT PRINTING OFFICE WASHINGTON : 1957 For aale by the Superntendent of Documents, U. S. Government Prntng Offce Washngton 25, D. C.. Prce 70 cents

LETTER OF TRANSMITTAL Smthsonan Insttuton, Bureau of Amercan Ethnology, Washngton, D. C, March 1, 1966. Sr: I have the honor to transmt herewth a manuscrpt enttled "Musc of Acoma, Isleta, Cocht, and Zun Pueblos," by Frances Densmore, and to recommend that t be publshed as a bulletn of the Bureau of Amercan Ethnology. Very respectfully yours, Dr. Leonard Carmchael, Secretary f Smthsonan Insttuton. M. W. Strlng, Drector. AUG 2 9 1957 t/brapl

FOKEWORD The songs of Pueblo Indans here presented were recorded n 1928, 1930, and 1940, addtonal translaton and nformaton beng obtaned n 1931 and 1939. The work s essentally muscal and the descrptons of varous customs are ntended as a background for the songs. These descrptons are presented as nearly as possble n the words of the nformants. It was necessary to record Pueblo songs at a low alttude, and grateful acknowledgment s made of the courtesy of Dr. M. W. Strlng, drector of the Bureau of Amercan Ethnology, Smthsonan Insttuton, who made possble the secu-ng of records of Acoma songs by members of that trbe who were n Washngton, D. C. Dr. Strlng placed at the wrter's dsposal the song recordngs made for hm n 1928, 16 of whch are presented (cf. p. 4); also the Acoma portrats (ps. 1, frontspece; and 2). Acknowledgment s also made of the assstance of Mrs. Phylls Crandall Connor, drector of the Stand Kock Indan Ceremonal at Wsconsn Dells, Ws., who permtted the recordng of Isleta, Cocht, and Zun songs by members of those trbes who took part n the ceremonal. Contnung the former method of analyss, these Pueblo songs are compared n melodc form and rhythm wth the songs of Indans lvng n the north woodland, on the Plans, the hgh plateau of Utah, the low desert of Arzona, the Northwest coast, and other regons whch have prevously been studed. No lngustc study was made, and the natve words are generally presented as they were pronounced by the nformants. When recordng the songs n Wsconsn the wrter had the helpful companonshp of her sster Margaret Densmore. > See References (Densmore, 1910, 1913, 1918, 1922, 1923, 1926, 1929 a, 1929 b, 1932 a, 1932 b, 1932 c, 1936 a, 1938, 1939, 1943 a, 1943 b, 1956). Ill AUG? 6 1957

CONTENTS PAGE Foreword n Lst of songs v Arranged n order of seral numbers v Arranged n order of catalog numbers x Specal sgns used n transcrptons of songs x Names of sngers and number of songs transcrbed x Characterzaton of sngers x Informants who dd not record songs xn The Acoma, Isleta, Cocht, and Zun trbes 1 Muscal nstruments 2 Acoma songs 3 Acoma songs: Part 1 4 Acoma songs: Part 2. 20 Huntng song 20 Song concernng the water used n ceremones 22 Mother's song to a baby 23 Songs connected wth treatment of the sck 25 Wnter dance songs 29 Flower dance songs 34 Stu dance song 41 Corn dance songs 44 Harvest dance songs 51 Comanche dance song 58 Isleta songs 59 Corn-grndng songs 60 War songs 70 Hunc dance songs 73 Fortynne dance songs 76 Songs for chldren 80 Cocht songs 82 Buffalo dance songs 82 Ouwe dance songs 87 Corn dance songs 90 Corn-grndng songs 92 Huntng songs 93 Zufl songs 96 Ran dance songs 96 Corn-grndng songs 103 Dance songs 107 Comparson of the songs of Acoma, Isleta, Cocht, and Zun pueblos wth the songs of certan other trbes 111 Melodc and rhythmc analyses of Acoma, Isleta, Cocht, and Zun songs by seral numbers 113 Melodc analyss 113 Rhythmc analyss 115 References _ 117

ILLUSTRATIONS (All plates except frontspece follow page 118) PLATES 1. (Frontspece) Acoma snger and nformants. 2. a, Phlp Sanchez wth drum, b, Wlbert Hunt playng flute. 3. a, Medcne dsh and prayer stck, b, Vase drum and drumstck. 4. a, Gourd rattles and notched stck rattle wth bone scraper, b, Ceremonal robe, sash and belt, and turtle-shell rattle. 5. Replca of headdress worn n Flower dance, and rng placed on head of woman when carryng jar. 6. a, Evergreen Tree, b, Anthony Lucero. VI

1 LIST OF SONGS 1. Arranged n Order of Seral Numbers ACOMA PART 1 Seral No. Catalog No. Paee 1. Creaton or begnnng song 1888 5 2. Frst rangod song 1889 6 3. Song when settng up latku's altar 1890 6 4. Hunter's prayer song 1891 8 5. Song to the wld anmals 1892 8 6. Song to the brds 1893 9 7. Song when gong for a drnk of medcne 1894 10 8. Kasewat, matted har or wg song 1895 1 9. Song of brave man's dance 1896 12 10. Song of Ouwe dance 1897 13 11. Gamesong 1898 14 12. Agochudsong 1899 15 13. Ashyasong 1900 16 14. Corn-grndng song 1901 17 15. Song tellng where madens are grndng corn 1902 18 16. Deer and antelope song 1903 19 ACOMA PART 2 17. Huntng song 1904 21 18. Song concernng the water used n ceremones 1905 22 19. Mother's song to a baby 1906 24 SONGS CONNECTED WITH THE TREATMENT OF THE SICK 20. Song addressed to medcne bowl 1907 26 21. Song durng treatment of the sck 1908 27 WINTER DANCE SONGS 22. A lttle golden callste 1909 30 23. Wnter dance song (a) 1910 31 24. Wnter dance song (b) 1911 31 25. The ran clouds are carng for the lttle corn plants 1912 33 FLOWER DANCE SONGS 26. Openng song of Flower dance 1913 35 27. Butterfly song 1914 36 28. Flower dance song 1915 38 29. Song concernng a vst to other pueblos 1916 40 vn

VIII LIST OF SONGS SITUI DANCE SONG Seral No. Catalog No. Page 30. Song addressed to a new chef 1917 42 CORN DANCE SONGS 31. "The mockngbrd sngs n the mornng" 1918 44 32. "In the west s the home of the rangods" 1919 46 33. "The rangods have returned" 1920 47 34. "Corn plant, I sng for you" 1921 48 35. Song concernng the clouds and fog 1922 49 36. Song concernng Laguna Lake 1923 50 HARVEST DANCE SONGS 37. "The sun youth has rsen n the east" 1924 52 38. "The rangods are comng back" 1925 54 39. "The butterfly you panted has flown away" 1926 56 COMANCHE DANCE SONG 40. Song of Comanche dance 1927 59 ISLETA 41. The comng of the sun 1992 60 42. The sun and the yellow corn 1994 62 43. The sound of the rangods 1990 64 44. "It s ranng" 1993 66 45. Song to a bee 1989 67 46. Corn-grndng song (a) 1991 68 47. Corn-grndng song (b) 1995 69 48. War song (a) 1996 71 49. War song (b) 1997 72 50. Warsong(c) 1998 73 51. Frst song of Hunc dance 1999 74 52. Second song of Hunc dance 2000 75 53. Fnal song of Hunc dance 2001 76 54. Song of Fortynne dance (a) 1986 77 55. Song of Fortynne dance (b) 1987 78 56. Song of Fortynne dance (c) 1988 79 57. Song of the horned toad when puttng her chldren to sleep. _ 2002 80 58. "Lady crane, you stole my corn" 2003 81 COCHITI 59. Song on evenng before the Buffalo dance 2008 83 60. Buffalo dance song (a) 2011 84 61. Buffalo dance song (b) 2012 85 62. Buffalo dance song (c) 2005 86 63. Ouwe dance song 2007 88 64. Corn dance song 2006 91 65. Corn-grndng song 2010 92 66. Huntng song 2004 94 67. Antelope song _- 2009 95

. LIST OF SONGS IX ZUN RAIN DANCE SONG Seral No. Catalog No. 68. "The ran s comng" 2464 69. The mockngbrd speaks 2465 70. Ran dance song 2466 71. The rangods speak 2467 72. The badger woman speaks 2468 73. At the ranbow sprng 2469 Page 97 98 99 100 101 102 CORN-GRINDING SONGS 74. Corn-grndng song (a) 2470 75. Corn-grndng song (b) 2471 76. Corn-grndng song (c) 2472 104 105 106 DANCE SONGS 77. Harvest dance song. 2473 78. Pleasure dance song (a) 2474 79. Pleasure dance song (b) 2475 80. Comanche dance song (a) 2476 81. Comanche dance song (b) 2477 82. Deer dance song 2478 107 107 108 109 110 111 2. Arranged n Order op Catalog Numbers ACOMA PART 1 Catalog No. Ttle of song Name of snger Serlal No. 1888.. 1889.. 1890.. 1891.. 1892.. 1893.. 1894.. 1895-1896.. 1897.. 1898.. 1902.. Creaton or begnnng song Frst rangod song Song when settng up latku's altar. Hunter's prayer song Song to the wld anmals Song to the brds Song when gong for a drnk of medcne. Kasewat, matted har or wg song. Song of brave man's dance Song of Ouwe dance Game song Agochud song Ashya song Corn-grndng song Song teung where madens are grndng corn. Deer and antelope song Phlp Sanchez. do do.do..do..do..do..do..do..do..do..do..do. 1899.. 1900-1901- 1903-.do-.do-.do- 9 10 11 12 13 14 15 16 8 9 10 11 12 13 14 15 16 17 18 19

. LIST OF SONGS ACOMA PART 2 Catalog No. Ttle of song Name of snger Seral No. 1906. 1907. 1908. 1909. 1910. 1911. 1912. 1913. 1914. 1915. 1916. 1917. 1918. 1921. 1922. 1923. 1925. 1926. 1927. Huntng song Song concernng the water used n ceremones. Mother's song to a baby Song addressed to medcne bowl.. Song durng treatment of the sck. A lttle golden callste Wnter dance song (a) Wnter dance song (b) "The ran clouds are carng for the lttle corn plants." Openng song of Flower dance Butterfly song Flower dance song Song concernng a vst to other pueblos. Song addressed to a new chef "The mockngbrd sngs n mornng." "In the west s the home of the the rangods." "The rangods have returned" "Corn plant, I sng for you" Song concernng the clouds and fog Song concernng Laguna Lake "The sun youth has rsen n the east." "The rangods are comng back".. "The butterfly you panted has flown away." Song of Comanche dance Phlp Sanchez. do.do..do..do..do..do..do..do. -do..do..do....do..do..do..do..do....do. 1904. 1905-1919- 1920-1924-.do-.do- -do- do-.do..do. 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 ISLETA 1986... 1987... 1988... 1989... 1990... 1991. 1992. _. 1993... 1994. _. 1995... 1996... 1997. _. 1998... Song of Fortynne dance (a). Song of Fortynne dance (b)_ Song of Fortynne dance (c) Song to a bee The sound of the rangods Corn-grndng song (a) The comng of the sun "It s ranng" The sun and the yellow corn. Corn-grndng song (b) War song (a) War song (b) War song (c) Anthony Lucero. do.do..do..do..do..do..do..do..do..do..do..do. 54 55 56 45 43 46 41 44 42 47 48 49 50

. LIST OF SONGS XI ISLETA Contnued Ttle of song Name of snger Seral No. Page Frst song of Hunc dance Second song of Hunc dance Fnal song of Hunc dance Song of the horned toad when puttng her chldren to sleep. "Lady crane, you stole my corn"._ Anthony Lucero. do...do.,.-..do.....do.. 51 52 53 57 58 74 75 76 80 81 COCHITI Huntng song Buffalo dance song (c) Corn dance song Ouwe dance song Song on evenng before the Buffalo dance. Antelope song Corn-grndng song Buffalo dance song (a) Buffalo dance song (b) Evergreen Tree. do do.-do...do...do...do...do...do. 66 62 64 63 59 67 65 60 61 94 86 91 88 83 95 92 84 85 ZUlI "The ran s comng" The mockngbrd speaks Ran dance song The rangods speak The badger woman speaks. At the ranbow sprng Corn-grndng song (a) Corn-grndng song (b) Corn-grndng song (c) Harvest dance song Pleasure dance song (a) Pleasure dance song (b) Comanche dance song (a) _ Comanche dance song (b) Deer dance song Fallng Star. do -do..do..do. -do. -do..do..do..do..do..do..do..do..do- 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 97 98 99 100 101 102 104 105 106 107 107 108 109 110 111

XII LIST OF SONGS SPECIAL SIGNS USED IN TRANSCRIPTIONS OF SONGS I I placed above a seres of notes ndcates that they consttute a rhythmc unt. The letters A, B, C, and D are used to desgnate sectons, or perods, consstng of a number of measures. NAMES OF SINGERS 2 AND NUMBER OF SONGS TRANSCRIBED Phlp Sanchez (Acoma songs) 40 Anthony Lucero (Isleta songs) 18 Evergreen Tree (Cocht songs) 9 Fallng Star (Zuf songs) 15 Total 82 CHARACTERIZATION OF SINGERS ACOMA Phlp Sanchez (Ho-n-ya) (p. 2, a) was born at Santa Ana Pueblo and was adopted at Acoma as an nfant. He was the only snger who requred an nterpreter. Hs songs and nformaton were translated by Wlbert Hunt. ISLETA Anthony Lucero (Paw'tla) (p. 6, b) had been absent from hs home n Isleta only a few months when he recorded the songs here presented, and he expected to return home n a short tme. He sad that hs common name s derved from a Spansh word meanng "lght" or "brllant." Hs natve name s Paw'tla, whch was not translated. COCHITI Evergreen Tree (Ho'cuke) (p. 6, a) s known by the Englsh translaton of hs natve name. He s a natve of Cocht Pueblo but s famlar wth the songs of the entre regon. In addton to the Cocht songs, he recorded songs of the Zuf, Navaho, and Hop whch were transcrbed but are not ncluded n ths work. Evergreen Tree has presented Pueblo songs and dances n publc exhbtons for many years. ZUNI Fallng Star (Mo'yatcun'ne) was born at Zuf where hs father was a snger and dancer. He s also known as Tony Kaama's, a name whch has no meanng. When about 9 years old he went to the Unted States Government School at Sante Fe, N. Mex., remanng untl he was about 16 years of age. Snce that tme he has lved n Zuf and taken part n all the dances, but has never been a leader of the dances. He had never taken part n a publc exhbton untl 1940 when these songs were recorded, and he expected to return to hs quet lfe n the Zuf Pueblo. s INFORMANTS WHO DID NOT RECORD SONGS Henry Hunt. Mrs. Henry Hunt. ACOMA Wlbert Hunt. James Paytamo. ZUNI Margaret Lews. The natve names are beng presented n the' common Englsh spellur.

MUSIC OF ACOMA, ISLETA, COCHITI, AND ZUNI PUEBLOS By Frances Densmore THE ACOMA, ISLETA, COCHITI, AND ZUN TRIBES Three lngustc famles are represented by the Acoma, Isleta, Cocht, and Zun trbes. The Acoma belong to the western and the Cocht to the eastern dvson of the Keresan famly, the Isleta belong to the Tanoan and the Zun to the Zunan famles. The natve name of the Acoma s Ako'me, meanng "people of the whte rock" and ther home s on a rock mesa, 357 feet n heght, about 60 mles west of the Ro Grande n Valenca County, N. Mex. Ths has the dstncton of beng the oldest nhabtated settlement n the Unted States. It s mentoned as early as 1539 by Fray Marcos de Nza and was frst vsted by members of Coronado's army n the followng year. The early Spansh chronclers estmated ts houses at 200, and ts warrors at the same number. It s sad that as early as 1540 the Acoma were "feared by the whole country round about." They took part n the Pueblo revolt aganst the Spanards n 1680, kllng ther mssonary. Fray Lucas Maldonado, "but largely on account of ther locaton and the naccessblty of ther vllage ste, they were not so severely dealt wth by the Spanards as were most of the more easterly pueblos.... The Acoma are agrcultursts, cultvatng by rrgaton corn, wheat, calabashes, etc., and rasng sheep, goats, cattle and horses. In prehstorc and early hstorc tmes they had flocks of domestcated turkeys. They are expert potters but now do httle or no weavng." Isleta s a Tgua pueblo on the west bank of the Ro Grande, about 12 mles south of Albuquerque, N. Mex. The natve name of the pueblo s "Shewhbak" meanng "a knfe lad on the ground to play whb." The term "whb" was appled to a natve footrace, and the name may have been derved from the locaton of the old vulage whch was on a narrow delta between the bed of a mountan stream ' The Informaton on these trbes s quoted or condensed from artcles by F. W. Hodge n the Handbook of Amercan Indans (1907, 1910).

2 BUREAU OF AMERICAN ETHNOLOGY [Bull. 165 and the Ro Grande. It was the seat of the Francscan msson of San Antono de Isleta pror to 1629. The populaton of Isleta n 1680 was about 2,000 when the Spansh settlers along the lower Ro Grande took refuge n ths pueblo after the uprsng that year. Isleta was later abandoned. It s sad that the present pueblo was buut n 1709 by scattered famles of Tgua, gathered by the mssonary Juan de la Pena. The populaton of Isleta was about 1,100 n the early part of the present century. The Cocht s a trbe belongng to the eastern branch of the Keresan lngustc famly, lvng on the west bank of the Ro Grande, 27 mles southwest of Santa Fe, N. Mex. They were found lvng n ths locaton by Onate n 1596. They "took an actve part n the revolt of 1680, but remaned n ther pueblo for 15 months after the outbreak.... Cocht was the seat of the Spansh msson of San Bonaventura, wth 300 nhabtants n 1680, but t was reduced to a vsta of San Domngo after 1782... The Cocht people occupy a grant of 24,250 acres allotted to them by the Spansh government and confrmed by Unted States patent n 1854." Zun s the popular name of a Pueblo trbe whch consttutes the Zunan lngustc famly. Ther home s a permanent pueblo by the same name, on the north bank of the upper Zun Rver n Valenca Comty, N. Mex,, and n summer they also occupy the three neghborng farmng vllages of Pescado, Nutra, and Ojo Calente. "The frst real nformaton regardng the Zun trbe and ther seven pueblos was ganed by Fray Marcos of Nza, who n 1539 set out... to explore the unknown regon to the northwest,.. The frst Zun msson was establshed at Hawkuh by the Francscans n the summer of 1629... At the tme of the great Pueblo rebellon of 1680 the Zun occuped but three towns, excludng Hawkuh." The Zun "are quet, good tempered, and ndustrous, frendly toward the Amercans but jealous and dstrustful of the Mexcans and btter enemes of the Navaho. They adhere tenacously to ther ancent relgon, whch s closely nterwoven wth ther socal organzaton.... In 1910 the populaton was 1,640." MUSICAL INSTRUMENTS * The nformaton concernng muscal nstruments was suppled chefly by the Acoma. Ths was not a subject of specal nquy wth the Isleta and Cocht sngers, but some data were obtaned from the Zun snger. * Grateful acknowledgment s made of the courtesy of Dr. Walter Hough, curator of anthropology, U. S. Natonal Museum, who allowed the Acoma to select from the exhbt cases the muscal nstruments, ceremonal artcles, and the rng used on a woman's head when carryng a jar, shown In the accompanyng Illustratons.

Dhnsmobb] pueblo musc '3 Drums. The drum used wth a majorty of Acoma songs s a cylnder wth two heads of hde, lashed together wth thongs, and s struck wth a drumstck havng a round, padded end. Phlp Sanchez, who recorded the Acoma songs, s seen wth a drum whch belonged to hm (p. 2, a). A larger drum of the same sort s used wth the Wnter dance. A vase or jar wth a cover of whte hde (p. 3, 6) s used only by a young grl n the Flower dance. The drumstck used wth ths drum conssts of a stck wth a large hoop at the end. When n use the lower edge of ths hoop s struck upon the drumhead (cf. p. 34). Poundng on a roll of stff hde s mentoned on page 20, and a unque poston of the drum s descrbed on pages 107 and 109. The tappng together of two stcks was substtuted for a drum when these songs were recorded. Flutes. Each dancer n the Flower dance carres a cane flute. The flute shown n plate 2, h, played by Wlbert Hunt, s smlar to the Acoma flute. Rattles. Two sorts of rattles are used by the Acoma, exclusve of the "scrapng stcks" whch are classfed by the Unted States Natonal Museum as notched stck rattles. The gourd rattles (p. 4, a) carred by boys n the Flower dance are panted n brght colors. These dancers carry a gourd rattle n the rght hand and wear a turtle-shell rattle (p. 3, a) fastened to the rght leg below the knee "to mark the tme as they dance." Gourd rattles are also used by medcne men when treatng the sck. Notched stck rattles. Ths nstrument, commonly called scrapng stcks, conssts of two parts, a stck havng notches cut horzontally across ts surface and a shorter stck, or a bone, that s rubbed across the notches (p. 4, a). In a typcal nstrument the notched stck s 20 to 25 nches n length. A sketch of ths nstrument among the Zun, made by Fallng Star, shows the notched stck and rubbng stck about the same length, whch s unusual. The notched stck s rested on a resonator to amplfy the sound, ths varyng n dfferent localtes. The Acoma use a squash for ths purpose, the Ute use a shallow basket or a sheet of tn, the Yaqu use a half gourd, and the Papago use an ordnary household basket. A shallow box was used as a resonator n recordng songs that requred ths accompanment. Ths nstrument s used by the Acoma wth only two dances, one beng a "sacred" dance and the other a socal dance. The former s the Stu, and the latter was not desgnated. The hstory and dstrbuton of the notched-stck rattle s nterestng, the earlest example, so far as known, havng been used n Confucan

4 BUREAU OF AMERICAN ETHNOLOGY [Bull. 165 ceremones n Chna. It s found n varous forms n Japan, Mexco, Guatemala, Puerto Rco, and other countres, and was used by the Negroes n Afrca and by the Maya Indans. ACOMA SONGS The study of Acoma musc was made possble n 1928 by the courtesy of Dr. M. W. Strlng, drector of the Bureau of Amercan Ethnology, Smthsonan Insttuton. Whle Dr. Strlng was makng ethnologcal studes wth a group of Acoma Indans n Washngton, D. C, he had dctaphone records made of 60 of ther songs. The actual work of makng the recordngs was done by Anthony Wldng, Dr. Strlng's assstant. All the songs were sung by Phlp Sanchez and nterpreted by Wlbert Hunt, ths beng done pror to the wrter's arrval. Dr. Strlng (1942) publshed the results of hs studes wth the Acoma n a bulletn of the Bureau of Amercan Ethnology, enttled "Orgn Myth of Acoma and Other Records." The complete group conssted of Edward Hunt (G-rr), hs wfe Mara (Shou-tu-w), ther two sons Henry Hunt (Ed-wa) and Wlbert Hunt (Tse-g-se-wa), and Phlp Sanchez (Ho-n-ya), who, as stated, was born at Santa Ana Pueblo and adopted as an nfant at Acoma (p. 1, frontspece). Dr. Strhng kndly made hs recordngs avalable for study, and 16 are ncluded n the present seres as part 1. AU untranscrbed records were studed, and they contaned no mportant peculartes not n the songs that are presented. Twenty-four Acoma songs were later recorded for the wrter and are presented as part 2 (p. 20). Addtonal detals concernng Acoma songs and customs were obtaned n 1931, at Wsconsn Dells, Ws., from James Paytamo, a cousn of Wlbert Hunt lvng at Glorata, N. Mex. ACOMA SONGS: PART 1 The 16 songs n ths secton were recorded by PhUp Sanchez for Dr. M. W. Strlng and, as stated, are presented wth hs permsson. The class or use of the song s generally ndcated by ts ttle.

Dbnsmorb] PUEBLO MUSIC No. 1. Creaton or begnnng song (Catalog No. 1888) Jrl32 I 1 3l l -JU'' 'IJ P w m S2 yt ] 1 j-jl l JIJ'jIjJl ljj l lj/" lu''u-ju Analyss. The monotonous ntroducton whch precedes ths song s characterstc of pueblo songs and s shown n a majorty of the followng transcrptons. (Cf. Densmore, 1926, p. 7; and Densmore, 1938, pp. 52 and 183.) A short rhythmc unt occurs throughout the melody and ts count dvsons are reversed n the 17th and 18th measures. All the tones of the octave except the seventh are present, and the ascendng and descendng ntervals are about equal n number. The repeated porton was sung three tmes, the transcrpton beng from ts thrd rendton. Slght varatons occur n the repettons of the song, whch are not mportant and cannot be shown n notaton. 378090 87-

6 BUREAU OF AMERICAN ETHNOLOGY [Bdll. 165 No. 2. Frst rangod song (Catalog No. 1889) mmm\swfmf 'MMrnP ntt rf Analyss. In ths melody we have a famlar tone materal used n an unfamlar manner. The tones are those of the fourth 5-toned scale (cf. footnote 1, table 6, p. 115) but the prncpal nterval s a descendng fourth. The ntroductory phrase contans only ths nterval and s followed by four measures on a major trad.the descendng fourth returns n the mddle porton of the melody and at ts close. (Catalog No. 1890) No. 3. Song when settng up latku's altar J = 92 A a -t 1 r I F -jt---o p m u I t jgg pm p T W "ItJJ-f-r-j J = 116 B # f 9 ft St m -Q-W #- 1 f-y zjt m «lj»

Densmorb] pueblo MUSIC 7 Analyss. Ths melody contans two peculartes that occur n other pueblo songs, these beng a change of ptch level and a structure that s desgnated as a perod formaton. The former has been dscussed at length n a prevous paper (Densmore, 1938, pp. 52-54, 182, 183). The ptch level s generally rased durmg the performance but occasonally t s lowered, the change beng ether a semtone or a whole tone. In some nstances the change s affected n a large, ascendng nterval, the remander of the performance beng on a hgher ptch level, but more frequently the change s gradual and extends over a number of measures, after whch the new ptch s mantaned to the close of the rendton. A snger from Santo Domngo sad that hs grandfather taught hm to rase the ptch durng the sngng of certan old songs, and Margaret Lews, a Zun nformant (cf. pp. 20, 103), sad that her people rase the ptch level durng the songs for ran but n no other class of songs. An ntentonal change of ptch level was not dscussed wth the pueblo sngers whose songs are here presented but was noted n the recordngs of Acoma, Cocht, and Zun songs. In all nstances the transcrpton s on the ptch of the openng measures. In the Acoma songs the ptch level was rased n Nos. 3, 5, 6, 7, 8, 10, 14, 20, 23, 24, 25, 30, and 39, and lowered n No. 22. In the Isleta songs the ptch was lowered n No. 47. In the Cocht songs the ptch was rased n No. 66 and lowered n Nos. 62, 63, 65, and 71. Only one song from Zun contans a change of ptch, the rendton of No. 73 contanng a lowerng of ptch, followed by the rasng of ptch to the orgnal level (p. 102). The change of ptch vares from less than a semtone to a tone and a half. Several rendtons of the present melody were recorded, and at the close of the performance the ptch level was about a semtone hgher than at the begnnng. The perod formaton s a melodc structure that was frst noted by the wrter n the songs of the Tule Indans of Panama. In clearer form t was found n 38 of 54 Yuman songs (Densmore, 1932 c, pp. 694-700), and n 16 songs of Santo Domngo Pueblo (Densmore, 1938, pp. 52 and 183-184). It occurred n several of the oldest songs of the Choctaw n Msssspp, and n songs of the Cow Creek or northern group of Semnole n Florda by whom they were called "long songs." Ths structure conssts of 2, 3, or occasonally 4 phrases desgnated as rhythmc perods and marked by the letters A, B, C, and D. The second perod s usually hgher than the frst and has a more lvely rhythm, especally n ts openng measures. In a song contanng three perods ths characterstc often appears n the thrd perod. There s usually a recurrence of the frst perod, and slght changes of rhythm may occur throughout the perods. Rhythmc luts are ndcated n the usual manner and are sometmes dfferent n the several perods, whle n other songs the same rhythmc unt usually occurs throughout the melody. The present song contans two perods, others wth ths structure beng Nos. 4, 5, 7, 8, 11, 13, 14, 17, 19, 21, 24, 25, 26, 29, 33, 34, 35, 36, 41, 48, 50, 51, 53, 54, 56, 56, 65, 66, and 67. The followng songs contan three perods: Nos. 22, 23, 27, 28, 30, 37, 38, 39, 42, 43, 44, 45, 46, 47, 49, 59, 62, and 64. The only song contanng four perods s No. 39. Thus the present group contans 30 songs wth 2 perods, 18 wth 3 perods, 1 wth 4 perods, and 33 n whch ths formaton does not occur. Ths melody contans only the tones of the mnor trad and second. The entre song les above the keynote and ts trend s downward. Snce the present paper was wrtten, Bur. Amer. Ethnol. Bull. 136, Anthrop. Pap. No. 27, and Bull. 161 have been publshed. See Densmore, 1943 b and 1956.

BUREAU OF AMERICAN ETHNOLOGY [Bull. 165 (Catalog No. 1891) No. 4. Hunter's prayer song J. -1:96 s p m m p m0'.. frtftfrffrrrflt rrrj I,.-f" f", 0' -, * F?e Analyss. Two consecutve descendng fourths are the prncpal ntervals n perod A of ths song. A change of rhythm and a hgher ptch appear n the frst and second measures of perod B, followed by the descendng fourths C-G and B-flat-F. The tones are those of the fourth 5-toned scale. Several rendtons were recorded and show no change n ptch and only unmportant changes n the melody, these changes probably beng due to dfferences n the words. (Catalog No. 1892) No. 5. Song to the wld anmals 100 Irregular n tonalty A ny-u\ \ uuu \ f-rrln rrrrrn

DBNSMORB] PUEBLO MUSIC No. 5. Song to the wld anmals Contnued Jrl84 0 '.'-jtfrrerrr crlrtrrnrrcrrrpv s rrrrrr tr-frrrr 7,rrrrrP r! 0LAJL 0.0 00 \1. 1\2. hcrrvp rrn Analyss. Durng the four rendtons of ths song the ptch was rased more than a semtone, the transcrpton beng from the frst rendton. The nterval of a descendng fourth forms the framework of the melody, followed by a descendng whole tone. A fourth has been noted as a characterstc nterval n songs concernng anmals, but the melodc structure of ths melody s unusual. Attenton s drected to the change of rhythm at the openng of perod B, the eghth notes beng n groups of three nstead of two. The measures n 7-8, 5-8, and 3-8 tme occur n all the rendtons and probably correspond to the meter of the words. The dfferences n the rendtons are slght and consst n the occasonal repetton of a measure or the ntroducton of an eghth rest for takng breath. (Catalog No. 1893) No. 6. Song to the brds J. 'M t-f f trtjfrfr frr pttr r \Tfpr.n.\r r f= n rnrtj'- rt/rrj rr.r tr

10 BUREAU OF AMERICAN ETHNOLOGY [Bull. 165 Analyss. Ths delghtful melody contans the tones of the mnor trad and second. The song les partly above and partly below the keynote and s characterzed by the nterval of a fourth, frequently noted n songs concernng brds or anmals. The semtone s somewhat nfrequent n Indan songs but occurs nne tmes n ths melody. A pleasng varety of rhythm s gven by the successve eghth notes n contrast to the count dvson of a 16th followed by a dotted eghth note. The ptch was slghtly rased durng the repettons of the song. The repettons dffered n some unmportant note values, but the quarter notes were steadly mantaned, gvng stablty as well as vgor to the melody. (Catalog No. 1894) No. 7, 84 A wtr \ Song when gong for a drnk of medcne vu r txxt» 0- t=m I 0 m jixijt :f=4 Xf r r LHU r _ r \ 351= ##- B P-0- m P7ftrr~t:r \tj \Tu gl :M.r 1 t/ft I r_f P =HI Analyss. Several rendtons of ths song were recorded, the performance beng about 1 mnute n length. Durng ths tme the ptch was rased about a whole tone. As n other nstances, the transcrpton s from the frst rendton, before the ptch was perceptbly rased. Certan unmportant changes appeared n the note values of perod A, n later rendtons. The melody s based on the mnor trad A-C-E, wth a descent to G at the close of the frst, second, and last phrases. Ths s the frst song n the present seres wth a return of perod A at ts close.

Dbnsmore] PUEBLO MUSIC 11' (Catalog No. 1895) J No. 8. Kasewat, matted har or wg song 72 m! lj D J 92 9 {9 0- m p_w a g» n r r r r l ;;-ptf B v'' u n > \ ' ' 1 u r-y- }-. 116 92 t>4 C a g g! > ; u>h4 r r c;t'-g

r * 1 12 BUREAU OF AMERICAN ETHNOLOGY [Bolt,. 165 Analyss. In many pueblo songs a rse of ptch extends over a consderable tme, but the ptch of ths song was rased a semtone durng the frst 12 measures of the frst rendton. It was then rased gradually durng the remander of the performance, so that the entre change was a whole tone durng about 1 mnute of sngng. The ptch s that of the openng measures, and the tones are represented as nearly as s possble n notaton. The changes of tempo are frequent, whch s unusual. There s an ascent of an octave to the begnnng of perod B, wth ts change of rhythm, and a return at the close to the whole-tone progressons whch claracterzed the frst perod. No. 9. Song of Brave Man's dance (Catalog No. 1896) : 126 (1) (1) m rt.ft r-m \ 4 _L =1 [- ') ' Lf P (2) 1 r m UXaLu (1) (2) 'MUrsj # wrrenr-j Id* m m 0. m=t (2) m m- m *: 1 f f P f f I «n K cj I r m m rr [ r rjr ' -',' ' * [Lr 1 c n't r u u j? r [J* r Analyss. The keynote s the lowest tone n ths song and ts promnence s nterestng n connecton wth the ttle of the song. A smlar emphass on the keynote was found n the songs of Soux and Chppewa medcne men and seemed to express ther confdence n themselves (cf. Densmore, 1918, p. 53). Attenton s drected to the rhythmc unts of the song and to the trple measures whch begn wth the same count dvsons as the unts. The rhythm s somewhat monotonous, suggestng a long contnued dance. More than one-thrd of the ntervals are semtones. Ascendng and descendng ntervals are about equal n number. A song of the Ouwe Dance among the Cocht s also presented (No. 63).

Ddnsmobe] PUEBLO MUSIC 13 (Catalog No. 1897) No. 10. Song of Ouwe dance J-_ -I = 112 nnvf>rr ff frr_fflt, yrrr f-f 3 m jj P P ff a m m u. feggff 9s=r rrr- 'jflnatrrb g Analyss. The glssando on descendng fourths followed by an ascendng nterval gves a swayng effect to ths melody, suggestng the moton of the dance. The melody s framed on a major trad wth the ffth as ts lowest tone. The ptch level was slghtly rased n the repettons of the song. The next song s sung durng the playng of a game n whch a marble s hdden n one of four cylnders, each sde of the players, n turn, guessng ts locaton. It was sad ''f the guessng s correct the marble wll be found n the thrd cyhnder." In a descrpton of the hdden-ball game among the Pueblo, by Culn, the tubes are made of wood (Cuhn, 1907, pp. 357-364, 367-382). In a smlar game wtnessed among the Papago by the wrter, the tubes were made of bamboo reeds (Densmore, 1929 a, pp. 72, 73, 78).

14 BUREAU OF AMERICAN ETHNOLOGY [Bull. 165 No. 11. J 1 182 fe JJlTJ ' Game song (Catalog No. 1898) Jn'J' J m l'\ r PfrlO I jjj J"J ' jg m S: *=«w tntynyj [ A_:.{jXL-j-jjj Ij a ;;! r rr.m ';?5 Analyss. A broad sweep characterzes ths melody, n contrast to the game songs of other trbes whch are small n compass and smple n progressons. Ths melody has a compass of 12 tones, spanned by 4 ascendng ntervals n the 9th and 10th measures. The melody ascends 11 tones by 3 ntervals n the fourth and ffth measures. An ascendng seventh followed by a descendng ffth occurs twce. The tone materal s that of the fourth 5-toned scale and the melody les partly above and partly below the keynote.

Densmobe] PUEBLO MUSIC 15 (Catalog No. 1899) r'-j; 3 4jjj Jr 120 Irregular n tonalty No. 12. Agochudl ' song 4j;-j 4j 4ju m~t-\j 1 J m 'JH'M Fne Analyss. The monotonous ntroducton s partcularly long n ths melody. The tone materal s scanty and conssts only of the tones E-flat, B-flat, and C. Ther sequence s such as to suggest E-flat as the keynote but the song s classfed as rregular n tonalty. "Agochud" Is sad to be "not a pure Acoma word."

16 BUREAU OF AMERICAN ETHNOLOGY tbull. 165 (Catalog No. 1900) No. 13. Ashya song J J-. =126 ym I 'ntrr trr rr l J= ls A r r r p### r.rprr* a trrrr JT.tt»» pp»dxxjn 1. [2: larrm 5 -T te o:)tj tf-ffff frpjf r.:rrrr0t#r "r J: 126 Jr m 92 rrm r! rnr ' Analyss. The two perods of ths song dffer n tempo, rhythm, and melodc structure. The fourth s the most promnent nterval n the frst perod, occurrng n several connectons. Attenton s drected to the consecutve descendng fourths n the eghth and nnth measures and to the descendng fourths n the succeedng measures. The second perod has a compass of only four tones and the rhythm s agtated, wth trplets of eghth notes. Several unmportant changes occur n repettons of the song.

DensmoreJ PUEBLO MUSIC 17 (Catalog No. 1901) No. 14. Corn-grndng song (1) ')--»' Lr LS feffte m tljl (1) (1) nhlftjr frffj ff ; (2) (3) ):$j c_f [ If r r r P - 1 slyrtttr rr r/ - (3) '> f CJILT w:m=m m-m. rrm fe «**: ILK3C 3 Cj'cj' P Htrd''trtrrf rr Analyss. The frst perod of ths song has a compass of 11 tones and the second perod has a compass of only 5 tones. In the thrd and fourth measures the melody descends from ts hghest to ts lowest tone. No rhythmc unt occurs n ths perod. The second perod begns wth two short phrases that seem to answer one another and are desgnated as rhythmc unts. These are extended n a thrd rhythmc unt and vared n the closng measures of the song. The ptch was rased a semtone durng the frst rendton, and an addtonal semtone durng the remander of the performance. As n other nstances, the transcrpton s on the ptch of the openng measures, the ptch of ndvdual tones beng ndcated as nearly as s possble n notaton.

18 BUREAU OF AMERICAN ETHNOLOGY [Bull. 165 (Catalog No. 1902) No. 15. Song tellng where madens are grndng corn J = 92 Irregular n tonalty y-'znts \\\ rny \ 'Urr r-rtrtf -0- - tf # lg 1 (P Fne Analyss. The dctaphone record of ths song comprses the melody wth ts repeated portons as transcrbed, followed by four repttons of the repeated porton. In some of these repettons there are slght changes, probably connected wth the words, but the trple measure and those that follow are repeated wthout change. The ntervals are somewhat uncertan and the song s classfed as rregular n tonalty. The rhythm s nterestng and the song has an ndvdualty that suggests both pleasure and actvty.

* Densmorb] PUEBLO MUSIC 19 (Catalog No. 1903) m J. 108 # No. 16. Deer and antelope song # r P- 1 fff tart.rg-rp"ht :3t: m p 0-3 --L ul: r 'm Analyss. The most promnent tone n ths song s A, yet the melody contans the tones of the fourth 5-toned scale wth D as ts keynote. The song has a compass of only sx tones, but the number of progressons s unusually large. Twenty-sx of the 40 ntervals are whole tones.

20 BUREAU OF AMERICAN ETHNOLOGY [Eut.t.. 165 ACOMA SONGS: PART 2 The foregong songs, as stated, were recorded for Dr. M. W. Strlng, who kndly made them avalable. The remanng Acoma songs were recorded by the present wrter. HUNTING SONG The huntng customs of the Acoma center around the possesson of a small object called a huntng dog (cf. p. 94). Informaton on ths subject was suppled by James Paytamo, a natve of Acoma, who sad the huntng dogs, or fetshes, used by ths pueblo were made by prehstorc people and found by the Acoma. They are not natural formatons. Every successful hunter has a collecton of these huntng dogs, nherted from hs ancestors, and when a young man succeeds on the hunt he s presented wth one of them. A ceremony accompanes the presentaton. If a young man does not receve one as a gft he makes one for hmself, hdes t and goes to fnd t, takng a wtness wth hm. A huntng dog acqured n ths manner s beleved to have the same power as one gven ceremonally by an old man, and, t s worn at all tmes, ted n a corner of the neckkerchef. When a hunter has kued an anmal he puts the huntmg dog besde t, as though feedng the game to the dog. A prayer s offered at ths tme. The huntng song here presented s socal n character and would be sung at nght, n the camp, when the hunters were gettng near the game. Such a song mght be composed by the leader of the expedton who would sng t alone, the other hunters dancng. Such songs were sometmes composed by one man and sometmes by two men workng together. The accompanment usually conssted of beatng upon a packet of stff deerhde wth a wad of sheephde nsde t. The packet was about the sze of a smau pllow and was lad on the ground. One man beat upon t wth an ordnary stck. He knelt besde t on one or both knees, changng hs poston as mght be necessary for hs comfort. When a huntmg party returned successful, the leader mght start the same song and all the company would smg t wth hm as they danced. ' A "huntng dog," or huntng fetsh of the Zun, was seen n 1939 at Wsconsn Dells, Ws. It was part of a necklace of turquose and shell owned by Blue Sky from Zuf, the husband of Margaret Lews. Blue Sky Inherted ths necklace from hs g-andfather. The opportunty to see t was accdental. It had been placed n the noonday sun and the wrter chanced to be present when It was brought nto the buldng. Margaret Lews (pp. 7, 103) sad, "Turquose des f t s not put n the sun once n a whle" and ths necklace had been placed n the sun "to gve t lfe." Among the peces of turquose was a "huntng dog," recognzed at once. It was a natural formaton, somewhat oblong n shape wth a projecton at one corner that suggested a lttle, ponted head. In ths "head" were two tny black dots, supposed to represent eyes. The sze of the pece was about 1 nch by IJ nches. It was sad "when a hunter attended a huntng ceremony he carred such a 'huntng dog' n hs bag, together wth corn pollen and certan medcnes beleved to attract anmals, especally the deer."

j DensmobeI PUKBLO MTTSC 21 No. 17. Huntng song (Catalog No. 1904) s <9 1 #-# I lf L4f 1" B fa= 4Itlg p» # # # -«-p-h s g 0 M p 0-» 8 2 L I IT gj-rrrrjcrpv ' g I * jt W \ m x ;p 1» (* fuuvuupy\[jj p-js 378090 57 3 D. S.

22 BUREAU OF AMERICAN ETHNOLOGY [Bull. 165 Translaton Deer-youth, the one who s four tmes ahead, That s the one of whom I am thnkng, It s the knd of robe and the knd of face, the whole body and the knd of health he has, That s the one I am thnkng about. Antelope-youth, the one who s four tmes ahead. That s the one of whom I am thnkng, It s the knd of robe and the knd of face, the whole body and the knd of health he has. That s the one I am thnkng about. Somewhere along the edge, under a pne tree, There you are lookng for me, you are watng for me. Now I shall follow where you have gone. Somewhere out on the plan, somewhere among the sages, There you are lookng for me, you are watng for me, Now I shall follow where you have gone. Analyss. The framework of ths song s a major trad wth mnor seventh added (cf. Nos. 18 and 21). In the frst perod the tones of the trad occur n descendng order. The second perod s preceded by an ascent of an octave and ts openng measures are framed on the descendng tones G-sharp-E-C-sharp -A-E. The song closes on the major trad wth the keynote as ts hghest tone. The prncpal nterval of progresson s a fourth. SONG CONCERNING THE WATER USED IN CEREMONIES The water used n ceremones s brought from four drectons. The next song s concernng ths water and s sung by medcne men as they go n quest of t, also by women as they brng the water to be used ceremonally by the men. No. 18. Song concernng the water used n ceremones m a u T r \ m J =96 M yr* Jt (Catalog No. 1905) w _ 4 'hs. rjt r fjjrr n LIr

Dbnsmorb] pueblo MUSIC 23 No. 18. Song concernngthe water used n ceremones Contnued I 1 M-Lhj rrr r~rr p Cr la r 2!I!0"T7T7 W'W s r c-f CjT- r r r cf '''. rjt p rr r rfr g ''Mj'. rjrrrr acirr r'krrr p Analyss. The frst perod of ths song s based on a major trad and the second perod s based on the same trad wth the mnor seventh added, a framework noted n the song next precedng. In several nstances these tones occur n unbroken descendng order. The mnor thrd between G and B-flat s the most frequent nterval n the melody. Next n frequency s the major thrd whch comprses 20 of the 75 progressons. The use of A natural n two measures s nterestng, also the ascendng seven wth whch the song begns. mother's song to a baby In some Acoma famles t s the custom to select a baby's name on the fourth nght after t s bom. Certan songs are sung, and the name for the baby s suggested by the words of these songs. It s sad that the songs are "very pretty" and the words are chefly about the flowers. A dfferent sort of song s here presented, ths beng a song that a mother would sng to her baby. It was sad "the medcne man s always offerng prayers for the Uttle babes and ths song tells of the medcne man's prayer through whch the baby receved lfe."

[ 24 BUREAU OV AMERICAN ETHNOLOGY [Bull. 165 (Catalog No. 1906) No, 19. Mother's song to a baby J z 152 (1) (1) g_-j9 r mfttrrtr l! r r 1 r r (1) (1) S ts t- - f f trr f tft 1 1 ft a 1» # _ (1) (1) m p» I J '>Lh} t [ rr p (2) r--x,r r r 'H'lH r r r (1) # f - j9 f ) > lp P Q trtrrr rf» (1) (1) 1 1 r < rr I I 1 - Nr ' 1 p- (1) * (P» 1»-(» 1» P (» f #! J 1 (2 «e m (1) fffeftff rr r r f rr I r p (1)

Dbnsmobb] pueblo musc 25 No. 19. Mother's song to a baby Contnued (1) 1

26 BUREAU OF AMERICAN ETHNOLOGY [Bull. 165 It s customary for members of all the medcne socetes to speak somewhat as follows durng the prvate treatment of the sck: You can see that I am an ordnary human beng. It s a sprt that cures the sck through me. It s not wthn my power alone but I am takng the place of the sprt that has the power. Anyone who wshes may "say a few words to encourage the medcne man." Every medcne man has a dsh called awuna yst (p. 5) whch he uses n the publc treatment of the sck. Ths treatment s ceremonal n character and many medcue men take part n t, some beng actvely engaged n the treatment whle others sng and shake gourd rattles. The medcne dsh (p. 3, a) used n ths ceremony s dfferent from the medcne bowl, or dsh, mentoned n the song concernng Laguna Lake (No. 36). Into ths bowl the medcne man puts a substance made from a snake. He clams that by lookng nto the bowl he receves clarvoyant power and also s enabled to cure the sck person. The bowl s covered durng part of hs performance and he removes the cover when desrng to ncrease hs power or knowledge. The use of the "prayer stck" (p. 3, a) was not descrbed. The followng song s used by members of all the socetes of medcne men. (Catalog No. 1907) J = 93 F No. 20. Song addressed to medcne bowl tz ft f f f f f M ')- :LJ Lr r r t rj r r 'j- r r m y f ' r Lr rrrjfrr r 'j't f f f f frf rr IILJ P ' "

Dbnsmore] PUEBLO MUSIC 27 Free translaton Medcne bowl, you are gong to brush away the sckness Analyss. Ths s a pleasng melody wth a smple rhythmc unt and a compass of nne tones. It progresses chefly by whole tones, whch comprse 19 of the 33 ntervals. Next n frequency s a mnor thrd. The ptch s rased slghtly n repettons of the song. There were no words n the song next followng, whch was sung durng the actual treatment of the sck person. (Catalog No. 1908) No. 21. Song durng treatment of the sck Voce : 208 Drum J r 104 See Drmrrlythm below I ff tnttt vtrfr I "I r '>rjr \!m-ym\\rr ffff y-r r nuls \y f tv t f ' I» I R y-wtjfut m Drum-rhythm r r r r r r m Analyss. The framework of ths melody conssts of the mnor trad A-C-E and the major trad F-A-C, the tones of both trads occurrng n descendng order (cf. analyss of No. 17). The mnor thrd A-C s the contnung nterval between these trads and the most frequent nterval n the song. No secondary accent occurs n the frst and seventh measures whch are transcrbed n 7-8 tme, a secondary accent was, however, gven on the ffth count of the thrd from the fnal measure. The rhythmc unt s smple and gves steadness to the melody.

28 BUREAU OF AMERICAN ETHNOLOGY [Bull. 165 Several consecutve rendtons were recorded and show no dfferences other than the occasonal use of an eghth rest as a breathng space and the use of C nstead of A n next to the last measure. The drumbeat n quarter notes was heard n the 5-8 and 7-8 measures, the adjustment beng by a delay of the beat at the end of these measures. The drum and voce are synchronous at the begnnng of the next measures. A treatment of the eye was descrbed by Mrs. Henry Hunt, who sad that she had often been benefted by t and knew of others who had been helped. The treatment was gven by a medcne woman n ths manner. She cleansed her mouth, chewed a certan medcne, and then put her tongue nto the eye of the patent. She sometmes removed foregn bodes from the eyes of her patents. Certan persons made a specalty of ths treatment of the eye. A pecular mportance s gven by the Acoma to men who have been struck by lghtnng. Such men are afflated, but t does not appear that they consttute one of the medcne men's socetes. It s they, and no others, who treat dslocatons and fractures. It was sad that when lghtnng strkes a man he s supposed to be klled but that he wll be "put together by the lghtnng" f another member of the trbe does not see hm before tle thunder sounds. For ths reason the Acoma tell each other not to look at a companon f he s beleved to be struck by lghtnng. They say to each other, "Cover your eyes and turn asde untl after you hear the thunder." A man who has been struck by lghtnng s consdered "ntated." He s taken n charge by a man who has been prevously struck by lghtnng, who guards hm for 4 days. Durng ths tme the man stays alone and pu-fes hmself wth medcne. The members of ths group take turns n massagng hs whole body, especally hs abdomen, and one man of the group adopts hm as hs son. He s allowed no food durng the treatment. On the fourth day he s allowed to eat and go outdoors, and, after performng certan acts, he can treat dslocatons, fractures, and smlar forms of dstress. As a sgn of authorty he must be able to show the scar made by the lghtnng on hs body. The man who has taken hm as a son goes wth hm to the place of the accdent to search for the flnt tp of the lghtnng bolt. It s the Acoma belef that every bolt of lghtnng has a flnt tp and ths, when

DENSMORB] PUEBLO MUSIC 29 found, becomes the fetsh of the man who was struck by the Hghtnng. When treatmg a fracture he presses ths over the affected part and also uses t n settng a bone. In hs treatment of a fracture, such a man uses a sphnt from a tree that has been struck by hghtnng. He bnds the broken bone wth ths sphnt and leaves t n place untl the bone has had tme to heal. He then removes the splnt and massages the flesh wth medcne and replaces the splnt. He does not use grease n massagng the fracture, whch s the custom among the Soux and Chppewa (cf. Densmore, 1918, p. 261, and Densmore, 193G b, pp. 334, 335). WINTER DANCE SONGS The Acoma call ths the Zun dance because t was obtaned from that Pueblo, but the Acoma have composed ther own songs for t. The dance s also called Bask, a term used n no other connecton. Mdwmter s the tme for ths dance whch s held n the vllage plaza. It s a pleasure dance n whch many young people take part. There s no specal costume, but both young men and grls carry a branch of spruce m each hand, holdng t erect as they dance. The grls wear ther best rament, ncludng buckskn sandals and wrappngs from ankle to knee; they also wear ceremonal blankets. The sngers usually number about 20 and the accompanyng nstrument s a drum smlar to that shown n plate 2, a, but larger. One man beats upon t. The dancers form n a double lne, two young men beng followed by two young grls, who, n turn, are followed by two young men, and so on. The sngers and the drummer walk besde them. The entre company moves forward a dstance of about 200 feet, then turns and comes back agan, the men and grls wth a dancng step whle the sngers walk near them. In dancng ths dstance they sng four songs wthout stoppng. Occasonally the dancers go back to rest n ther chamber. Four songs comprse a set, as stated, and two songs of a set are presented (Nos. 23, 24). Before sngng these songs the snger recorded a song that he desgnated as "oflcal," though used n a socal dance (No. 22). In ts orgnal connecton ths song was sung by a feld chef when gong out to vst the country and, the sheep herders at nght. It was part of hs duty to protect the trbe by ths watchfulness.