. Bulletin. Ethnology. No. 6] MUSIC AND DANCEâKURATH 135 0* c s 1V r p - 1 f L r -1 4 5«, 1 f " ? J ^ ' 1 ft - o 1 P 6-J t â ^â0â1âiâ >* -J V- t- ' 1 -â¢â1 ' M 1 [, ^ -*âh-. Figure 10.âSong scales. In fourth scale, the whole note is sustained. Explanation : The note-values do not refer to the rhj'thms of each song. They represent tone weighting, that is, the relative frequency and importance of each note. The main tone (tonic) is represented by a whole note, the next important note (of, say, eight repetitions) is written as a half-note, and the next note or notes (of, say, four repeti
. Bulletin. Ethnology. No. 6] MUSIC AND DANCEâKURATH 135 0* c s 1V r p - 1 f L r -1 4 5«, 1 f " ? J ^ ' 1 ft - o 1 P 6-J t â ^â0â1âiâ >* -J V- t- ' 1 -â¢â1 ' M 1 [, ^ -*âh-. Figure 10.âSong scales. In fourth scale, the whole note is sustained. Explanation : The note-values do not refer to the rhj'thms of each song. They represent tone weighting, that is, the relative frequency and importance of each note. The main tone (tonic) is represented by a whole note, the next important note (of, say, eight repetitions) is written as a half-note, and the next note or notes (of, say, four repeti- tions) as a quarter note, and so on. The final note, shown by a hold, is frequently but not always identical with the main tone. Even in this simplified form, weighted scales are useful in showing range, focus, and scale construction. For instance, they show the homogeneity of the stomp type, 6 and 7. (See also Speck and Herzog, 1942, pp. 90, 107-108.) GEOGRAPHICAL SEPARATION AND COMMUNICATION Longhouse separations have molded such changes into local styles. The distinctions have subtle reasons, such as vocal quality, the shift- ing of one note in the scale (fig. 3), or variations in tone weighing (figs. 1-5). However, constant intercommunication has taken dance songs on long trips. Proximity at Six Nations Reserve has drawn together the longhouses of the different tribes into a constant inter- change of artists and ceremonial leaders, into a gradual unification of practice, and even into introductions from their Algonquian neighbors. Recently improved transportation facilities are encour- aging song dissemination and are leveling differences between distant longhouses. COMMUNAL RITUAL Whatever the means of innovation and introduction, these con- tributions are never haphazard. However spontaneous the sequence of events and the details of execution, they follow in unhurried order within the ancient frame of each ceremonial. Participation is open. Please note that
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