. Bulletin. Ethnology. 224 Makah BUREAU OF AMERICAN ETHNOLOGY [Bull. 124 (Catalog No. 1406) No. 122. A Song of Prophecy Recorded by Helen Irving Voice J-69 Drum J — 96 Drum-rhytbin similar to No. 10 -•- #- -^ £J i=^t^ -:t—t- ^=^. 5IIS 4: M. 8 I Fi7ie ^ =^-^—^ 4— ^ TRANSLATION Everybody will be afraid to look upon his little face because on his little round cheek will be a xixitiyftk (belt of the thuuderbird). Analysis.—The peculiar rhythmic structure of this song can be observed best if the song is sung several times. Four renditions were recorded without a break in the time. The connective ph
. Bulletin. Ethnology. 224 Makah BUREAU OF AMERICAN ETHNOLOGY [Bull. 124 (Catalog No. 1406) No. 122. A Song of Prophecy Recorded by Helen Irving Voice J-69 Drum J — 96 Drum-rhytbin similar to No. 10 -•- #- -^ £J i=^t^ -:t—t- ^=^. 5IIS 4: M. 8 I Fi7ie ^ =^-^—^ 4— ^ TRANSLATION Everybody will be afraid to look upon his little face because on his little round cheek will be a xixitiyftk (belt of the thuuderbird). Analysis.—The peculiar rhythmic structure of this song can be observed best if the song is sung several times. Four renditions were recorded without a break in the time. The connective phrase resembles the second and third measures of the song, giving a subtle effect of "endless melody" to a series of renditions. The discrepancy between the tempo of voice and drum is interesting, though the tempo of the voice was not rigidly maintained. For example, the fourth measure was always sung a little slower and the sixth measure a little faster than the indicated speed. The song contains 12 ascend- ing and 13 descending intervals, and about two-thirds of the progres- sions are whole tones. In the next song the child is supposed to speak of the Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original Smithsonian Institution. Bureau of American Ethnology. Washington : G. P. O.
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