any and all theories. In such music we may study the operation of natural psychical laws correlated with physical laws, working freely and coming to spontaneous expression through the vocal apparatus.
These Navaho songs are especially valuable because they carry us well back toward the beginnings of music-making. One only needs to hear them sung, or listen to them in the admirable phonographic records of Dr. Matthews, to be convinced of this from the very quality of tone in which they are sung. In all of them the sounds resemble howling more than singing, yet they are unmistakably musical in two very important particulars: (1) In their strongly marked rhythm; (2) In the unquestionably harmonic relations of the successive tones. I shall deal with them, therefore, under the two heads of Rhythm and Harmonic Melody.
1. Rhythm.—Mr. Richard Wallascheck, the distinguished author of "Primitive Music," has lately called attention to the importance of sonant rhythm. Not only does the rhythmic impulse precede the other musical elements, but the superiority of sonant rhythm is such as to serve as an incitement to tone-production. Rhythm tends to set the voice going; and of course vocal sounds, which constitute the first music, do not become music until they are rhythmically ordered. They tend to become so ordered by a natural law of pulsation which need not be discussed here. The regularly recurring pulsations, which specially show themselves in all prolonged emissions of vocal sounds, tend also to form themselves in metrical groups; speaking broadly, these metrical groups are usually twos or threes, or simple multiples of twos or threes. This is so, for the most part, in savage folk-music, in our most advanced culture-music, and in all the development which comes between. The metrical grouping into fives or sevens is comparatively rare; but I have found it more frequently by far in savage folk-music than in our music of civilization.
The most striking characteristic of the metrical grouping of tones in the Navaho songs here given is the freedom with which the singer changes from one elementary metre to the other; i.e. from twos to threes and vice versa. So in the compound metres: two twos and three twos, or two threes and three threes, are intermingled with the utmost freedom, so that few of them can be marked in the notation with a single-time signature. Or, if they are, there is almost sure to be an exceptional measure or two here and there which varies from the fundamental metrical type. Thus, the first song on cylinder No. 38 has metrical groupings of three threes and of two threes; i.e. 9/8 and 6/8 time. The two songs on cylinder No. 41 have three twos and two twos, treating the eighth note as a unit; or, better, 2/4 and 3/4 metre, mingled at the pleasure of the singer. Nearly all the songs vary the metre in this way. The one on cylinder No. 62 has an exceptionally rich variety of metrical arrangement; while the second one, on cylinder No. 38, is exceptionally simple and monotonous in metre and rhythm. A few of them, like No. 25, recorded on cylinder No. 143, are singularly irregular. This song would seem to be based on a grouping of simple twos (2/4 time, equal to 4/8) as its fundamental metrical conception; yet a great many measures contain only three eighth notes, and some contain five or even six. The song numbered 28, on cylinder No. 144, has a 3/8 metre as its foundation, but varied by 2/4 equal to 4/8. In respect of metrical grouping, these Navaho songs do not differ in any essential characteristic from the songs of the Omahas, the Kwakiutls, the Pawnees, the Otoes, the Sioux, and other aboriginal folk-music, nor from that of other nations and races, including our own. The complexity of metrical arrangement has been carried much farther by some other tribes, notably the Omahas and the Kwakiutls, than by the Navahoes, so far as appears from the present collection of songs. There is no record here of an accompanying drum-beat, so that, if the combinations of dissimilar rhythms which are so common in the two above-named tribes exist among the Navahoes, they are yet to be recorded and transcribed.
