The songs presented herewith were selected from 340 songs recorded and transcribed in a study of Chippewa music made for the Bureau of American Ethnology, Smithsonian Institution, by the writer. They were recorded in 1907-10 on the principal reservations in Minnesota and the Lac du Flambeau Reservation in Wisconsin. It was an opportune time for the work as a few of the old leaders and warriors were still living. These men realized that the old songs were disappearing and consented to record them when told "Their voices would be preserved in Washington, in a building that would not burn down." In fulfillment of that promise, the American people man now have copies of their recordings-songs of their dreams, dances and games, songs of the warpath and camp, love songs and the songs with which they treated the sick, as well as songs of their religious organization, the Mide'wiwin (Grand Medicine Society).

These songs, thirty in all, were recorded by sixteen singers, four of whom were women. Several of the men and three of the women spoke practically no English, and, with few exceptions, the singers were about 70 years of age, several being much older.

A favorable approach to the Minnesota Chippewa was aided by certain men and women of mixed blood, living on the White Earth Reservation, Most of these were relatives of William W. Warren, the historian of the tribe. His sister, Mrs. Mary Warren English, was my principal interpreter; another sister, Mrs. Julia Warren Spears, gave information; and his niece, Mrs. Charles W. Mee, commended the work to the Indians and interpreted when necessary. They also recorded songs, one of which, recorded by Mrs. Spears, is included in this album. I became acquainted with these members of the tribe with some of the singers in June 1905, when attending a certain celebration at White Earth.

The recording of Chippewa songs was begun in September 1907, at Onigum on the Leech Lake Reservation. I had visited this locality the previous June and heard the members of the Mide'wiwin sing their songs around Flat Mouth, their dying chief. His death took place a few days later, and I remained for his burial. All this was remembered by the Indians when I returned and asked them to record songs.

My first recording equipment was an Edison phonograph which was then the best equipment available. The next summer, it was replaced by a Columbia gramophone with four heavy springs. At that time the Indians were not generally accustomed to phonographs and few, if any, had seen the making of records. One Chippewa woman, after hearing a record of her own voice, looked at the phonograph and exclaimed, "How did it learn that song so quick? That is a hard song."

Each class of Chippewa song has its accompanying instrument. The hand-drum which is common to many tribes is used with game songs and by a man when singing alone; a large drum is used at dances, the singers sitting on the ground around it, each with his own drumstick; the doctor uses a gourd or disc-shaped rattle; and a waterdrum and gourd rattle are used in the ceremonies of the Mide'wiwin. Indians are accustomed to singing with some form of accompaniment, but the drum and rattle overpower the voice if used when songs are recorded. Therefore it was necessary to find, by experiment, some form of accompaniment that would satisfy the Indian singer and also record the rhythm of the drum or rattle. Pounding on a pan was too noisy, but this and other forms of accompaniment will be heard in the present series. Songs were often recorded in an Indian schoolroom during vacation, and an empty chalk box was found an excellent substitute for a drum. Inside the box I put a crumpled paper that touched the sides of the box but did not fill it. The box was closed and struck sharply with the end of a short stick, producing a sound that was heard clearly on the record. This was percussion without resonance, and made possible the transcribing of the rhythm of the native accompaniment.

The wishes of the singer were consulted, as far as possible, in the recording of his songs. One singer might insist that no one should hear him sing, while another might ask that a friend be present or that the record be played for his friends. The songs of É'niwub'e were recorded in his home at Lac du Flambeau. The activities of the family went on as usual but did not disturb him.

The songs heard at Indian dances are generally small in compass, but a tabulated analysis of 340 Chippewa songs shows that 3 percent have a compass of 14 tones, 30 percent have a compass of 12 tones, 11 percent have a compass of 10 tones, and 21 percent have a compass of an octave.

In listening to these records it should be borne in mind that they were made in the field and intended only for the use of the collector. Also, that sounds recorded on wax cylinders are amplified by electric copying. The purpose was to preserve the old melodies and, so far as possible, the old technique in singing them. The several renditions of a song often show slight differences, and it is impossible to indicate in musical notation the by-tones and embellishments that are heard in some songs. Such freedom is allowed an expert singer of our own race and is not shown in our notation. The Indians value skill in singing, but they appreciate the fine old songs, though sung by men with weak voices. The words of Chippewa songs are generally few in number but many songs are highly poetic.

With an understanding of these peculiarities, Chippewa music may be recognized as part of the native culture of the tribe.