# Identification and Description of Outliers in the [PERSON] Collection of Native American Music
## 4 Outliers in the Densmore Collection of Native American Music
### Context  
Reference to metadata or contextual information can support further exploration of discovered outliers. The outliers listed in Table 7 provide some examples. Infrequent properties of outliers may be related to a different origin or type of song, a minority subset within the song's class: [PERSON]'s publication on Yuman and Yaqui songs also presents three songs of the Mohave, including the Mohave song ID1289 with a compass of nine to twelve tones: _\"only four [Mohave songs] were recorded,_ as the Mohave songs were not a subject of special investigation. Three were transcribed [...]. These Mohave songs have a _somewhat larger compass_ and are more lively in general character than the songs of the other Yuman tribes under consideration\" ([15], p. 183, our emphasis). As another example, the Teton Sioux song ID679 \"is said to be _the only lullaby used among the Sioux_. [...] This and song No. 204 [ID682] are the only songs in the present series having a compass of but four tones\" ([9], p. 493, our emphasis). Song ID682 is a begging song with \"a wailing melody, well calculated to wear out the patience of the listeners\" ([9], p. 482).  
Alternatively inspection of outlying songs sharing the same unusual features may reveal links between individual songs. Commenting on the Chippewa song ID280, [PERSON] remarks: \"This melody contains three _peculiarities which rarely occur_ in Chippewa songs. First, it begins and ends on the same tone [the keynote]. This feature is found in only 11 songs (3 per cent) of the entire series of 340\" ([8], pp. 139-140, our emphasis). Among these 11 songs, songs ID102 and ID447 are in fact two versions of the same lullaby recorded at different reservations (Figure 6): \"The only two songs which the Lac du Flambeau Chippewa were found to have in common with the White Earth Chippewa are the lullaby and the song accompanying the folk tale of [PERSON] and the ducks\" ([8], p. 241). The ending on the keynote is common among Chippewa songs, thus the outlier description based on minimal infrequent patterns highlights the beginning on the keynote.  
\begin{table}
\begin{tabular}{l l l} \hline \hline
**Song** & **Group** & **Outlier Description** \\ \hline ID102 & Chippewa & \{firstReKey: keynote\} \\  & & \multicolumn{2}{l}{“This lullaby is very old and is widely used among the Chippewa [...].” ([7], p. 163)} \\ ID280 & Chippewa & \{firstReKey: keynote\} \\  & & \multicolumn{2}{l}{“This melody contains three peculiarities which rarely occur in Chippewa songs. First, it begins and ends on the same tone [the keynote].” ([8], p. 139)} \\ ID447 & Chippewa & \{firstReKey: keynote\} \\  & & \multicolumn{2}{l}{“This lullaby was first recorded at White Earth, Minnesota (Bulletin 45, p. 163). On comparing the two transcriptions it will be seen that the first four measures are identical and that the latter parts differ, though both renditions end on the same tone.” ([8], p. 241)} \\ ID679 & [PERSON] & \{compass: four\_or\_less\_tones\} \\  & & \multicolumn{2}{l}{“This and song No. 204 [ID682] are the only songs in the present series having a compass of but four tones [...].” ([9], p. 493)} \\ ID682 & [PERSON] & \{compass: four\_or\_less\_tones\} \\  & & \multicolumn{2}{l}{“[...] the song having a compass of four tones.” ([9], p. 482)} \\ ID1289 & Yuman and Yaqui & \{compass: nine\_to\_twelve\_tones\} \\  & & \multicolumn{2}{l}{“The compass is nine tones, the only songs in this work which have a compass of more than an octave being this and No. 124 [...].” ([15], p. 183)} \\ \hline \hline \end{tabular}
\end{table}
Table 7: Outliers in the [PERSON] collection which invite further inspection considering metadata or contextual information (for details see text).