# Identification and Description of Outliers in the [PERSON] Collection of Native American Music
## 4 Outliers in the Densmore Collection of Native American Music
### Performance and Encoding  
Table 6 illustrates outliers pointing to challenges in the transcription or analysis of a song, or to peculiarities in the performance when the song was collected. For example, for the Chippewa song ID70 [PERSON] comments that \"[the] tonality of this song is obscure. It is transcribed exactly as sung, the different renditions being identical, yet the key is not definitely established, neither are modulations indicated with sufficient clearness to be safely assumed\" ([7], p. 80), hence the ending of the song cannot be related to a clearly defined keynote (lastReKey: irregular). In the Chippewa song ID125, the ambivalence between two keys arises from the presentation of the song, when the singer shifted pitch by a semitone between sections of the song. The resulting change in key from C minor to C sharp minor highlighted in [PERSON]'s narrative analysis is clearly reflected by the change of key signature in her transcription of the song (Figure 5).  
The Choctaw songs in [PERSON]'s collection generally begin on an accented count of the measure ([17], p. 182); the song ID2271 is one of only eight (out of 65) Choctaw songs starting with an unaccented tone. However, of this song two renditions were recorded and transcribed, and only the first rendition indeed begins on an unaccented part of the measure, while the second starts on the first, accented, beat of the measure, thus following the more common trend of the Choctaw songs in the collection.  
\begin{table}
\begin{tabular}{c c c} \hline \hline
**Song** & **Group** & **Outlier Description** \\ \hline ID70 & Chippewa & [lastReKey: irregular] \\  & & \"The tonality of this song is obscure. [...]\" ([7], p. 80) \\ ID125 & Chippewa & [lastReKey: irregular] \\  & & \"[The song] is interesting in that the singer began the last half slightly too high, thus changing the key from C minor to C sharp minor.\" ([7], p. 59) \\ ID194 & Chippewa & [lastReKey: irregular] \\  & & \"This song offers a distinct problem in tonality. The tones are those of the fourth five-toned scale on G flat, but the first part of the song affiliates only with the chords of the key of D flat and the last part only with the chords of the key of G flat. Neither key is well established by the melody.\" ([7], p. 100) \\ ID820 & Mandan and Hidatas & [lastReCompass: containing\_lower] \\  & & \"The descent of an octave in the third measure from the last extends the compass of the song to 13 tones. The low tone [the only tone lower than the last tone] is short and was simply touched by the voice, as it was below the singer’s natural range.\" ([11], p. 93) \\ ID2271 & Choctaw & [firstMetr: unaccented] \\  & & \"Two renditions of this song were recorded and both are presented [...]. The first rendition contains an introductory phrase which is indicated as a rhythmic unit. This does not occur in the repetition of the song.\" ([17], p. 169) \\ \hline \hline \end{tabular}
\end{table}
Table 6: Outliers in the [PERSON] collection with reference to performance or encoding.  
Figure 5: Chippewa song ID125, transcribed in outline ([7], p. 59).