Music 471 



The tempo throughout this part is 80 and the rhythm strongly 

 marked. There is a wait between the two lines. The machine was 

 evidently stopped at this point or the needle raised and started again. 

 Each line has the uncommon number of five measures the same as 

 the first part, but metrically the part is in 4/4 rhythm. 



The second time through, the singers seem to be striving to re- 

 peat the first line of the movement with embellishments consisting 

 of inverted mordents, appogiature, and trills. 



Musically, there seems to be absolutely no connection between this 

 song and the other two of the same ceremony. In many ways this 

 song is the most interesting of those submitted. In origin it probably 

 dates between the other two. 



It is not given consecutively on the record, as there were breaks 

 between each two lines while the needle was raised. 



Da-eng. Girls' part. 

 Record J. Sung while dancing in a religious ceremony. 



The record shows but two voices one of which is greatly pre- 

 dominant in strength and confidence as if it were the leader's voice. 



The song is cast in the scale of B minor. It is not pentatonic. The 

 singers would employ, so an interrogation-mark is placed below that 

 be either A* or A*, according to whether the scale is the natural minor 

 or the harmonic minor, it is not possible to determine which tone the 

 singers would employ, so an interrogation mark is placed below that 

 note. The raised fourth (E $ ), shown in the fifth measure of four out 

 of the six verses, is perfectly intentional on the part of the singers, 

 but musically, is to be interpreted as an accidental, and does not affect 

 the scale of the song. 



In this song we again have the interval of a fourth without the 

 sixth above. It occurs four times, each time followed immediately by 

 the less primitive and more harmonious interval of a minor third. 

 The minor third harmony also occurs in three other measures, — in 

 these without preparation. 



These minor thirds are all the same, — B-D, the foundation of the 

 tonic chord of the key, — evidence that the singers have a keen sense 

 of the minor tonality. 



The tempo alternates between 96 and 108. The first half of each 

 line is given at 96, but the second half is taken more rapidly at 108 

 beats per minute. Each of these rhythms is very evenly preserved, 

 the time being well marked by accented notes and pulsations of the 



