BOAS.l 



MUSIC OF THE ESKIMO. 



651 



III. Utitiaq's song— Continued. IV. 

 (3) Situqdjualimena adlenait. 



Atotyjoqtai-omeua 

 Tanerangitu adlenait. 

 Aja! 

 &c. 



IV. Kadlu's song: 

 1) Odlaqe', odlaqe'. odiaqe'. 



Odlaqe' saranga tutariuiga atu- 



jang una ajajaja. 

 Odlaqe' atedlirlungai a^rigiin 

 qodlusuaning a^iatungitunga 

 ajaja. 

 Nettiulunga i;(atijetingirn pinas- 

 sousii'dhmii-n pinasuatautlLr- 

 padlk-unirn. 

 Some of these verses contain only a single word, tlie rhythm l)eing 

 ])rought about by the chorus aja, auma aja, &c. I add tM-<j examples 

 of this kind: 



Kadlu's song — Continued. 

 (2) Odlaqe', odlaqe', odlaqe'. 



Odlaqe' saranga tutai-anga atu- 



jang una ajajaja. 

 Odlaqe' atedlirlungai aj;igirn 

 qodlusuaning a^iatungitunga 

 ajaja. 

 Ugjurutlarunirn i^atijitingirn \>i- 

 nassousirdlunirn pinasuataut- 

 lirpadlirnuniru. 

 . . . &c. 



(3) 



V. S 'Ug in the language of the Angakut : 

 Ajarpaija taitlaniqdjuaq ajarpe 



aitai-jiik ajijaija. 

 Ajarpaija ataqdjuaq ajarpe ait- 



arpik ajijaija. 

 Ajarpaija mingeriaiidjuaq ajarpe 



aitarpik ajijaija. 



VI. 0^aitoq"s song: 

 Aja. 



(1) Ta\-unga taviuiga tavimga tav- 

 unga 



Tavunga tavunga tarunga tav- 



unga tavungadlo taviuiga 

 Aja. 



(2) Pissutaramaima taviuiga tav- 



unga. 

 Pissutai-amaima tavunga tav- 

 unga tavungadlo tavunga, &c. 



The rhythm of the songs -will best be understood by examining 

 the melodies. Every long syllable may be replaced by two or even 

 three short ones; other short syllables appear as unaccented parts 

 before the accented part of a measure; in short, the rhythmic adap- 

 tation of the words to the melody is very arbitrary and inter- 

 changes frequently occur, so that it is impossible to speak of metric 

 feet. At the same time this furnishes distinct proof that the musical 

 rhythm is the decisive element in determining the form. The rhyth- 

 mic arrangement of the words is regulated with considerable exact- 

 ness by the quantity of the syllables, and not by the accent. \\Taile, 

 for instance, in speaking, it would be " palirtu'gun," in song No. IV 

 it is "palir'tugun'," and in No. I "tekto'roti'kelek'tlune," instead of 

 " tektorotikelektlu'ne." &c. Such displacements of the accent, how- 

 ever, are avoided if possible, and in the best and most popular songs 

 they hardly appear at all. 



The construction of the songs corresponds entirely with that of 

 the music, inasmuch as every melody and every rhythmically spoken 

 song is made up of musical, that is, rhythmic, phrases which are di- 

 vided by csesurce. Kepetitions of the same phrases are very frequent. 



