18 Canadian Arctic Expedition, 1913-18 



them or they may be inserted in another place. Usually these syllables are cries 

 rather than intoned words, and are not definitely pitched. I have, however, 

 indicated the pitch as nearly as possible, that a better idea might be obtained 

 of them. They are also usually in keeping with the rhythm of the song. Such 

 parts in the music are enclosed in parentheses also, as are the syllables, and are 

 not counted in the musical analyses; nor are any measures that are clearly 

 mistakes or false starts. 



\/ between notes indicates a break in the continuity due to breathing or 

 some other cause. 



V over a note represents a waver, always less than a quarter of a step, 

 down and back to the original pitch. 



To avoid numerous repititions in copying and printing, where parts of the 

 melody recur without change, words such as Ref. 1 or Conn, (refrain 1 and 

 connective) or else capital letters indicating whole sections that have previously 

 appeared, are inserted in blank measures in place of the music. 



Explanation of signs used in the musical analyses 



On the Music Itself 



The measure has been taken as the unit of musical expression. Motifs, 

 as they are known to students of composition, correspond closely to the measure, 

 since they must include one primary accent, but they may be strictly composed 

 of the last part of one measure and the first part of the next. To indicate them 

 strictly here would involve much complicated marking, more confusing than 

 practical. Where phrases and verses begin on the last part of a measure they 

 have been so marked. 



Small letters directly beneath the staff designate the measures, and the 

 same letter is used for all measures that are composed of the same tonal material 

 in the same or very similar arrangement. Degrees of difference in rhythm or 

 in small melodic particulars have been indicated by the small numbers a little 

 above and to the right of the letters. The repetition of musical ideas with numer- 

 ous infinitely small differences has necessitated many degrees of the same letter, 

 so that the small numbers were deemed better than prime marks for showing 

 the variations. To classify these and assign appropriate numbers for the actual 

 amount of difference from the original measure, would have necessitated many 

 days of labour for no really practical end, especially as in many cases one kind 

 of difference would have as good a claim to the next place in order as another; 

 so the small numbers as they stand usually represent merely the different kinds 

 of measures of a single type as they are encountered in the course of the song. 



By means of the letters and their numbers it is easy to observe at a glance 

 how extended is the musical development, either melodically or rhythmically. 

 Now and then a measure has been lettered which later in the song is expanded 

 from within in such a manner as to cover two primary accents, or to compose 

 two measures. The two measures are then connected by a slur and a line drawn 

 through the letter horizontally. In the tabular analysis which will presently be 

 discussed, this situation is met by a dash after the letter and the number of 

 beats for the second measure appear under the dash. 



Measures which early in the song have been separate, are sometimes teles- 

 coped into one, in which case the letters are combined which represent them. 

 Tonal material is often inverted and the sign (®) after the letter indicates 

 this condition. Again the measure may seem to be reversed in places in the 

 song, and for this the sign (^ ) is used.^ 



1 The^e are not the original si?na used by Miss Roberts, but are very similar. Her. si^os, placed above, not aiter 

 the letters, are retained in the music. Those giv6n above were substituted in the analyses to avoid typographical 

 difficulties. Miss Roberts unfortunately did not see the music from the time it left her hands to be copied until it appear- 

 ed in page proof too late to be corrected. 



