Songs of the Copper Eskimos 19 



The larger structure of the melody is indicated by the large Roman num- 

 bers (showing when there are two or more distinct songs combined into one 

 which have not become fused) ; by the capital letters marking the phrase 

 divisions, and by the abbreviation, {ext.), meaning a melodic extension of what 

 has just preceded, but which has not developed enough originality to be lettered 

 as a new phrase. All of these signs run above the staff. The phrases are some- 

 times smaller than the regulation four-measure size demanded by the rules of 

 kcomposition developed by the classicists. Some are composed of only three 

 'measures, often consistently for some distance in the song, at other times they 

 are but two measures. Really these latter are sections and are not called phrases 

 unless they are separately repeated in other combinations elsewhere in the song. 

 Differences in the composition of phrases are indicated by prime marks. 



The Tabulae Analyses 

 / 



The tabular analyses hardly need explanation. The capital letters at the 

 left indicate the corresponding phrases in the music. Immediately following 

 them on the same line are the letters representing the measures which constitute 

 the phrase. Directly under these are the numbers giving the beats in the 

 measure, even to fractions. If a phrase begins on a fraction of a measure no 

 letter is furnished at the beginning of the song and usually not elsewhere, 

 but only the number of beats involved. Phrases that end with an incomplete 

 measure carry the letter of that measure and as many beats as are actually 

 concerned; the remainder will be found at the beginning of the next phrase, 

 but without a letter. The only exception to this general rule is where the phrase 

 has extended only a short distance into a measure of some length, where it has 

 been felt that the measure largely belonged to the next phrase. In that case 

 the half-beat or beat with which the old phrase ended is merely represented 

 numerically at the end and the measure letter with the remaining number of 

 beats is placed with the new phrase. Question marks indicate the pauses for 

 he he he or other similar syllables. The number of beats consumed is given 

 directly beneath. 



Under the caption' measures is given the number of measures or primary 

 accents in the phrase, and under the heading beats the total number of beats in 

 these. Here half-beats have been added together into as many whole- ones as 

 they will make, not only because of the actual time that does elapse, during 

 which the singer or dancer is really beating them out with his drum or with his 

 feet in the dance steps, but because it has been suggested that possibly a feeling 

 for long metric patterns is more keenly developed among some primitive people 

 than with ourselves. Personally, the writer does not feel this to be so, except in 

 the roughest calculation, but believes that the actual situation is the centering 

 of appreciation in the single beat, although the presence of extra half-beats 

 which cannot be "added up" with anything, and even of quarter-beats, tends to 

 shake a belief that even the single beat is strictly observed. 



By means of the measure and beat columns it is easy to compare the phrases 

 as regards the number of primary accents and the actual length in beats. 



Other points about the tables will explain themselves or will be discussed 

 as they come up. 



88540— 2i 



