210 Canadian Arctic Expedition, 1913-18 



No. 60 is irregular, not only in particulars such as tonality, but the record is 

 faulty which causes a loss of part of the tune. It is evident that the first phrase 

 of the prelude is different from the first phrase of the verses, although in their 

 succeeding parts both are alike. No. 61 has a short prelude of one measure, 

 rather like a connective. In all other respects it belongs with the irregular 

 group which forms the fourth subdivision of the atons. 



These number 61 to 68 inclusive. In No. 61 the first verse has but one 

 phrase, followed by a two-phrased refrain and a connective, but the second 

 verse is in length altogether disproportionate, with five phrases, while the frag- 

 ment of the refrain which is given for it before the song is cut off, introduces 

 an entirely new phrase. In No. 62 there are no verse-parts well defined and no 

 refrains, but there are sections which are separated from one another by con- 

 nectives. The first is the single phrase A, the second consists in two phrases, 

 B and C, the third in one long phrase BC, which combines the material of the 

 two previous, and a fourth. A', which is very like the first. 



With No. 63 we come to a type of song of which there are several representa- 

 tives, not only among the Copper Eskimo but in the regions from which songs 

 have been collected which are to be discussed at the end of this article. There 

 is more form to No. 63 and others which are called atons than to those from 

 Point Hope, Alaska and elsewhere. There are no refrains and no connectives, 

 but a succession of several phrases, each different, which may be repeated 

 entirely or in part. No. 63 has fewer of these different phrases than most. After 

 A, B, C and D, there is a return to A', B and part of C before the song ends. 

 Another slightly different design is exempHfied by No. 64. The order of phrases 

 in this song is, A, B, B', A', C, D, and part of A". Another peculiar pattern, 

 if it may be so termed, is that in No. 65. Here the phrases are. A, B, C, B', C, 

 B" C", B" ', B" ", B" " ', B" " ". This is an almost perfect specimen of 

 metric regularity, and has some well-defined rhythms. These are discussed in 

 their place with the song. 



A still different pattern is found in No. 66. Phrases A, B, C and D, the 

 latter with an extension, are succeeded by an exclamatory section like the 

 he he he that we have encountered in the pisiks, and then by an E phrase with 

 its extension. After this there is a return to the melodic ideas of the first part, 

 in A', B', C, and D, each being systematically cur^iled, the D by the omission 

 of the extension. That the song is finished is shown by the exclamations which 

 follow. Many other very interesting points are revealed by the analysis. 



The last two little songs were too short for the disclosure of any particular 

 form. The first. No. 67, is said to be a very ancient tune. While not long enough 

 for more than two phrases, of three measures each, there is admirable smaller 

 form in the rhythms and the balance as well as hints at sequences. No. 68 was 

 not analyzed. 



Of the eighteen songs classed as atons, seven of the seventeen which were 

 analyzed are definitely in major tonality, four are major modulating to minor, 

 one is minor, one shifts from minor to irregular, two are irregular, one changes 

 from irregular into major, and one from major to irregular. Seven commence 

 on the fifth degree of the major scale, two on the third,' two on the tonic, one on 

 the foiu'th, if the tonality of that song is major; one begins on the third of the 

 minor scale and one on the minor seventh of the minor scale, while the beginning 

 of the rest could not be determined because no tonality was established. Five 

 songs close on the fifth of the major scale, five on the third, although in one case 

 this is not absolutely certain, one on the second and one on the tonic; two end 

 on the fifth of the minor, one on the tonic, and the rest are undetermined. The 

 general levels are, seven on the third of the major scale, although two are not| 

 clear cases, three on the fifth (one of which is questionable), one on the tonic 

 (the same which begins and ends on this tone) ; one ends 05. the fifth of the minor 



