Songs of the Copper Eskimos 249 



UNDIFFERENTIATED DANCE SONGS 



The undifferentiated songs divide themselves into the same groups that 

 we have found among the pisiks and atons, namely, those • with no melodic 

 prelude, but which, nevertheless, are sometimes sung over first to burden syl- 

 lables, those which have a real melodic prelude, and those which are irregular 

 in form like the last group among the atons. 



There are six songs in the first group, which have no melodic prelude, although 

 in the first, the song is begun with the connective. These songs are Nos. 69 to 

 74 inclusive. The first song is divided into two, but both are the same in 

 structure. The second is a corrupted version of No. 70 with which it is interest- 

 ing to compare it. The first three songs of this group have all the verses or 

 verse-parts the same, and are alike structurally in that there are three phrases, 

 A, B, and C, the latter the refrain. The fourth song also has all parts alike, 

 but it is two-phrased in structure, the last part of the second being the refrain. 

 This is inseparably connected with the second phrase of the verse, has its in- 

 ception in the final measure of the phrase proper, and is carried to completion 

 in the extension. It is the fourth of the songs that form the little group with 

 this peculiar plan, Nos. 32, 54, 57 and 72. 



With No. 73, we encounter the rather rare type in which the verse is divided 

 into three parts, each unlike the others and each with its own refrain. These 

 are regularly repeated for other than the first verse, as far as the song continues. 



The last song of the group has a syllabic but not a musical prelude and is 

 composed of the A, B and C phrases like the first songs, of which the C phrase is 

 the refrain. 



The second group is composed of those songs which have a melodic prelude 

 and contains seven members, Nos. 75 to 80 inclusive. No. 75 is a two-phrase 

 structure, verse-part and refrain, and the verse-parts are separated from one 

 another lay connectives. Apparently the verses begin at once, but the first 

 phrase of the first verse is different from that of all the other parts; the plan is 

 A, B, conn.; C, B, conn.; C\ B, conn.; etc. The second song. No. 76, has a 

 prelude introduction of two measures which are not the connective and which 

 do not appear again. These are followed by the usual refrain and all are sung 

 with burden syllables. The refrain thus becomes A, B, and the verse-parts C, 

 D. These are regularly carried out for as much of the song as is given. There 

 are no connectives that are clearly set off from the rest of the music or that can 

 be discerned. In this respect the song does not quite conform to type. In No. 

 77 the prelude is only slightly different from the part that elsewhere is the refrain, 

 and its structure melodically is very similar to the verse-part as well. Its 

 phrases are A, B, while the verse-parts are C, D, joined to the prelude and in 

 other places to the preceding refrains by connectives. The refrain is CA, B. 



In No. 78 the prelude is A, B, of which B later appears as the refrain, while 

 the verse-parts are C, D. The usual connectives are present. No. 79 is irregular. 

 The prelude. A, B is followed by what I have called the prelude refrain, C. 

 Separated from this by a connective occurs another refrain. D, D. The first two 

 verses then have E, B for their phrases and the prelude refrain as their refrain. 

 The third verse is musically D, D and an extension, modelled frankly on the 

 second refrain which followed the prelude. In the last song of the group we 

 again have a prelude introduction of a little more than two measures, which is 

 not a real phrase, followed by a part which later proves to be the refrain. A, B. 

 The verses are somewhat different from one another, but apparently have the 

 same refrain. Thus verse 1 is C, D, E, F, with refrain, the second, C, D, G, 

 after which the refrain is begun again. 



