300 



Canadian Arctic Expedition, 1913-18 



"N0.8T: 

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ti'kfiV^Oi.O^jd.Co'p'permne 1?iver man. 





di - pariai-yaatu(p -a 

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ki- a 



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ai-p^lacvj-ariKn-l al-pa-naiyaatuii^a ki-a ai-aa-an^ a -ci u-voipaoj- a atp ai ya<T)- & 



tef-MTj r. 



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'ya-a<*)a-aiya-a<>ja. tu-v+i-qaV-i-yu-ria 



Ve.t4t-2.pt. 1. 



ai -pa-tarn- a nvr;- L 



'''^rr Frgii- ^«':j.n-j';/^ 



al-pa-nai-yaatuirj-a ki-a Ai-cta-aoj 



a -CI, u-va 



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No. 87. Record IV. C. 89d 

 Gb major tonality 



17 



We see here also the shadow of the dance form. Tonality, verses split into 

 parts, refrains, all are pisik features, but the verse parts and refrains are short, 

 the connectives are missing and the measures are larger than in the dance forms. 

 The song begins on the first beat, with the third degree and ends on the second, 

 but were the refrain added, it would end on the same tone on which it began. 

 While the third is the general level of the song, the tonic also appears frequently 

 so that the third does not seem altogether the only resting place for the melody. 

 The second degree is even more prominent than the tonic. 



