On the Eskimo Music. 35 
Е 
[one eee Eau ео © 
a —;— 
NN Ru zal Rt Sa ENDEN 
Е Ss Seo len ЕЕЕ-ЕНЕЕЕЕЕЕЕ 
à 
Pe  — 
& “ee + Sa =f э од д ne === 
ууе 
The composition of the melody is quite clear. The third bar 
begins a third below the last tone of the foregoing strophe, but 
otherwise the new strophe is connected with one of the tones which 
occur in the preceding one. The last 4 tones are undoubtedly in- 
tended to illustrate the previously mentioned shout with which the 
Eskimo like to conclude. 
Characteristic examples of melodies in which dissimilar strophes 
are joined together are seen in Nos. 22, 28, 24, 27, 19, 21, 23, 29, 7 
34, 13, 33. A similar construction of the melody is found among 
the Central Eskimo’, e. g. in the following: 
CITE VÆR 
DRE NDR 
= 
a —_—_—_— ee 
В Е Se 
—— Zee 5 — — 9 = 
as also among various Indian tribes.? 
Where it is not these dissimilar motifs which are strung together, 
the Smith Sound Eskimo is often contented with a repetition of one 
and the same strophe with quite inconsiderable variations; thus a 
mode of singing, which would correspond with the East Greenland 
melodies consisting merely of A-strophes with variants. 
_ The most prominent melodic figures are constructed on the 
fourth interval G—C, to which are added A or F: = = 
(Nos. 1, 4, 10, 8, 9, 11, 2, 18), also on the tone- 
series FGAC (Nos. 6, 20, 22, 7, 33) or on ACD (Nos. 21, 23, 29, 34). 
1 Boas, The Central Eskimo, Mel. No. 6 (cf. Melodies Nos. 1, 2b, 5, 8, 13, 15). 
2 Theodor Baker, Über die Musik der nordamerikanischen Wilden Laon 1882). 
Alice С. Fletcher, A study of Omaha Indian Music (Archaeological and ethno- 
logical papers of the Peabody Museum, Vol. I, No. 5. Cambridge, Mass. 1893). 
F. Boas, The social organization and the secret societies of the Kwakiutl In- 
dians (Report of the U. $. National Museum 1895). Washington 1897. 
Journal of American Folklore, Vol. I, pp. 65, 118, Vol. II, рр. 8, 225, 271. 
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