10 HJALMAR THUREN. 
which have a period ending in a descending third, and each single 
melody gives these three tones in its own characteristic rhythm. 
I note here most of the forms. The small numbers indicate third, 
second and first. 
(No. 86) (No. 88) (No. 77) (No. 87) 
| | N 
Wid АН Ms 
3!» 9 lo 3 3 9 1 3 : 8 8 1 3 3 9 1 
(No. 72) (No. 78) 
| { ] 
в. N À É ) I D À Ee Ч 
3 3 © 1 Fil ONE TANT ЯВ 
As the introduction of the time-divisions would not make it any 
easier to understand the melodies, but rather interrupt the lines of 
the melody, I have preferred in reproducing them to be content with 
the division into periods; as these are of but short extent, it will be 
easy — with help of the dynamic signs — to follow the rhythm. 
This greatly complicated, melodic form — with alternate even and 
uneven rhythm, couplets, triplets and syncopic motifs —- produces an 
extremely agreeable impression, when we hear the various strophes 
repeated again and again in symmetric order. Regarded as a whole, 
the movement of such a Greenland song is remarkably logical and 
clear; the single periods — each constructed in such a complicated 
manner — are linked together very naturally, whilst their very 
diversity shows up the characteristics of each. In rhythmic sense 
and rhythmic accuracy we Europeans are far behind many primi- 
tive folk. 
With regard to the accentuation of the melody, three degrees of 
strength are used (<=) = =). Often — especially with tones ending a 
period — the actual accent only comes somewhat after the commence- 
ment of the tone. In such a case the sign ~< is placed over the 
mole [ЩО 
Cb =e) 
As a rule there is the greatest regularity in the matter of accent- 
uation in each song of the East Greenlanders. Similarly, it is char- 
acteristic to observe with what consistency the grace-notes are brought 
in. For example, in No. 119 there is a distinct grace-note before A 
een | 
in the À periods: 2 “3, but never in the В groups, 
though the melodic movement is the same as in A. Also the pauses 
between the subdivisions of the melody are often quite the same, 
and even the slightest prolongation is as a rule regularly repeated 
in the same manner. These fine nuances are sometimes reproduced 
