On the Eskimo Music. 9 
can in part be ascribed to Nos. 5, 16, 19, 20. But even if the time 
of the melody is fairly uniform, the rhythm may change greatly, as 
in No. 120, where there is an effective contrast between the syncopes 
of the A strophes and the quiet, regular 3/4 time of the В strophes. 
As a rule, however, the rhythm is so irregularly formed, that 
the rhythmic picture the single periods show, differs to an extreme 
degree from all that our modern conception of music demands. If 
we attempt to subdivide such a period into bars, we usually obtain 
a very variegated picture, which only requires to be illustrated by 
a few examples. The most natural division of the time in No. 119 
would be the following: . 
А‘. о (>=) 
= (=) See == 
| 
о s воде GO | в Oc | 
Bee = = = 
TN | | SR AN EE D 
Ss 6 de | de | @ @ в ae a | 
C1, — D Ss 3 == 5 TE)! 
SOO A EEE ea 
S € & dø | S de 8S 6 6 @ 8 о || 
In No. 88 the time is just as irregular: 
A. => === === (=) = == 
Bre SN) NON NE NINE EEN 
Ss ва pee Cet ai ne RT SE Ir “ | 
В В ES) — = ©) 
Bap ap = VA I | | 
= ne ee 6 dø 
1 == 
о. 
Ss € DE | | 
And lastly, a single strophe of No. 121 would show: 
As will be shown, the melodies make use of but a limited number 
of tones, but if we contrast a series of melodies containing the same 
tones, their variety is astonishing and this is due to the special 
rhythm characterising each melody. Compare, for example, Nos. 78, 
80, 121, all constructed on tones which correspond almost to first, 
second, major third and fifth. Even quite short motifs are given a 
rhythm with much fantasy. For example, we have a series of melodies 
