8 HJALMAR THUREN. 
To enable the construction of the melodies to be more readily 
seen, the separate periods are indicated by letters (ABC etc.). Where 
variations occur, they are shown by A! A? etc., A! in such cases 
being placed at the first occurrence of the period. As a rule it is 
most natural to distinguish 2, 3 or 4 periods (AB, ABC, or ABCD), 
which are then as a rule repeated in the melody in the same order. 
The length of the period is extremely variable; the single period 
usually contains not less than 3 or more than 8 unequal bars con- 
taining variously accentuated notes. 
Rhythm. To give an accurate idea of the music of these natives 
in our current notation, is impossible. Not only do the singers often 
use intervals which are not included in our chromatic scale, but it is 
especially difficult to reproduce the fine rhythmic and dynamic shades 
which play such a prominent part in their songs. Among most of 
the primitive races the rhythm is developed much earlier than the 
tone-contents of the melodies. For example, some Kaffir races have 
but little sense for tones, whilst their accuracy in rhythm is so great 
that a chorus of a hundred men can accomplish war-songs in the 
most perfect unison', and a similar rhythmic accuracy is found to 
a surprising extent? among Congo negroes. 
The more we study the songs of the East Greenlanders, the more 
we become convinced that not even the smallest rhythmic feature 
is due to chance. The same complicated accentuation, the same 
extremely fine subdivision of the melody come again when the 
periods are repeated. Although we have endeavoured to give the 
rhythm and movement in as detailed a manner as possible, we have 
undoubtedly failed to reproduce all that the singer has wished to 
express. But we feel assured that we have come much nearer to the 
goal, than those recorders who have written down primitive music 
without the help of the phonograph. Further, W. Thalbitzer’s intimate 
acquaintance with the text and refrain as sung has greatly assisted 
us in understanding the melody. If we had had nothing but the 
latter as basis for work, a number of details would have been lost. 
Each single melodic period forms as a rule a rhythmic whole. 
Sometimes it is possible to make a fairly regular division of the 
tune, especially in the children’s songs, which here as everywhere 
in the world are the most simply constructed and most uniform 
vocal music. For example, in No. 21 we might almost write down 
the first part in ?/s time and the second part in 4/4, and similar time 
1 В. Wallaschek, Anfänge der Tonkunst, р. 3 (Leipzig 1903). 
2 ДБ, 15» SE 
