REPORT OF THE Pn ‘SANADIAN ARCTIC EXPEDITION e 1913-18 VOLUME XIV: ESKIMO SONGS SONGS OF THE COPPER ESKIMOS \ - By HELEN H. ROBERTS AND D. JENNESS SOUTHERN PARTY—1913-16 OTTAWA F, A. ACLAND PRINTER TO THE KING'S MOST EXCELLENT_MAJESTY 1925 Issued December 8, 1925 Report of the Canadian Arctic Expedition, 1913-18. VOLUME I: GENERAL INTRODUCTION, NARRATIVE, ETC. PartiA: NORTHERN PARTY, 1913-18 oscscscasionacswwnd cote case va Sansa wee sees (To be prepared). Part B: SOUTHERN PARTY, 1913-16. ‘ By Rudoiph Martin Anderson......-..6+++. (In preparation).- VOLUME II: MAMMALS AND BIRDS Part A: MAMMALS OF WESTERN ARCTIC’ AMERICA. By Rudolph Martin mpabeoesr ae dm dissin IEE TF ens Same ata ante obra semen eb eee inane biseye wre teate (In aration Part B: BIRDS ‘OF WESTERN ARCTIC AMERICA. By R.M. Anderson and P. rs Taverior Usain jSidvaisue os nie nlnpecats inns ba8 001 ingneouu Sicha: oh 5ce\¥a vos ouss¥ Ga! aUCLOTEIR SLRTDIS 1S BIS tela USTs IORI TG ISIN (In preparation). _ VOLUME DI: INSECTS : INTRODUCTION, By C. Gordon Hewitt.........cceececesees (Issued December 10, 1920). Part A: COLLEMBOLA. By Justus W. Folsom.............ccesceeesccceoeeees (Issued July 10, 1919). Part B: NeUROPTEROID INSECTS. By Nathan Banks,................6- (Issued July 11, 1919). Part C: DIPT Cane atta: By Charles P. lexan ets Mosquitoes. By Harrison. ‘G. Dya ’ Diptera na toring xcluding ee and Culicide) By J. R. Malloch...... (Issued July 14, 1919). Part D: MALLOPHAGA AND ANOPLURA. : . ; Mallophaga. By a WwW. Poker Anoplura. By G. F. Ferris pr G. H. F. Nuttall. ie urvigte siatnre'sn's (Issued September 12, 1919). Part E: COLEOPTERA. : Forest Insects, ineluding Ipidw, Cerambycids, and Buprestide. By J. M. Swaine Carabide and 'Silphide. - By H.C. Fall. Coccinellids, Elaterids, Chrysomelidse and Rhynchophora (excluding Ipide). By C. W. Leng. Dytiscide. By J. Ds Sherman; J0eiccscsvesswisevesavee oa’ (Issued December 12, it Part F: HEMIPTERA. By Edward P. VanDuzee.. (Issued July 11, 1919 Part G: EYMENOPTERS. AND PLANT GALLS. . Sawflies. (Tenthredinoiden. ) By Alex. D. MacGillivray. Parasitic H eHOp IGT By Charles T. Brues. Wasps and Bees. F. W. L. Sladen. ; Plant Galls. B EP OTGOR, GLE cs svsrcicctipieietarnros siege wre Werder (Issued November 8, 1919). Part H: SPIDERS, MITES AND MYRIAPODS., Spiders. By J. H. Emerton. ites. By Nathan Banks. s Myriapods. By Ralph V. Chamberlim...........ccccceceecceccecs (Issued July 14, 1919). Part I: LEPIDOPTERA. By a aber buanaverer iymsuiaisieids alavetelaierdans aa eo oee (Issued January 10, 1920). Part j-ORTHOPTERA, By HM, Walkers icxcveasevaavexeaseceasn cai (Issued September hy 1920). Part K: waa rs crated ON earee WESTERN ARCTIC COAST OF AMERICA. By Frits JOWANEON saci gas ve aen va Nena ae rim enemeT VERE tetas Oa Seat »- (Issued November 7,- 1921). Part L: GENERAL "INDEX sles Caneire aieRiGra bb HaHa eee a wialn Oia Sle: deat serie wi sjelsiss (Issued December , 1922). VOLUME IV: BOTANY Part A: FRESHWATER ALGAE AND FRESHWATER DIATOMS. By Charles W. Lowe. 1 6 GER Wack ei Nb eA SS SANE DN WEAN AERC VOR RNa nee Rie (Issued February 20, 1988). Part B: MARINE ALGAE, By F. S. Collins and Marshall A. Howe..............5.5 (In preparation). Part C: FUNGI. By John Dearness.......... tava 's arb Si Rtas WOR DPR TG a PRISON eed acon Bea ee "(Taswed June 1, 1928). Bert D: LICHENS, ‘By G. K. Merrill. eccteetpeee PGia cleadsicioncias sieeve ', (Issued July 16, 1924). art E: MOSSES. By R. S. Williams... s....-ssssseeee parte eva londValesatieapyavcuatsee (Issued February 8, 1921). Part F: MARINE DIATOMS. By Albert Mann.................6- siienabue iatiweweties seen press). \ . VOLUME V: BOTANY Part A: VASCULAR. PLANTS. By James M. Macoun and Theo. Holm.. Gesuet October 14, 1921). Part B: CONTRIBUTIONS TO MORPHOLOGY, SYNONYMY AND ‘GEOGRAPHICAL DIS- ' TRIBUTION OF ARCTIC PLANTS. By Theo. Holm..... (Issued February 10, 1922). Part C: GENERAL NOTES ON ARCTIC VEGETATION. By Frits Johansen (Issued October % 1924). VOLUME VI: FISHES, TUNICATES, ETC. Part A: FISHES. By F. Johansen......0.......ccccccececcaceseues eidlisaicinetasreriseepnantans (In preparation). Part B: ABCEDIANS. ETC. By A. G, Huntsman cre era whiaysre Aware etaseacalewreteteis (Issued November 29, 1988). VOLUME Vil: CRUSTACEA Part A: DECAPOD CRUSTACEANS. By Mary J. Rathbun.............. (Issued August 18, 1919). Part B: SCHIZOPOD Soe Ee By Waldo L. Schmité. |: 1111! (issued September 22" 1919), Part C: CUMACEA. By Ae . Cal: Ct ee (Issued October 16. 1920). Part D: ISOPODA. By P.. L. WEBOONO! sch cy csciace ae cede dete acthoos (Issued November 10, 1920). Part E: AMPHIPODA. By Clarence R. ‘Shoemaker Me NEaNeveevemed se agua September 7, 1920), Part F: PYCNOGONIDA. By Leon J eeoets Gaewemuen Sta cisletets apnystessvo ie med ssued January $, 1921), Part G: EUPHYLLOPODA. y F. Johansen. DGkiekee wien aes (Issued May 10, 1922). Part H: CLADOCERA. By Chancey Juday.. ; . . .. (Issued June 23, 1920 Part I: OSTRACODA. By G.O Cae miaiacaie chaise Gtviarsie Ditehnonuees -Un preparation). Part J: FRESHWATER COPEPO A. By C. “Dw ight Mars! sued April 21, 1920). Part K: MARINE COPEPODA. ’ By A. Willey............. . (Issued June 26, 192 Part L: PARASITIC ‘ae “pyc Chala B Wilson... “(Issued pau 6, 19 Part M: CIRRIPEDIA. By H. A. Pilsbry................0005 sxwaedioaves re aration Part N: THE CRUSTACEAN ‘LIFE OF SOME Esato LAGOON L RD BO ; (lsouad 2 Desa a apes. By F. Johansen. soi... cscs cece cece seneedeeeescceeccecasesees CORNELL UNIVERSITY LIBRARY Frontispiece Photo. by G. H. Wilkins. Copper Eskimo Singing and Drumming. REPORT OF THE CANADIAN ARCTIC EXPEDITION 1913-18 VOLUME XIV: ESKIMO SONGS’ SONGS OF THE COPPER ESKIMOS By HELEN H. ROBERTS AND D. JENNESS SOUTHERN PARTY—1913-16 OTTAWA F, A. ACLAND PRINTER TO THE KING'S MOST EXCELLENT MAJESTY 1925 Issued December_8, 1925 Cornell University The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924080075199 FOREWORD The series of reports of which this is Volume XIV, and the fifth complete volume to be issued, will give the narrative and scientific results of the Canadian Arctic Expedition, 1913-18. The expedition, under the command of Mr. Vilhjalmur Stefansson, was originally planned to remain in the field from 1913 to 1916, and earlier publications refer to it as the Canadian Arctic Expedition, 1913-16. Although many members of the scientific staff were officers of the Geological Survey of the Department of Mines, the general direction of the expedition for administrative purpose was placed in the hands of the Depart- ment of the Naval Service. As the expedition was planned to work in two comparatively distinct fields at some distance from each other, it was divided into two parties. The Northern Party, whose field was primarily the Beaufort sea and the Arctic archipelago, remained in the field from 1913 to 1918 under the immediate supervision of Mr. V. Stefansson. The work of the Southern Party was confined more par- ticularly to the Arctic mainland and the adjacent islands, under the direction of Dr. R. M. Anderson, and returned in the autumn of 1916. General accounts of the work of the two main parties and subsidiary parties, rosters of the scientific staffs and a portion of their contributions to the results of the expedition have been briefly given in various summary reports to the Government and in popular narrative and will be summed up in the forthcoming Volume I of this series. In order to have the scientific results of the expedition properly worked up, the specimens distributed to specialists, and the reports adequately pub- lished, an Arctic Biological Committee was appointed jointly by the Department of the Naval Service and the Department of Mines in January, 1917. This committee consisted of Chairman, Professor E. E. Prince, F.R.8.C., D.Sc., Dominion Commissioner of Fisheries; Secretary, James M. Macoun, C.M.G., F.L.S., Botanist and Chief of the Biological Division of the Geological Survey; Professor A. B. Macallum, F.R.8.C., M.D., D.Sc., Ph.D., LL.D., Chairman of the Commission for Scientific and Industrial Research (later professor of bio- chemistry at McGill University); C. Gordon Hewitt, F.R.5.C., D.Sc., Dominion Entomologist and Consulting Zoologist of the Department of Agriculture; and R. M. Anderson, Ph. D., Zoologist of the Geological Survey (later Chief, Division of Biology, Victoria Memorial Museum), representing the expedition and the National Museum of Canada, the final depository of the specimens collected by the expedition. Various members of the committee took up the editing of different sections, and Dr. R. M. Anderson was appointed general editor of the reports. . The Committee has been at work for over eight years and reports have been prepared or are in preparation by seventy-five specialists. Dr. Hewitt had virtually finished his work on Volume III (Insects) before his untimely death on February 29, 1920, but Mr. Macoun had not completed his work on the botanical volumes at the time of his death on January 6, 1920. The scope of the committee was later enlarged to include the geological, topographical, and anthropological work of the expedition and three new members were added in 1920, namely A. G. Huntsman, F.R.S.C., Ph.D., of the Biological Board of Canada; Edward Sapir, F.R.S.C., Ph.D., Chief of the Division of Anthropology, | Victoria Memorial Museum; and M. O. Malte, Ph.D., Dominion Agrostologist -and Honorary Curator (later Chief Botanist) of the National Herbarium. 98540—1} 3 4 Canadian Arctic Expedition, 1913-18 For convenience in publication and distribution it was arranged that the Department of the Naval Service should issue Volumes I (Narrative of the Expedition), VI, VII, VIII, IX, and X (Marine Biology and Hydrography), and XII, XIII, and XIV (Ethnology), while the Department of Mines should issue Volumes II (Birds and Mammals), III (Insects), IV and V (Botany), XI (Geology and Geography), XV and XVI (Ethnology and Archeology). After the amalgamation of the Department of the Naval Service with the Depart- ment of Militia and Defence in 1922, the interests of that department in the reports were transferred to the Department of Marine and Fisheries. Where several different reports are included under one volume, dated separates are issued for distribution to specialists interested in the particular branch covered, and copies are preserved to be bound in the complete series of volumes. Information relative to distribution of the reports may be obtained by addressing respectively the Secretary, Geological Survey, Department of Mines, Ottawa, and the Records, Printing and Stationery Branch, Department of Marine and Fisheries, Ottawa. ARCTIC PUBLICATIONS COMMITTEE. Orrawa, January, 1925. TABLE OF CONTENTS FOREWORD sewionis.agae eieie s anclaa nace ow Bavenananin ie tiytonas se tlanantrneiane BeAr eeasapnarses PREFACE. By D, JENNESS........0 00 cece cence eee e eee esse eeeneeveenenesneneees INTRODUCTION: .By D. JENNESS yas 4.0045 nasies vamer ees meneedag Mie eamwewegeesiges oes Szction 1. MUSIC OF SONGS. By Heten H. RoBarts...........00.c cece eee eee Explanation of signs used in the music itself............ 0.0 e ee eeeeee Explanation of signs used in the musical analyses.................000- CuapTer 1. Copper ESKIMO DANCE SONGS.......00 00 ccc cece cece e eee eeeneeaeeees he: Pisiks on venwn bt owed 6 Mees Boe y eaaE MOMOs Sree oN tee remnants fox Sub-group 1. Without Prelude................ Sis eeaines eM alten Sub-group 2. Syllabic but not musical Preludes................++ Sub-group 3. Prelude Effect......... 0... cece cece ener eneee Sub-group 4. Real Preludes............0 00 cece eee cece eee eeee Sub-group 5. Irregular Types......... 0-0... e ee eee eee eee ee eee More or less Formless..........0 0c cece cece eee e eects teteeetens Undifferentiated Dance Songs........... 0... cece eee e eee e eee eennees Weather Incantations............. cece cere eects erento reereee Cuapter 2. Dance Soncs FROM SURROUNDING REGIONS......... 00000: cece e cece neues Mackenzie River Dance Songs.............: cece cece eee e nee e ee eeenee Inland Hudson Bay Dance Songs............. 00 eee ccc eee sence eeeeaes Songs from Point Hope, Alaska............ cece ccc cece eee eee ee eee Cuaprer 3. SCALES OR TONE PREFERENCES........ 0.0: e cece eect een ete neeeeennees CHAPTER 4. DirFERENT VERSIONS OF THE SAME Sonc AND Instances oF MeExopic Bor- Section 2, TEXTS AND TRANSLATIONS. By D. JENNmSS...................0.. CoprER EsKIMO DANCE SONGS....... 000 cece cece eee ee eeeeceneenneeees Undifferentiated Dance Songs............ 0. eee cece eee ener e tees Weather Incantations......... 0... cee e cece eect e eee ete eneneee Dance SonGS FROM SURROUNDING REGIONS.......0. 0000s eeeeeenseeacene Mackenzie River Dance Songs.............. cece cece cece eee eteeeeaee Inland Hudson Bay Dance Songs............e cece ce en eee cceeeeeees Songs from Point Hope, Alaska.......... 0. cece eee cece cere were eee eee SEGRE AD Ass ais tonces ctv aeats wnguey caiauora ask mseninmeuaseavenece a Vata an aaa BORRNT Se re ae PREFACE All the Eskimo songs discussed in the present work were recorded on a phonograph between the years 1914 and 1916, either at Bernard harbour, in Dolphin and Union strait, or at Eskimo settlements in the immediate vicinity. Bernard harbour during that period was the headquarters of the southern party of the Canadian Arctic Expedition, and the great majority of the records were made within the station house, since the low temperature of the Eskimo snow huts hardened the wax and marred the impression of the needle. Dolphin and Union strait lies within the territory of the Copper Eskimos, but a few songs of the more western Eskimos were obtained from some natives in the employ of the expedition, and half a dozen eastern songs from two Hudson bay men who visited our station, and from a Copper Eskimo woman who accompanied them. The Copper Eskimos were not acquainted with a phonograph prior to this time; there were still a few natives, in fact, who had never seen a white man. They thought a spirit was reproducing their words, and were quite nervous at first about singing into the machine; later, when more familiar with it, one or two of them were inclined to play pranks, ejaculating, laughing or talking in the middle of a song to create more amusement when the record was played over. The texts of the songs are full of this extraneous matter. By far the larger portion of it, however, is the natural expression of the singers’ emotions, voiced in exactly the same manner as in their own dance-houses, where the songs are constantly interspersed with cries and laughter. Natives from nearly every part of the Copper Eskimo area flocked to “Dolphin and Union strait to trade with the Expedition, and songs were recorded from individuals of every age and sex, from little children to old men and women. Hence the collection from this area illustrates fairly adequately the characteristic features of the music and,of the versification. The handful of songs from other regions are less representative and, while valuable for comparative purposes, reveal but little of the real wealth of song in those areas. It was seldom possible to transcribe and translate the texts of the songs with the help of the actual singers. The work was long and tedious, and very few of the natives showed the necessary aptitude and patience. So the records were played in sections to one, or more usually two, Eskimos and translated into English through an interpreter. For about a third of the songs my inter- preter was a Mackenzie river Eskimo whose knowledge of English was limited to what he had picked up around the police post at Herschel island; for the remainder I used an Alaskan half-breed who spoke English a little more fluently and was more intelligent, although he could neither read nor write. Eskimo songs, a8 a rule, are comprehensible to their composers only; their obscurity, and the limited knowledge of myself and of my interpreters, will explain the imperfections, and I fear sometimes the errors, of the translations. The divi- 7 8 Canadian Arctic Expedition, 1913-18 sions of the songs into verses and refrains were made by myself from the records, or in a few instances by Miss Roberts; on this subject I failed to obtain any information from the Eskimos themselves. The Department was exceedingly fortunate in being able to secure the services of Miss Helen H. Roberts, formerly of Columbia University, for the musical transcription and analyses of the phonograph records. All the first part of this paper, which deals with the music of the songs, is by Miss Roberts; I have simply checked over the texts underneath the music. In a few cases the text submitted to her was defective; it has been corrected wherever possible, but omissions have generally been allowed to stand lest the syllables should be attached to the wrong notes. The second part of the paper, which gives the texts and translations of the songs, has been arranged to correspond in form with the first. I very much regret that Thalbitzer’s and Thuren’s elaborate study of the music and songs in Greenland (Meddelelser om Grénland, Vol. XL, Copen- hagen, 1923) did not appear before the MS. of this paper was submitted to the printers. The sketch map at the end of this volume shows the different regions from which the Copper Eskimo songs were derived. D. JENNESS. Victoria Memorial Museum, Ottawa. Songs of the Copper Eskimos INTRODUCTION Copper Esximo Sones The most striking feature in the collection of songs given in the following pages is the great wealth of dance-songs and the dearth of every other variety of song, with the single exception of incantations to produce fine weather. This is a true indication, however, of the nature of Copper Eskimo music. The dance-house is the centre of social life, and it is open at all times to every age and sex; only during certain séances are the younger children excluded. ‘There is no singing out of doors, for the natives believe that a spirit, carrying away their words, might rob them of the breath of life. Hence there are no work- songs in this region, no chants for the trail or the caribou-hunt; no game-songs, although these are fairly common among Eskimos in other places'; and prac- tically no rigmaroles or children’s chants.2 Every notable incident, every important experience or emotion in the daily life is recorded in a dance-song, which takes the place to some extent of a local newspaper. When the Eskimo returns from his hunting-ground at the close of the summer and rejoins the rest of his band, he often weaves the story of his adventures into a song and teaches it to his fellow-countrymen in the dance-house; when a woman croons her baby to sleep on her back, or a man, restless during the long hours of the winter night, seeks to relieve the tedium with a song, the only medium of expression is the dance-song. Dance Sones Types The Copper Eskimos divide their dance-songs into two classes, pisiks and atons, but no precise difference between them can be determined from their present form. In the field I received the impression that the atons, as a rule, were less formal than the pisiks; that is to say, they were not so palpably built up on the principle of verse, refrain and connective. Miss Roberts has pointed out, however, that some of the atons in this collection are quite formal, while a few of the pisiks are as informal as any aton; she was unable to discover any differences in the music of the two types. The actual classification of the records was made by my Copper Eskimo assistants during transcription and translation, but they themselves did not know how to classify certain songs. Even with the other songs their guide was apparently not the music or the versification, but the form of dance they associated with each. The Copper Eskimos have two forms of dance, termed aton and pisik from the songs used with them; an aton song is simply one that accompanies the aton form of dance, a pisik one that accompanies the pisik form. It is not at all unlikely that certain songs are used at different times, or in different places, with both forms of dance, so that 1 In northern Alaska there is a chant for ‘‘hide and seek’’, a gambling song, a chant to the aurora and many others; in the Mackenzie delta a song to accompany juggling with two stones; and in Hudson bay a chant or rigmarole for ‘‘cup and ball.””. Chants accompanying string figures (the popular ‘‘cat’s cradles’’) are exceedingly common to the westward, but are not found in the Copper Eskimo area. 7 : 2 The only one that I remember hearing during two years of residence is recorded in No. 85. 9 10 Canadian Arctic Expedition, 1913-18 they can be called either atons or pisiks with equal propriety. The dances themselves are quite distinct and may have had different origins, in which case the songs too were probably quite distinct in type; but at the present time any differences have been obliterated, and a separation of the dance-songs into two classes on this basis is purely formal. Forms of Dance Copper Eskimo.—Most Copper Eskimo dances take place on winter even- ings, although they are sometimes held in the day-time during stormy weather or on the occasion of a visit from people of another community. Men, women and children gather informally in the dance-house, or in the largest house in the settlement. Some one takes out the drum—there is always one in every large settlement—and the people arrange themselves in a circle with the man or woman who is leading off in the centre; for both sexes dance alike in this region, and only one person performs at a time. The dance that begins the entertainment is always of the pisik type, and frequently none but pisiks are given throughout the whole evening. The essential feature of a pisik dance is that the performer wields the drum himself, the rest of the people simply accompanying him in the singing. The dancer moves slowly round and round the circle, keeping his knees slightly bent; some- times he hops lightly on both feet, more often he moves them alternately, but without any attempt to keep time with the actual drum-beats. To a large extent he is independent of his audience, although ‘he often tries to rouse their energies by increased vigour in his own drumming and singing and by giving vent to an occasional whoop of joy. In the aton dance either the drum is not used at all, or it is wielded by one of the singers in the circle. The dancer, therefore, has his hands free, but is more dependent on the singers for the music. After his song is well started he generally ceases to sing, but begins to gesticulate violently with his arms, hop- ping now on one foot, now on the other, whooping with delight and delivering himself over to the wildest abandon if the singers are at all enthusiastic.1 Western Eskimo.—Both these forms of dance, with certain variations, are in vogue among the Eskimos of the Mackenzie river delta. The people, instead of forming a circle, sit or stand around the sides of the tent or house wherever they can find room, and the drummers, of whom there are always several, sit in a row at the back. The drums vary in size, but are smaller than those used by the Copper Eskimos, and the drum-stick is lighter and longer, striking both sides of the rim at the same time, and, when the stroke is hard, bending in the middle and touching the membrane. The wearing of mittens, concerning which there seems to be no rule among the Copper Eskimos, is forbidden to Mackenzie delta women, but compulsory for the men, although they are allowed to carry them in the hands instead of drawing them ‘over the fingers; when retiring the man will either throw the mittens on the ground for the next person to recover, ef fling them at someone in the audience, thereby challenging him to take his place. The pisik, which is much the commoner form of dance among the Copper Eskimos, appears to be quite rare in the Mackenzie delta. One example was seen at Herschel island in the summer of 1914; apart from the music, it was performed in exactly the same manner as to the eastward. West of the Mac- kenzie delta, in northern Alaska, the pisik seems to be altogether unknown. The characteristic dance in the Mackenzie delta and westward is the aton. This, contrary to Copper Eskimo custom, is performed by several persons at once, and in a different manner by the two sexes. The men, as a rule, seek to strain as many muscles of the body and limbs as possible, so that their dancing 1 For a more complete account of Copper Eskimo dancing, see Vol. XII, Pt. A, pp. 223-227, Songs of the Copper Eskimos 11 often has the character of a contortionist performance.!_ The song is first tried over, as it were, the drummers tapping their drums very lightly while the dancer beats time with one foot, sways his body a little, and rhythmically waves his arms to and fro at his side, joining at times in the singing. The song then begins over again, the drums are struck more loudly and the music swells in volume. Every muscle of the dancer becomes rigid, each clenched hand is stretched out in turn to one side while the other is held taut against the chest or launched violently forward or upward. He stamps with one foot, keeping both knees bent, contorts his body and shrugs his shoulders; now he stoops low towards the ground, now throws back his head and hops around on both feet; from time to time meaningless ejaculations burst from his lips. Every man has his own peculiar style, but the general pattern of them all is the same.2 The song is. usually repeated once or twice, then succeeded with hardly a break by another song until the dancer is exhausted and obliged to retire. The dancing of the women is much less violent. During the preliminary rendering of the song they comport themselves in almost the same way as the men; but when the drums are struck loudly for the repetition they sway lightly up and down with bent knees and rhythmically wave their outstretched open hands until the music ceases. At Point Barrow and Point Hope, in northern Alaska, the aton dance, the only kind known apparently, is performed exactly as‘in the Mackenzie delta, with the same arrangement of drummers and singers and the same distinction between the dancing of the men and of the women.’ Hudson bay.—No opportunity was afforded of witnessing any Hudson bay dances beyond the impromptu ones given at our station by the two visitors from whom Songs Nos. 126-132 were derived. These two men performed four or five dances, all of the pisik type; the music seemed very msnotonous, and the movements of the dance still more so, the performer simply shufflmg around and around as he beat arapid tattoo on his drum. If my memory serves me correctly? this is the typical form of dance throughout Hudson bay, Labrador, Baffin island and Greenland. Not only does the aton form not exist in those regions, but the word aton (and the stem atoq, ‘‘to sing,’ from which it-is derived) is unknown there, the ordinary term for a dance-song being pisik. Separate origins of the two dance forms.—The facts just presented strongly suggest that the two dance forms now current among the Eskimos, the aton and the pisik, were formerly quite distinct. The pisik is the characteristic dance of the eastern division of the race, predominates among the Copper Eskimos, is known in the Mackenzie delta, but probably does not extend into Alaska. The aton belongs peculiarly to the western division, is the prevailing form in the Mackenzie delta, exists as a minor variety among the Copper Eskimos, but apparently extends no farther towards the east. The presence of both forms, in inverse popularity, among the Mackenzie delta and Copper Eskimos can be readily explained as due to mutual borrowing. It is no objection to this theory, but rather the contrary, that aton and pisik dance-songs cannot be distinguished among the Copper Eskimos, nor, I believe, among those of the Mackenzie delta, although there are quite marked musical and structural differences between the dance-songs of the two regions. The older and more firmly established type of song in each place would exert an overwhelming influence on the borrowed form; the aton would gradually be assimilated to the pisik among the Copper Eskimos, the pisik to the aton among the Eskimos of the Mackenzie delta. 1 The aton of the Copper Eskimos is less fantastic and unnatural. — ; ) 2 The words of No. 121 give a good description from the native point of view, ; 2 3 The ordinary term for a dance-song in the Mackenzie delta and N. Alaskan dialects is aton, but Petitot, in his vocab- ulary of the former, gives the term pisiek. He does not specify whether it is applied to all dance-songs, or only to those accompanying one particular form of dance. In N, Alaska the word seems to be unknown. : 4 This introduction was written in the field, away from all libraries and books of reference. 12 Canadian Arctic Expédition, 1918-18 Composition of Dance-songs The Copper Eskimos are constantly paying visits to other communities, and every visit of importance is marked by a dance in which the leading mem- bers on both sides take part. Every Eskimo, therefore, whether man or woman, can not only sing and dance, but can even in some measure compose dance- songs. Distinction in this field ranks almost as high as distinction in hunting, for the man who can improvise an appropriate song for any special occasion, or at least adapt new words to an old song, is a very valuable adjunct to the community. Certain individuals naturally possess greater ability than others; their songs become the most popular and spread far and wide. But there are no professional song-makers, no men who make the composition of songs their Taain business in life. It is probable that the majority of new songs that spring up among the Copper Eskimos each year are not entirely original, but are simply new words set to old and familiar melodies. A dance-song is not the exclusive possession of any individual, not even of its composer. Like the caribou that roam the land, it is the property of all the people, and every singer may make such changes in it as he wishes. Wherever the song is well known these changes are likely to be few and unimportant, for mistakes or alterations on the part of one man would pass unnoticed amid the general agreement of the other singers. The principal modifications take place when a new song is carried by one or two individuals to another community. There is then no check on the singer’s version; he may himself have learned the song very imperfectly, or his new audi- ence may not acquire it correctly. In a land where every one is an experienced singer, new words and new notes are readily improvised on the spur of the moment, and these take root and establish themselves. A song thus modified often returns to its place of origin and so gives rise to two versions in the same com- munity. The deliberate substitution of words in a song, or the introduction of new phrases and even verses, is a very fertile source of change. It may be done by any singer, but is particularly common in the case of dance-companions.! Nearly every Eskimo has in each neighbouring community one or more dance-compan- ions whose duty it is to act as hosts and to give a dance of welcome on the occasion of his visit. The host leads off in the dancing, and frequently modifies his song in order to sing the praises of his guest; the guest has the prerogative of performing the next dance, and feels bound to reciprocate. Many natives express their joy or appreciation in a few spoken words only, but changes in the songs are by no means uncommon, and are much more effective’. Another cause, and also effect of the lack of fixation or standardization of dance-songs is the constant blending or weaving of them together. Songs that closely resemble one another in both theme and melody are peculiarly liable to be combined even without any intention on the part of the singer; we see this happening in No. 32. But the process has become so firmly established that it may be deliberately applied to songs of entirely different character. When the fusion is not complete an extra refrain that serves as a kind of second prelude, as in No. 69, or a marked change in the character of the music, as in No. 3, may indicate the transition to the new song; but often the welding has been so perfect that the music contains no trace of a separate origin for any part. The subject-matter of the compound song may be disconnected and almost without meaning, but this is so frequently the case in simple songs even at the time of their composition that in itself it affords no certain evidence of fusion. ” 1 For dance-companions, or dancing-associates, as they are there called, see Vol. XII, Pt. A., pp. 86-87, 225. _ _? This custom is strongly reminiscent of the nith-songs of Greenland, where old enmities and jealousies are fought out in satirical dance-songs. Ultimately both may have had the same origin. At the present time satirical songs are exceedingly rare among the Copper Eskimos, and would hardly be sung in the presence of their victims; but rivalry in song is well estab- lished, as is shown by the words of Nos. 51, 78 and 81. ; Songs of the Copper Eskimos 13 For all these reasons it is only to be expected that a large proportion of the dance-songs are virtually unintelligible. All the individual words—except, of course, the burden syllables—may be capable of translation, yet taken together they will yield no meaning. To the Eskimo this matters little; his main require- ment, whether for singing or dancing, is the tune, and he can often be satisfied with burden syllables alone. A newly composed song may be hardly more intelligible than one that has travelled a long distance.2 All that the first audience needs are a few catch-words, since the composer is sure to give the explanation in a short speech. Songs of this character, when transmitted to other communities without the explanation, as so often happens, become quite meaningless; an example is No. 53, which was learned by its Puivliq singer from a Prince Albert sound native in the summer of 1915. There are cases probably where the obscurity lies in the translation rather than in the original, owing to my imperfect knowledge of the language and the inadequacy of my interpreters; but in the majority of instances the songs themselves are at fault, from one or more of the causes that have been outlined above. Subject-matter The dance-songs of most primitive peoples reflect the things that concern them most in their daily lives. Song No. 20 in this collection lists the chief interests of the Copper Eskimo, and indicates the qualities that he should possess if he is to be a useful member of the community. He should be a good seal- hunter, in order to provide food and fuel for his family during the long dark hours of winter; a good archer and kayaker, to supply them with caribou meat and skins during the summer months; a good fisherman, to furnish them with a reserve stock of dried and frozen trout and salmon during the lean period from October to January; and, last of all, a good singer and dancer, to cheer his fellow-countrymen on tedious winter nights and to contribute toward the enter- tainment of visitors. : Fishing and hunting hold the foremost place in the minds of the Eskimos, and nearly half their dance-songs make references to these topics. Some, like No. 27, describe the hunter’s joy at the abundance of game and his success in hunting; others, like No. 21, recount some outstanding episode of the chase— the killing of a fine bull caribou or a large bearded seal; and a few, like No. 36, record his disappointment at his failures. Ten or twelve songs—No. 1 is the best example—are in the nature of travelogues, describing journeys that their composers have made either for trade or to visit friends in other communities. Nos. 2 and 14 are of special interest because they confirm the information derived from other sources, that in the west the Copper Eskimos came into contact with the Cape Bathurst Eskimos of the Mackenzie river delta, obtaining from them knives and wood and ivory, while to the eastward they were acquainted with the Netchilik and Aivilik tribes around the bases of Melville and Boothia peninsulas, the Qairniq Eskimos of the west coast of Hudson bay, and other tribes still more remote. Many allusions are made to singing, dancing and the shamanistic séances that usually take place in the dance-house, almost as many, indeed, as to hunting. Nos. 24, 51, 78 and 81 give glimpses of the joy the Eskimos derive from these diversions, and of the zeal with which they try to rival each other in song. Two subjects are noticeably lacking, war and love. The Copper Eskimos had not advanced beyond the blood-feud, and organized war was beyond their conception. Neighbouring bands were connected by blood and marriage, and thetr only enemies, the Indians in the south, were rarely seen and carefully avoided. The passion of love had little place in their lives, owing to the hard struggle for existence, early marriages, and the looseness of the marriage tie. 1 Cf. No. 65. : 3 Cf. No. 26, which was sung by its own composer. 14 Canadian Arctic Expedition, 1918-18 Celibacy holds no joy for either sex; the man needs a wife to prepare his food, and to make clothing and a tent from the caribou skins he secures; and the woman needs a husband to provide her with all three necessities of life, food, clothing and shelter. Beauty of form or face are of very minor importance. Every native marries at an early age, with few preliminaries and with no romance. There is only one song in the whole collection that carries a note of pathos, the widow’s complaint in No. 55. The Eskimo is by nature exceedingly cheerful and even-tempered, not given to brood over the periods of privation that so often fall to his lot (Cf. No. 17), or the many weary journeys that may so easily end in disaster (Cf. Nos. 34 and 74). He is fond of companionship (Cf. No. 46), and not lacking in affection for his family and kinsfolk (Cf. Nos. 13, 39 and 75), although in a fit of anger or jealousy evoked by some incident like that recorded in No. 32 he may treat his wife as harshly as his dogs (Cf. No. 13). As long as a man retains the strength to hunt he can always find a comfortable home; but wretched is the fate of the widow who is unable to obtain another husband. She is cast on the community, a burden to herself and to her kinsfolk alike. INCANTATIONS The incantations in this collection, though much fewer than the dance- songs, are yet numerous enough to reveal how important a place they occupy in the field of Copper Eskimo music. All that are here recorded are incantations to produce fine weather, except No. 88, which was said to be for healing the sick. Weather incantations, though occasionally chanted in summer, are most often employed during the winter months, when terrible blizzards prevent the Eskimos from sealing and reduce them to a state of famine. The natives then gather in their dance-houses and strive to appease or drive away the malignant spirits that are credited with producing the storms. Generally the performance is preceded by the usual dances. At their close a shaman enters the ring, the drum is laid aside, and the people strike up the incantation, swaying their bodies from side to side but keeping their feet stationary. When the incantation is concluded the shaman invokes his familiar or guardian spirit and begins his séance.? In this collection a few of the incantations slightly resemble dance-songs in form, having refrains and in one case a connective; but on the whole their pattern is quite different. Most of them were said to be very ancient and their meanings not understood. In No. 92 (93 and 94 are variants) the words are supposed to be uttered by the shaman’s familiar, which is directly invoked in Nos. 95 (variants 96 and 101), 97 and 107 (variant 109). No. 88 seems to des- cribe how the familiar forced the sick man’s wandering soul to return to his body and so destroyed the cause of his ailment; and Nos. 100 (variant 104) and 105 (variant 106) depict the behaviour of the shaman himself and interpret . the meaning of his performance. The words of the remaining sonys throw no light on their purpose; as far as one can see they might have been equally well adapted to dance-tunes. Chants like Nos. 100 and 106, though called weather incantations, are in- tended mainly to produce an abundance of seals. Similar chants probably exist for caribou and fish, although none were actually recorded. One for brown bears was obtained from a Bathurst inlet shaman who learned it from an Eskimo of the Thelon river district on the west coast of Hudson bay.? It ran: AYOj-UA Neyiyuj-ua , iiyayyuatiylu atyayyuatrylu gaptuayotitka qaptuayotitka “Game, food animals [I wish to kill]. Your big feet, your big hands. I make them walk on all fours, I make them walk on all fours.” 1 See Vol. XII, Pt. A, Ch. XIV, especially pp. 187-188. 2 This incantation, unlike all the others that were recorded, belonged exclusively to one man, who had purchased it originally with a knife. Songs of the Copper Eskimos 15 An incantation of any kind is called by the Copper Eskimos ageun, by the Eskimos of the Mackenzie river delta, where they are equally common, erinaq; their name in northern Alaska is unknown. No incantations were recorded outside of the Copper Eskimo area. A Mackenzie delta woman remembered hearing in her childhood an incantation for caribou, and another for brown bears, but she could not recall the words. LANGUAGE oF SoNGs. The language of the songs, and the influence exerted by the music on the words, are subjects for a specialist. Only a few remarks can be offered here. The vocabulary of the songs is rather striking. As in shamanistic séances, the common names for many everyday objects are often avoided and replaced by other words, generally of a descriptive character. A caribou is the “one with branching antlers,” or the “animal with warble-flies’”’; the seal is ‘the blubbery one’, or the ‘‘animal that supplies hot broth.”’ In some cases these epithets coincide with the so-called angakok or shamanistic words used in Baffin island and Greenland!; but among the Copper Eskimos they form the poetic vocabulary of the language and their use by shamans is of secondary importance. There is a.strong tendency among the Copper Eskimos to spirantize hard stops like & and q or to assimilate them to succeeding consonants; but in their songs the process is carried much farther than in ordinary speech?. Furthermore, the stops that form the terminations of many words are continually replaced by soft vocalic syllables like yo, yo and yi. By these means a rich, musical quality is obtained in a language that normally sounds rather harsh. The ordinary accents of words seem fairly well maintained in the songs, and the crushing together of weak syllables not as frequent as might be expected. One gathers the impression that the words have generally proved more inflexible than the music; but this point, with many others of equal interest, must be left for a specialist to determine. PHONETIC SYSTEM VoWwELS— as in father. as in fat. like the a in fate. like the e in let. as in pique. as in pit. as in note. like the o in not. as in rule. like the u in but. a short indefinite vowel like the a in soda. Q ®g Fy Se xm ao @ —_—— 1 Cf. komaruak, punguag:‘caribou, dog’’ (Greenland) and komaruag, punngog (Copper Eskimo), 2 Thus k>y, g>7, kn>yn, tl>AXd. 16 Canadian Arctic Expedition, 1918-18 Consonants— Back Front Dorsal Bi- Velar palatal palatal ia Dental labial lar 7 Stop q k tv te t,d p Nasal y 7] nm n m Voiced spirant Y ¥ vy j v(w) Voiceless spirant x x x c Lateral q 1 Trilled r Aspirate h AccENTs— * inverted period, indicates a lengthening of the preceding consonant or vowel. after a vowel, indicates the main stress. indicates a glottal stop. , ? D. JENNESS. PART I.—MUSIC OF SONGS By Hewen H. Roserts Explanation of signs used in the music. _ ., Lines through notes—The oblique lines through the heads of the notes indicate the degree of deviation from the pitch indicated by the staff degree and chromatic. They are read left to right. Single lines slanting upward mean a sharping of about a quarter step, while the direction downward shows a flatting. Double lines mean less than a quarter step difference. 3/8 metre is always used in place of 114 metre since it seems a little easier to understand, and because it is not customary to use 1 part metre in any fashion. The rule has not been strictly carried out for 214 metre however, as this is only occasionally written 5/8, if the latter signature gives a clearer impression than the former. Frequently three eighth-notes appear in a group but are given full value, instead of forming a quarter note in their entirety. They are distinguished by the sign ;, while the usual -%. designates the three eighths which comprise a quarter. Occasionally 4/4 metre is written 8/8 since the eight eighth notes which constitute the measure do not divide into groups as would commonly be expected of 4/4 metre. See IV. G. 1B, Song No. 125. Chromatic signs hold for the entire measure as in our music, unless can- celled. Metre signatures hold as long as they are not changed. The lines through the notes, on the contrary, hold only for the individual notes. Held notes were somewhat of a problem as there are several kinds. Where notes are tied and are accompanied by repeated vowels it is understood that although there is not a separation of notes there is a pulsation which can be clearly felt. Occasionally a change of syllables takes place without a distinct separation of notes, but rather by a very gradual shift. These notes are also tied. Single rests are often encountered. The reason for not including them in the previous or succeeding measures is that they were felt to be forced rests, so that the singer might take breath, and might not occur again in the same place. While this theory cannot be proved with the present collection, it seemed better to indicate such rests in this manner. Syllables have sometimes been omitted which were given in the texts. It is hoped these instances have been covered by footnotes, but in any event, the syllables so omitted are given in parentheses. and an apostrophe written after the final syllable that can be heard. Syllables are sometimes elided if they end and begin with the same vowel. These are connected by slurs. : Uncertain parts of the music are included in parentheses. There were many bad places on the records where it was impossible to obtain a correct rendering. Sometimes it was possible, through repetition of parts frequently in the course of the song, to reconstruct these places, but they have always been marked as uncertain. Spoken words are so indicated, and where extra explanation is necessary it is hoped that the footnotes will provide it. There is one exception to this rule. Eskimo singers apparently insert, quite at random in their dance songs particularly, the syllables he he he or hu hu, as many times as may be desired. These are meaningless in themselves, but express delight in the movement of the song and psychologically are part of it although actually they are not, since another time the song may be sung without 88540—2 17 18 Canadian Arctic Expedition, 1913-18 them or they may be inserted in another place. Usually these syllables are cries rather than intoned words, and are not definitely pitched. I have, however, indicated the pitch as nearly as possible, that a better idea might be obtained of them. They are also usually in keeping with the rhythm of the song. Such parts in the music are enclosed in parentheses also, as are the syllables, and are not counted in the musical analyses; nor are any measures that are clearly mistakes or false starts. V between notes indicates a break in the continuity due to breathing or some other cause. Vv over a note represents a waver, always less than a quarter of a step, down and back to the original pitch. To avoid numerous repititions in copying and printing. where parts of the melody recur without change, words such as Ref. 1 or Conn. (refrain 1 and connective) or else capital letters indicating whole sections that have previously appeared, are inserted in blank measures in place of the music. Explanation of signs used in the musical analyses On THE Music ITSELF The measure has been taken as the unit of musical expression. Motifs, as they are known to students of composition, correspond closely to the measure, since they must include one primary accent, but they may be strictly composed of the last part of one measure and the first part of the next. To indicate them strictly here would involve much complicated marking, more confusing than practical. Where phrases and verses begin on the last part of a measure they have been so marked. Small letters directly beneath the staff designate the measures, and the same letter is used for all measures that are composed of the same tonal material in the same or very similar arrangement. Degrees of difference in rhythm or in small melodic particulars have been indicated by the small numbers a little above and to the right of the letters. The repetition of musical ideas with numer- ous infinitely small differences has necessitated many degrees of the same letter, so that the small numbers were deemed better than prime marks for showing the variations. To classify these and assign appropriate numbers for the actual amount of difference from the original measure, would have necessitated many days of labour for no really practical end, especially as in many cases one kind of difference would have as good a claim to the next place in order as another; so the small numbers as they stand usually represent merely the different kinds of measures of a single type as they are encountered in the course of the song. By means of the letters and their numbers it is easy to observe at a glance how extended is the musical development, either melodically or rhythmically. Now and then a measure has been lettered which later in the song is expanded from within in such a manner as to cover two primary accents, or to compose two measures. The two measures are then connected by a slur and a line drawn through the letter horizontally. In the tabular analysis which will presently be discussed, this situation is met by a dash after the letter and the number of beats for the second measure appear under the dash. Measures which early in the song have been separate, are sometimes teles- coped into one, in which case the letters are combined which represent them. Tonal material is often inverted and the sign (®) after the letter indicates this condition. Again the measure may seem to be reversed in places in the song, and for this the sign (§) is used.! 1 Theze are not the original signs used by Miss Roberts, but are very similar. Her.sizns, placed above, not after the letters, are retained in the music. Those given above were substituted in the analyses to avoid typographical difficulties. Miss Roberts unfortunately did not see the music from the time it left her hands to be copied until it appear- ed in page proof too late to be corrected. Songs uf the Copper Eskimos 19 The larger structure of the melody is indicated by the large Roman num- bers (showing when there are two or more distinct songs combined into one which have not become fused); by the capital letters marking the phrase divisions, and by the abbreviation, (ert.), meaning a melodic extension of what has just preceded, but which has not developed enough originality to be lettered as a new phrase. All of these signs run above the staff. The phrases are some- times smaller than the regulation four-measure size demanded by the rules of poomposition developed by the classicists. Some are composed of only three measures, often consistently for some distance in the song, at other times they are but two measures. Really these latter are sections and are not called phrases unless they are separately repeated in other combinations elsewhere in the song. Differences in the composition of phrases are indicated by prime marks. Tur TABULAR ANALYSES / The tabular analyses hardly need explanation. The capital letters at the left indicate the corresponding phrases in the music. Immediately following them on the same line are the letters representing the measures which constitute the phrase. Directly under these are the numbers giving the beats in the measure, even to fractions. If a phrase begins on a fraction of a measure no letter is furnished at the beginning of the song and usually not elsewhere, but only the number of beats involved. Phrases that end with an incomplete measure carry the letter of that measure and as many beats as are actually concerned; the remainder will be found at the beginning of the next phrase, but without a letter. The only exception to this general rule is where the phrase has extended only a short distance into a measure of some length, where it has been felt that the measure largely belonged to the next phrase. In that case the half-beat or beat with which the old phrase ended is merely represented numerically at the end and the measure letter with the remaining number of beats is placed with the new phrase. Question marks indicate the pauses for he he he or other similar syllables. The number of beats consumed is given directly beneath. Under the caption measures is given the number of measures or primary accents in the phrase, and under the heading beats the total number of beats in these. Here half-beats have been added together into as many whole ones as they will make, not only because of the actual time that does elapse, during which the singer or dancer is really beating them out with his drum or with his feet in the dance steps, but because it has been suggested that possibly a feeling for long metric patterns is more keenly developed among some primitive people than with ourselves. Personally, the writer does not feel this to be so, except in the roughest calculation, but believes that the actual situation is the centering of appreciation in the single beat, although the presence of extra half-beats which cannot be ‘“‘added up” with anything, and even of quarter-beats, tends to shake a belief that even the single beat is strictly observed. By means of the measure and beat columns it is easy to compare the phrases as regards the number of primary accents and the actual length in beats. Other points about the tables will explain themselves or will be discussed as they come up. 88540—23 20 Canadian Arctic Expedition, 1913-18 CHAPTER I.—COPPER ESKIMO DANCE SONGS According to the collector! the songs of the Copper Eskimo are confined to a few types, dance songs, weather incantations and magic songs, and children’s refrains. There are no labour songs, apparently there are no love songs, while as for lullabies, ‘the only songs I have heard mothers sing to rock their babies to sleep are the very same songs they sing while dancing. Babies are rocked to sleep on the back, not in the arms, and the mother walks up and down, or sways backward and forward as she sits, crooning her dance song, usually, I think, a sik.” : The present collection was made almost entirely from the dance songs and weather incantations. Only one example of a children’s refrain was collected, No. 86, which is c on record IV. C. 85. By far the most numerous are the dance songs, chiefly from the Copper Eskimo, but there are a few from other surround- ing regions which afford interesting material for comparison. Of these there are two types among the Copper Eskimo, although, except for one instance, the dance songs of the other groups have not been differentiated by the inform- ants or singers. The Copper Eskimo have the pisik and the aton, the differences between which, at least at the present time, seem to be centered in the method of dancing, which is not so much a matter of steps as of more abandon. In dancing the pisik the dancer holds his own drum which he or she beats while dancing in the | ring, while with the aton, after the song is well started, the drum is given to someone on the side, who beats it while the dancer is allowed the freedom of wilder gesticulation and relief from the weight and swinging of the drum. So far as the collector could determine these were about the only differences to be detected in the two methods of dancing, and so obscure were the differences, if any, in the musical structure of the two that it could not be defined without more than ordinary acquaintance and even analysis. The people themselves usually were able to say at once which type of song it was, but at times a man would have to ask a companion, and generally the decision seemed to rest upon the manner of dancing which had become associated with the tune and not upon any structural differences in the song itself, such as metre, the beat upon which the song began, the different parts.of it, with possible changes in metre, the speed, the repetitions, etc., all of which points are important considerations in our own dance music. At an earlier time there may have been considerable difference in the two types of dances and the music which accompanied them, but at present these lines of distinction are much obscured and it remains for musical analysis to reveal what traces of them may survive, and to define, if possible, the stylistic features, not only of such types of dance songs as may be found, but also of the weather and other incantations and of the music of the peoples more or less separated from the Copper Eskimo who have developed their own local peculiari- ties. Of the total collection of dance songs from the Copper Eskimo, forty-eight are definitely classed as pisiks, and this number does not include those songs which are fusions of two or more songs which were originally distinct. Eighteen are known as atons and sixteen were undifferentiated, while one other was simply called “‘An old song.”” There were also a few fragments which were mere beginnings, the singer having failed to recall the rest. It was impossible to come to any conclusions regarding these brief bits which were too short for analysis. It will at once be seen that the pisik is the popular type of dance and that pro ably any one predominating musical form associated with that dance, whethd discovered under a different guise, or not, is the pisik form. 1 Correspondence. Songs of the Copper Eskimos 21. Tue Pisix The larger points of structure are the more obvious, not only to outsiders but to the makers; as a rule, therefore, it is more logical to begin with them and work to the finer distinctions. At once we discover that the pisik, so-called, divides into several groups, first, those which have preludes and those which do not. Practically all pisiks are more or less lengthy songs consisting of verses and refrains. Usually these verses are subdivided into two or more parts, each part generally followed by a refrain, but here at once we find numerous differ- ences which make for several groupings. Before discussing these forms it may be well to touch upon the features that have already been mentioned as being so essential in the differentiating of our own types, such as metre, starting beat, speed, ete. Nothing but metre seems to count very much in modern dance music, where pieces in four-four metre are commonly accepted as’ marches and gallops, etc.; those in two as two-steps; those in three as waltzes; those in one serve for many of the later dances; certain rhythms are used for polkas and schottisches, etc. Within limits the speed may vary considerably for some of these, although there are tempos which are generally accepted. In classical times much stress was laid not only on the metre but upon the part of the measure upon which the music began, some dances beginning on the up beat, others on the first beat of the measure. Some dances were slow and dignified, others swift; in fact, much depended upon the movement. All these points have been borne in mind in the analysis of these Eskimo dance tunes, and it must be confessed that not many of them can be depended upon in differentiating types. There is apparently no rule as to the beat upon which the song begins, songs which are as nearly alike in every other particular, as much as these songs are ever alike, showing considerable variation in this respect. It all seems to depend upon the words of the song. Thus, counting songs as two in which a fusion is apparent, there are fifty-one pisiks. Thirty- six begin on the first beat, four on the last half of the first, one on the beginning of the final beat, four on the last half-beat of the measure, three on the last quarter-beat, and one is uncertain, while two were not analyzed. But a begin- ning on the first beat is certainly the most popular type. As to metre, they are nearly all predominantly two-four, but there are only a few songs in the entire collection which are practically absolutely regular in metre, and some of these are weather incantations, while the others are scattered and the regularity seems almost more of an accident than design. Practically every song is of mixed metre, that is, two-four and three-four with more twos than threes (at least in the Copper Eskimo area), but the threes are not distributed in any regular succession in more than one or two instances, and one of the most perfect examples of this is again a weather incantation. There are very few songs with four-four metre and most of these are incantations or songs from other regions. Nearly every song contains measures which have extra half-beats, sometimes in profusion but not in regular order, so that it seems that the mere matter of metre has little to do with the dance. Could one witness the performances one might see perhaps that the words with strongly pronounced accents in the wrong places had a tendency to overthrow the metre of the dance music, or rather to work in opposition to it, but such points are rarely discoverable in the song as sung. There is only one case of this in the present collection which can be detected, and the extent of the influence is necessarily obscured. This is the song on record IV. C. 88, which is number 46. Here the rhythm of the word qai-yun-eq-tuy-a is strongly a three-beat rhythm with which the music fits admirably at times, but with which it wars as strongly at others. This was the most troublesome of all the songs to transcribe, for the musical accent was often quite overpowered by that of the words, which again in an identical situation seemed to give way to it. Repeated hearings only added to the confusion, so 22 Canadian Arctic Expedition, 1913-18 that the writer decided to leave this as a special example of rivalling. accents and to publish three different transcriptions, any of which sounds perfectly right with little or no mental adaptation. All that we have to work with in the present instance is the songs as sung with the words, and we have been obliged to accept the accents as they have fallen under these conditions and to note the actual lapse of time in half beats as well as whole ones, in rests as well as in tones. The extra half beats are quite as often made in actual separate eighth notes as in quarters which are held a little longer than might seem necessary, so they are not only the result of dram- atic singing or want of breath. As to tempo, the following lists will prove that there is practically no differ- ence between what the people designate as a pisik and an aton. The metronome tempo per quarter-note for the two types is as follows:— ’ Pisik Pisik Without prelude With prelude Aton 108 108 116 84 100 84 104 100 80 88 116 88 88 100 112 112 80 92 92 108 132 104 116 92 84 80 88 84 84 76 80 112 88 116 100 88 104 126 100 92 100 108 100 76 80 84 112 96 92 80 100 84 80 96 108 96 80 100 112 98 80 90 100. 84 116 114 120 104 130 112 For the pisik without prelude the average is 99, the lowest being 80 and the highest 130. The average speed for the pisik with prelude is 97, the lowest speed 76, and the highest 126. For the aton the average is 95, the lowest being 76 and the highest 132. These are all practically the same, so that it would take more than human ability to differentiate the songs on the basis of tempo, ele by people who had nothing more to go by than a mere hearing of them. Having thus disposed of the usual points that are of importance with us in the differentiating of dance melodies, we may consider the question of smaller( rhythms, that is, regular successions of actual note values, but here again, search seems useless. As far as the succession of words is repeated, the rhythms Songs of the Copper Eskimos ‘23 are also, for the music in a rhythmic respect corresponds almost absolutely with that of the words, as we should expect in more or less primitive singing. It is the words that are intoned, not formal musical structure to which words have been fitted. There are a few exceptions, such as a glide of two notes over one syllable, but these are comparatively rare, and so dependent is the rhythm of the music upon that of the words that it is subordinated to them in countless Instances. No two verses or refrains are exactly alike, usually, in a song, and the differences are even more rhythmic than melodic. Time and again we note that a change of word to one with one more syllable will cause an extra half beat or beat in a measure that would otherwise be an exact repetition of one which occurred in an exactly similar situation only the verse before. With such a condition, formal rhytamic structure is, if not out of the question, at least very unlikely to exist, although there are a few instances of it here and there in both dance tunes and chants, but they do not persist long enough to be dis- tinguishing features except in cases where words are repeated and even then not through the song. These rhythmic effects seem to be enjoyed, if one can judge from the way in which they are sung, but such a play is so unusual as to be worthy of comment, rather than customary. Instances of the kind will be noted in their places. In the different songs of one type, such as the pisik or aton, I have not been able to find any particular rhythmic combination that predominates. If one song seems to possess such, here and there, the next has none, or one that is totally different. And in the course of a single song there are not many suc- cessions that are alike, so that it could hardly be said that a certain rhythmic unit or pattern characterizes the song in question. One can hardly imagine a dancing of fixed, form accompanying this sort of music, for what would happen at odd beats it would be difficult to conjecture. Their presence is frequently most disconcerting to whatever rhytam may have appeared to be forming. With none of the usual features to assist in the identification of the different types of dance songs, it becomes necessary to resort to questions of composition which deal with the general plan of the tune and the words, to the proportion of parts, their recurrence and repetition in relation to themselves and other parts. Therefore the division of the pisiks into those without and those with preludes seems comparatively important. As has already been stated the pisik is a rather long song consisting of verses and refrains. The verses are poetically, if not musically, usually subdivided into two or more parts which are separated by refrains. These latter may be all the same or each verse part may have its own refrain. There is a large group in which the beginning of the song is made at once with the verse, and as these are simpler in construction from several different points of view, they will be discussed first. Sub-Group 1. Without Prelude Song number 1 is the most simple in structure of all the pisiks which were collected. There are merely undivided verses which are separated one from the other by a refrain which is the same throughout. After the refrain there is a short connective, which is neither part of it nor of the succeeding verse, but rather a transitional measure, which usually in all dance songs introduces the verse. The connective is a characteristic feature of these songs, and varies in length generally from one to two measures. There are always burden syllables, frequently 7 ya, i ya, which constitute the connectives. A study of this inter- esting device in the examples themselves will serve better than a description. There are several songs in which the verses are divided into two parts, both alike, each followed by the refrain which remains the same throughout the song. These are numbers 2 to 8 inclusive. There is one exception in this group, for toward the end of the song the refrain in No. 4 changes. In fact, it is very hard to generalize about any group, for exceptions of one sort or another are 24 Canadian Arctic Expedition, 1913-18 constantly cropping out. In the majority of these songs the verse part is two phrases long, the refrain one, but there is an example, the last, in which the verse part is only one phrase long and the refrain four. Two of the songs are fusions of two shorter tunes. In the first, which is No. 3, the second song is nearly the same in structure as the first, but in the other, No. 7, the second tune is quite irregular and begins with a prelude, in effect, if not in actuality. To a third division of these songs without preludes belongs a song which also has a two-part verse but each part is different in melody and these parts are consistently carried through the various verses. The verse parts are each two phrases long. The refrain which separates the parts as well as the verses is the same throughout. See No. 9. Still another two-part verse form has a different refrain for each part. The example is No. 10. A three-part verse form with the same refrain for all parts is No. 11, and several songs with three-part verse forms but different refrains for the parts are illustrated by Nos. 12 to 14 inclusive. These complete the songs which have no preludes of any sort. At this point, if it is desired, the reader may turn to the songs just discussed and study the music, together with the analyses which follow each song and the general comments concerning it. For the sake of clarity in the general dis- cussion it seems better not to insert the material here, for the individual com- ments carry the reader far afield, to say nothing of the tunes with their fre- quently charming melodies. The songs and their individual analyses and comments seem to belong in a section by themselves. , Sub Group 2. Syllabic but not Musical Prelude A second fairly large group of pisiks are those in which the first verse and refrain are sung to a prelude of burden syllables. This prelude, the collector states, is merely a ‘trying over” of the song before launching into the real verses. Singers often do this when they wish to make sure that they have the correct tune, and burden or nonsense syllables are resorted to for this purpose as they are when the singer forgets, or in refrains. Since the refrains are practically always sung to burden syllables, however, and the refrain usually forms part of the prelude, it seemed better to class these songs by themselves, although, except for the minor differences that are always encountered between verses, there is, musically, no essential difference between the “prelude” and the verses which follow. Nos. 15 to 20 inclusive are the first sub-group of these “prelude” forms. The verses in these are all single. In the first example there is no refrain, either in the prelude or the verses which are two phrases in length. The verses are joined, however, by the connectives, and the song is otherwise regular. In No. 16 the second phrase is the refrain. In No. 17 the refrain has two phrases, the verse but one. In No. 18 the verse has two phrases and the refrain only one. No. 19 is like 16 in structure, No. 20 like 18, and No. 21 like 16, but these three last songs are similar melodically and are therefore grouped together. No. 21, however, is a three-part verse form, the analysis of which is interesting and will repay study. The prelude and refrain are like the first of the three verse parts. In No. 22 we have a two-part verse form and the prelude and refrain are the same musically as the first part of the verses. In No. 23 the prelude is like the second verse of the song as it has been given in the text. Possibly it should be called Verse 1, part 1, and what is given as the first verse would then become Verse 1, part 2. In the majority of the songs which have subdivided verses the parts are alike or they correspond in the different verses. In this case the second verse would become the first part and would then corres- pond with the first part of the first verse. But there is the one objection, that the first part of the first verse has no words, which could only be met by the Songs of the Copper Eskimos 25 explanation that they were not remembered and therefore that burden syllables were substituted, or else that the singer forgot to sing over again the first verse with its words, neither of which statements is capable of proof. Sub-Group 8. Prelude Effect A third great division of the pisiks I have labelled “‘prelude effect.’’ In these songs the start is made directly with the verse; usually the latter is sub- divided. But musically. a real prelude exists, for part of the tune employed for the first half of the first verse is not repeated. Thus in No. 24 which is the first song, the first part of the first verse contains the musical phrases A and B while the refrain is composed of phrases C, D and E with an extension. The second part of the verse, instead of repeating the A phrase, brings in a new one, F, which is substituted for the A throughout the remainder of the song. This, in principle, is very different musically from what occurs in the second group of songs, which we have just discussed. Here in reality there was no musical pre- lude, but merely a humming over, or trying out the tune with burden syllables. In this third group there is in reality a musical prelude, which, however, is not recognized as such in the structure of the word phrases, and probably not by the singers themselves. While groups one and two might formally be classed together, group three is a distinct class, in the songs of which there is a funda- mental difference in structure from the standpoint of composition. No. 25 is in principle like No. 24 but the refrain is short. Both songs have two-part verses with the refrain after each part. In No. 26 we find the interesting difference that while the song has the two-part verse, the first part of the first verse has its own musical content and refrain; on the other hand, the second part and both parts of the succeeding verses are alike and different from this musical prelude which constitutes the first part of the first verse, poetically. Still another design is exemplified in No. 27. The prelude is composed of A and B while the refrain is the phrase C. In the second half of the first verse, however, the verse part is composed of the phrases D and E, both being different from the prelude phrases. In the first part of the second verse the D is retained as the first phrase while the second is the B phrase of the prelude, and this alternation. continues for the remainder of the song. No. 28 is decidedly complicated in structure. The verses are two-part and the same refrain is used throughout. The second half of the first verse is com- posed of the phrases C and B’, where the first half was A and B. The second verse in both parts is like the second half of the first. But the third introduces D to replace the C phrase in both parts. The D is also retained in the first half of the fourth, but with the second half a return is made to the C and B plan. The fifth verse has two D phrases in the first half and D and B in the second, while the sixth again has D and B for both parts. At first it seemed as if the plan of phrases,ran in three verse parts, but this breaks down with the last half of the fourth verse. No. 29 has three verse parts with the same refrain throughout, but in the first verse, while the B phrase of the verse is retained, each section has a different first phrase. In the second verse the parts are all like the second part of the first verse. The third verse has the first two sections like those of the second verse, but the third part reverts to the corresponding section in the first verse for its first phrase while the second phrase is a combination of two phrases taken from the first verse, which, after all, is a not inartistic finish. In Nos. 30 and 31 the songs have undivided verses and in each the refrain serves for the whole song. The first and second verses are different in phrase structure, however, as far as the verse proper is concerned, but neither song is long enough for any definite conclusion. It is probable that since the first verse is different from the second that the musical prelude is present. 26 Canadian Arctic Expedition, 1913-18 Sub-Group 4. Real Prelude The simplest example of a real prelude may be observed in No. 32 in which there is one measure of real introduction followed by the usual two which form the connective. The connective is repeated before each verse part but the first measure is not. This song is one of four which are more or less scattered, in which the refrain is peculiarly constructed. The verse part proper has two phrases for each part, but the refrain instead of being a third phrase, is musically inseparable from the second verse phrase. The verse phrase is extended to accommodate the refrain, which, however, does not begin with the extension but in the last measure of the phrase proper. In the analyses the refrain is indicated by the brackets above the letters, while the measures that form the extension, musically speaking, are enclosed in parentheses. Other songs with refrains of a similar nature are No. 57 among the so-called atons, and Nos. 72 and 75 in the group which were undifferentiated by the singers. All of these songs have the same general plan as most of the pisiks. In No. 33 the prelude is but one phrase, followed by the refrain, after which the verse parts all have two phrases, the first of which is taken from the prelude. This may be an example of trying over the tune, but the fact that the second phrase is omitted and the whole refrain sung seems to argue that there is some- thing intentional in singing the prelude. In Nos. 34 and 35 the prelude has one phrase, and after the refrain the verse parts are two-phrased with the first of new material and the second taken from the prelude. This custom of introducing new material for the beginning of the verse part and going back to the prelude for the second phrase has been found to be more or less typical of many songs with preludes, not only among those which are definitely called pisiks by the Eskimo themselves, but also among songs which have been classed as atons and in the undifferentiated group. It is recommended that the reader glance at the tabular analyses of the songs as he proceeds, without reading the songs themselves or the special comments, in order that these plans of construction may be clearly understood. There is still another variant in which the prelude is one phrase long and the first verse takes its first phrase from it, but in the second part of the first verse new phrases are introduced. This is a three-part verse form with three different refrains for the three different parts. When, however, the first part of the second verse is reached, there is no return to the A phrase which was taken from the prelude for the first part of the first verse, but material from the second refrain is used. This is a very irregular form which only a study of the analysis will clarify. The prelude consists only in the phrase A. There is no refrain until the end of the first part of the first verse. With No. 37 there is a prelude of two phrases, A and B. The verses make no use of the A but retain the B for their second phrase and introduce D for the first. Very nearly the same plan holds for No. 38. No. 39 is-rather irregular. The prelude, an A phrase, is followed by the refrain B and C. The first verse, part 1, has D for the verse phrase and the regular refrain, the second part con- sists of two phrases, E and G. In the second verse both parts have F and G, the third verse F and G for the first part, G and G for the second, and variants of G appear in the first part of the fourth verse, where the song is cut off. The same refrain serves throughout. No. 40 was unfortunately inaudible in the first part except for the first few notes, but they were enough to show that the beginning was somewhat different from the other phrases. In No. 41 we have perhaps the most distinct prelude, consisting of A and B phrases, followed by the refrain C and D. The verse parts are all very different and even the subsequent refrain is altered. No. 42 should have received earlier place in the group for the verse parts are modelled directly on the prelude, but where it has but one phrase, they have two. Songs of the Copper Eskimos 27 Sub-Group 6. Irregular Types _In No. 43 it was impossible to transcribe the prelude and in No. 44 the song begins with the refrain. No. 45 was too short for analysis. An Example of Conflicting Rhythms The non-conforming types always fall at the end. No. 46 stands by itself, not on account of its form, for in that respect it belongs with the first sub-group, but because the contest for supremacy between the accents of the words and of the music made it not only worthy of a special study but also impossible to analyze from some standpoints. The special discussions of it will be found with the song, in its place. More or Less Formless __ There are two examples of somewhat formless songs. ‘he first, No. -47, is composed of undivided verses, each different and each with a different re- frain, except in the fourth verse which takes that of the first verse but without the extension which was added in the first instance. The refrains for the second and third verses have considerable material in common in the shape of prominent constantly modified H phrases. The second, No. 48, has two-part verses, each part different with different refrains for each verse except in the first part of the third verse where a reversion is made to the corresponding refrain in the first verse. In the second part of the third verse the verse part is the same as in the second part of the first verse. All the refrains, however, have the last line and the extensions more or less the same. A Fragment The fragment, No. 49, is only long enough to show that the song is sup- posed to begin with the verse, but whether or not the A phrase is really a musical prelude cannot be determined. Different Forms In songs Nos. 50a and 508 we find forms like some of the examples which have been called atons and like the songs that are found in some of the other regions. They are placed here at the end of the group of pisiks because they have been identified as pisiks by the natives. There is nothing of the usual pisik form about them and doubtless they are survivals of another type the identity of which is not now recognized, it if ever was, and with which dancing in the pisik manner has become associated. Before leaving the pisiks for a study of the atons, it seems well to note any other points beside form by which they may be differentiated. These are points that are not ordinarily associated with types in classical music, such as whether the song is in major or minor tonality, what are the tones upon which it starts and ends and what is the relation of these either to a tonic or to a tone which may be called the general level or resting tone in place of the tonic. Thirty-three songs are in the major mode, seven shift from major to minor, usually the tonic or relative minor of the tonality in which the song began, one shifts from minor to major, six are minor and four are irregular or irregular after a major passage. While the tonality of the pisiks may thus be said to be predominantly major, the comparatively large number of songs which are not so, together with the fact that most of the music from this region is major, makes it impossible to regard the tonality as distinctive of this type of dance song. It may be interesting to note that in this series the third of the major scale is a 28 Canadian Arctic Expedition, 1913-18 very favourite tone not only for beginning the song but also for ending it, and for the general level. There are, however, songs which begin and even end on the fifth, a few which use the tonic, and some odd examples which are noted in their place. These same tones for the minor are about equally favored. Summing up the pisiks, therefore, we find that in speed, metre, rhythm, form of beginning and points that are usually by us associated with different types of dances, there is nothing distinctive which characterizes this group; nor, it may be added, the sub-groups as they have been made according to form. The speed varies all the way from 76 M.M. to 180 M.M., and the same con- ditions apply for the atons. The metre is predominantly two-four in most of the songs, but almost always mixed with three-four and no regular succession has been found. In rhythms there are no definite patterns that have been proved to be characteristic. Most of the pisiks begin on the first beat of the measure, but there are a large number which do not but which in other respects conform to the general type, if such may be said to exist. The tonality, as we have just observed, is largely major, but so it seems to be for the music of the whole region and is also for that of many primitive peoples. In form, however, a fairly well-defined type exists, which varies within limits, or rather there are two musical types, those without prelude and those with. The music consists of verses divided into two parts or more, in the majority of cases, each separated by refrains, and in fully half of the cases, if not more, part of the verse, or a prelude, with a refrain introduces the verse proper. There are all sorts of variants of this form but this is the broad general structure. Songs of the Copper Eskimos 29 THE PISIK Sub-Group 1. Without Prelude evi Dance Song (pisik. Record INC. 80. composed and su nae Hnyil aq,aPuiviigq woman. (aint ley nag-a Cc d=llz A dips pre-u-yu-leq-tumray ¢ ye ye yap- a pie- u-yu- leq- tus - ay € ye ye ¢ a Netel rite Conn. A tepre KI i I T 2 TAT Rae bmg asad * ax 7 ye ye yame ye ye ya E yay-a pre-u- yu- leq-tuy- ay e ye ye yay-a : Yexoe 2. B © Conn. A® Se sw re a La 7 arr) i > ras) +7 ~o 3 a3 7 al ne oL_e ku-luk-cug-mun 1 + ma pre-uag - to- yi-wik G Kaga-tain-e- ya- he t-mu-fu- cuediae Yeroe3. f © Conn. A be 1 +, + +--+ = 5 a F re 5 — oe mag-a — ku-luk-cug-munt- ma picu- aq- ta- yi-vtk (e u- luk-ca- am a- x B brs —t T — T A] if 1.7 it a} bi Y 3 ul Z a a pe ¢ Bos > er a ft li te- ki-léYa-Ta-yap- kum-o 1¢.~ u- a-yayyuk a-mu-laq- pa-ya & ye ye yane te Conn. A Ta Bt Tht Pl T TRE La a con ate iciniel j= Ta rae: 2 a ee it is i Din | rf See is ig AY y n T i fy bh ee ag -— a 0:8 ? teey m n i? ev "3 3 "3b ez: ae (hu hu huhu hu hu) € yay-a — pe-u-yu-leq-tum- ame ye Pe yaye pte-u-yu- leg tin. Vewe 5. > is 1 I s 4 Se aes a SF ane ye ye ya (e ptc-u-yu-léq-tun- aye ye — ye yay-a ku-yay- yu -ay - Sexo 6. , . C ConA B y_3 eB T - I +2. { hi i i a | 2-1 _ft-+t a SS fea yy re +4 a b>e ad — =? + > vis fa f? ap-ta-loy- li ap-kua-caq-eu-yo- Ni i ku-yay-yuray-munpieu = aq- a a a: Se | 1.7 | al i ce Zz I oF TSG mun picu - aq - to- ye-vk(e Vouse 7. 3 —V o 3 : 6 eT6 i } _ 6 i 3 $3 a3 sf Te te a J to-yi-vik G Ku-yay-yu-ay- mun tr-kileya-fa-ya- mam-a —ut-ku-cik-tan- ub- 2 8, 30 Canadian Arctic Expedition, 1913-18 i. rey as 2 a ‘oh, Se aT serra os FE, T= ry ai ca Co ED OE ~. 2 7a 2 on 2 _— — aw 2 = Kp— ee ee —— ee a a ? e-%> T p58 xb i tr- Ki-leya- taq-tum-a (e uf-ku-cik-canuk i ‘te ki-lya ste: Ya- ee: a a 9. @ 5 9 to-main-a- li in-€q-CL- yay es a ye ye ds ee a ae hu) € yaga StefiainIE Eh A a ae re 3 ple -u-ya- ew a ne ye oe yaya a- By ya-mun t- ma pic u-ag- To-yi- ik(e Vewel0. Lz aa a SS er AR c— a —— FT TE A ae SS SS A Ce A SS OS a a A ss as i esttne ma Ta-ko-wk-cit-ya- bua-o preik-ci- tn a- macu-cu-it. pak-tug-a @ Verse 1. Nef I. 4 spoken:= : eee a EE NG Raed t Matra Ai, IE. ye ye —- yas-e ye € yam-a —pte-u-yu-leg-tum- aye ye yeyaya Verse 12. ——— = =| ae ee vy 3 pic-u-yu-leq-tum-aye ye ye ye(e pic-u-yu-leqtug-ag eye ye yaya Verse Id. a-qo-vi ~ya-mub.i pic-u -ag- to-yi-vik (e gal-yuagreiog- tut ah ae ci-vak-tu- Seve 14. c. TV] T =a T T fT R it T T T= T w T ee 7 2 ee 2 A Tn EE ES pL Ae Ge eee 2 2 ee CJ nigy-i gai-yu-aq-ty-yab- i al-pa- yu-tt-pin(e yeye yay-e yeya e yan-a 4 en 3 ae yaa bas A Pale 2 anf i Gy 3 mn pic-u-yu-leqtum-ame ye ye yaya tu-nu-mubit- mapre-u-aq- te-yi-wk(e ere 15, 31 Songs of the Copper Eskimos # Sareea ene eo — re te [2 SO A Kan Pa es ye ye yame ye ye ya & yaya seat a m a-plan~ €-mag-a Verse 16, p> A T= ns oe aN [__ eI FP YA! Seer IPTRs Ses a aon ov, oe a a a 0 Kp} 8 EE ESE we Wa 2S Bee Ss oe Laman Cu-nauv- & im-=nam i- vég- salt cay- Vuive IG @ yagy-aya u-vay-a-lu t- Vee 13. > ee é ee of @ 6 ze be eae a-le-ye Ye-yosrni- lany-a mg-ai-ya-in-a - ma i- "0g-x0 - Phrases V.1. Refrain 1. V. 2. Refrain 1. V. 3. Refrain 1. 5 Cc No. 1. D NE’NoNws Recorp IV. C. 80 major tonality Ne NANT Q ‘o) 5 Pp eo rey Ne NRW oe j2 QO ro) 3 Pp i, ag-a-ya (e Measures Beats 4 75 3- 6— 3+ 6+ 1 3 3 7 3- 6e— 3+ 6+ 1 3 3 7 3—- 6— B+ 6+ 1 3 32 Canadian Arctic Expedition, 1913-18 At al b? d? 3- 6% Va. 23 1f B’’ f'k gi 3+ 68 142 2 ih Refrain 2. D 1(? ?) 3? 73? z 3 (2 2) Conn. 2 ag 3 3 A’ a® bi cl 3 64 V. 5. 2 2 22 Bir p f g a 62 | 22 2p ; Refrain 1. Cc h iii 3+ 6+ 2 2 2 Conn. 2 1 3 3 The song goes on this way through 17 verses, with endless small variations of the melodic theme, and an interesting play upon octaves as part of it. After verses 4 and 9 we have a different refrain and after verse 14 another. But the general rhythmic structure, which is in threes, is maintained fairly well although with numerous small variations. The measures are largely two-beat, but the phrases are three measures in length, and many of the single beats are split up into triplet eighth notes. The low beginning is rather unusual. The start is made on the sixth degree on the down beat and the melody drops to the fifth before rising to the third above the tonic. While it is very common to find songs in which the beginning and end are much lower than the highest notes, so low a beginning is not often encountered. Presumably the song would end on the third degree above the tonic for that is the ending of all the refrains. Songs of the Copper Eskimos ye ReorAWE C68 ane? Dong (pisik)” dese Sung by Haquayyaq, a Pusvtig woman. 43 A B na oe = = Balto a RNY ILA LL a aa Oa a ion LO Gt | A ae LA? oY ee ees ae a_o_it_ Jd 4 gg d te & £€4+e/4¢ C$¢¢t C€tse CF +¢e +H — Tg Needs a a b b ¢ u as ya- bt yeyi ya-ai te-ki-cat - ye- yi-viyu u-welay- yu cam-na ti-ki-catye Conn. ay + 5 . + rey $, = : eee a _s +E Sy oe + ae sees +4 ay; oa Yi-vi-yu i ye-e yai ye yi ya ye i ye ye yi ya-t be yar . bt yan ‘ Stefiain : fit __ B : T an i I pis 1s T J 424 } BB REE hte pt ie ~~ ot ao sae “fa t-ya U-wacli-ay-yut.-t naloy-yuth-icapku —te- ki - eumaq~ cu-yit trkicalye- yiveyu Vewsel.pt.2. Ct ise Conn. A? + ia T= iz T= } t Bol cm r% H Kee 2 i -S. +- + A_A_A. fy} a | aL 0 [Nee “eee wy = Pw e {I fort J o | EA eR 8 MWe mal z ba eC. + J Ez Zs 5 ee 4! +e Ee age tee 3 F wine eee on ye yet yeyiya ye yiye ye yi ya-iyeyiya- ¢ i ya- tb yat ye ya evan 22. pt. 4” B Ve.pt bi iv. TA A cf Tt 7 an b b* fa o Hf i ye yi ya- t tr- kt-car- ye-yeveyu u- wa lun-yut=i camna brki-cai-ye- yi-vt-yu Cc? Conn. A E j ae T a. a sae if if HI 1 [ te RAN ht ek et et eet oS eee eran es Sree er eee e be 45 ear b Or aes be EG i_yeyai yeytya ye i-ye ye yiya-i yeyiya-t ya i ya ya ca-viy-yuth. RP Verscppe, +f i { q t —_\_ T is 1 ] fy | a Se est _ 1 Aa A hay GO A 0 RO { bali ala Si a i tg. 5 A bk + Tg gst -¢ pf ¢ tute tte ras ae ttt te eds ad = ae (talin-yut-i cap-ko-a ca-vty-yu- tt- Leap-ku fi-ki- eu-maq- cuy-tn tr: -ki -cat-ye - yt vE-yu Lye a 4 teh Conn. A Bib ] a 7: 12 12. | T 4a a | Tae ttt 404 wae “* eras tf Fatt Hel 4 yeyiya ye i ye ye yl ya-t yeyi ya- t ya t ya tiya i ye yai “ey yat B 2 erseS. ptt. ¢ + 3 T T T T T T — To 5 ie if tA sat ca y 8 aewweiewee Ware rwawerez RAD TP ae Gy CE ee ee Dea tet, Ey 40% mt ld d Ey ae ea ee tr Ki-eai-ye- yiviqu (4)The singer became short of bresth foward the en (B Spoken: (atyoqeunapku) 88540—3 u- i -vatri qaamnatihalye-yivryu 7 ya- iya pita Q) d which accourits for mistakes and exira rests. 34 Canadian Arctic Expedition, 1913-18 No. 2. Recorp IV. C. 628 A major tonality Phrases Measures Beats A a ab bi 4 9 V. 1. pt. 1. 222 3 B ac d d} 4 84 2 142 8 Refrain Cc e b? a a3 b_ bi 6 12 2 DD DD Conn. f bt 2 4 2h 2 A’ a? at bb? 4 8 V. 1. pt. 2. 222 2 B’ fa ec d d 4 84 22 2 24 Refrain C’ e! b? ai as b bs 6 114 22 2-2 2s Conn f{ ad. 2-— 4 2 2 A” al b bé 4 74 V. 2. pt. 1. 12 2 23 B’ fa c dd 4 8 22 2 2 Refrain Cc” e b? a® a® b bt 6 12 22222 2 Conn f{ b* bé 3 6 22 2 Ahe a® a2 a? bb? 5 10 V. 2. pt. 2. 22 2 2 2 B” ab cl d d 4 8 2. D2 a? Refrain Cc’ e? b? a® aS b b? 6 114 2222 2 128 Conn f{ bt 2 4 2 2 Aue a’ a b b x? 4? 8? V. 3. pt. 1. £95 9 i B’ fa ecddd 4 8 2 2 2° 2 Refrain Cur e? b? a? a3 bb? 6 113 2222 2 1 Conn f b7 2 33 2 ik V. 3. pt. 2. ete at a? —- -— = - - This is an exceedingly regular song. The prevailing number of beats for the measure is two. The succession of measures is almost invariably 4, 4, 6, 2, but observe the extra measure in the connective between the parts of verse two Songs of the Copper Eskimos 35 and the extra measure in the first phrase of the second part of the second verse. The extra measure in the first part of the third verse, which is a rest, should not be considered as part of the song and probably would not occur in another rendition, for the singer was becoming out of breath and many little irregular- ities toward the end of the song bear testimony to this fact. The actual suc- cession of beats as found in the phrases is not regular, however, even though the measures that contain them are fairly so. Although the refrain has but one phrase while the verse part has two, it is sufficiently long so that with the con- nective it becomes as long as the other part. The song begins on the third degree of the scale on the first beat of the measure and presumably, if finished, would end on the same tone. This is the general level. 88540—34 36 Canadian Arctic Expedition, 1913-18 Roumces, —-§ Dane Song (pisif)” —=Haqumyag,aPutvttg woman. d+ 84 A B = AN 1a a. me if LN > ‘ e oe oy @ ee Oe ee o ¢ Ou8 “d <6 al ya-i ye ye yd —-am-O-t MiUD-a Mu- na-mi camay.a aq-o-mg-mi- uM- ay ne Vewwel pt. Cc Cun. ib ae X Late 4 ON RN Ne hh Sa A C egGeete 3 ee bt ae a Or av ya-t ye ya a-t yaqarya-t yeyl yaa ya-L ye ya-al ye i iv ya- Mefrainl v ogee oere @ Coeeve eee, a 7 i J} ry 1 - 1 7 . a > a 3 AF os yy 3 oe. vere e yi yard ya-t yéyai yal ot ya. bya Tu-piy-yabhi tmagy — atay-i-oy-yuth i Ciaseduet 2. D Conn. i 1 yaa gee ih aa e@ yar yal i ya a a a CE croc dd. ptl, Freally a new song ei ( g) (ext )@onn ae I re T Py T 5 T a i PS «I yD) 2 sea. siesta more » bh ‘3 re i =| La? : 7 a I a i ia ma 1 a t 4 ie oe ee. r) , peed oo Or a m n rf Fi o BO fy KS a ee ati-ya tunu-cinag- pa-yali a- i yahai ya-t yaai yr aa i yai ye eb ya Teh Songs of the Copper Eskimos "Ae i tu- -conedpayarli-i —tei-koy-yu-ayl-Leam-na — tu-nu-ein-aq-pa-ya- [i yaya tu cea i koy-yu-ay a ‘ ¥ a ex rt } A oy Se ee oy eee ee j .eo s\06 Ot 0 ) #8 m} m r on 3 e yarb ya-a-i ya tu-nu-cimaq-parya li a-b yahai ya-t ya-ai yal yai yat ye ppofeoin mr J’ kK p : e #0 O4 kK tya ot ya nat- ceqag-neyti cam-na tu-nu-cin-agynextu yo u-mi-i-viy-nunt-ma tu-nu-cunag- J? Yoweri. ext ) Conn. it - pa-yarli Rte a ag pee a-t yah ya- i ya-al ya-t ya- bt ye i ya fain : ‘a TA T it J ra mew +] a. wv 7 2c aC oe Te Ce ae : k 4 sl 1 kt u J m t yatu- — nu-cinagpa-ya-li nunay-yu-ayt-i camna tunu-em-agq-pa-yalt e@ ya i ya- Verwe 4, pt.2. ee : 4 ‘5 J (emt ) Conn. ff. | 1 if uu we = a. 3 ji Fa Se et m rr oe ° 7° O02 6 AA ar ° t ya tu-nu-cin-aq-pa-ya-li a-t ya-hai ya-i ya-al yal i all y F Sea 4, pa-ya-h a- ct yaar ya-t ya-al yar 7 i ya t ya _ tuk-tu-qag-neyt-i_cam-na Ttu-nu-ein-ag- nex-hu-yo Ta-nu-ein-aq- pa-ya- li Vexoe 5. pt.1. s? oe Gad | T @ yak ya- a-t -ya haat pa-ya-li a- i ya hai yas ya-at yat ya (1) A false start was made on this sond and the singer began again The mncorrect beginning has not been indicated here 38 Canadian Arctic Expedition, 1918-18 No. 3. Recorp IV. C. 93 Tonality uncertain B major or G# minor Phrases Measures Beats A a b 2 64 V. 1. pt. 1. 3 33 e de bi 4 10 oo 2 2 Refrainl. C f g b? 3 9 3.3 8 Conn. b? b4 2 4 2 2 A a b 2 63 V. 1. pt. 2. 3 33 B’ ce! d'! e bt 4 10 8 3 2 2 Refrainl. C f ¢g b 3 9 3.3 «3 Conn. h bé 2 33 2 14 A a b 2 63 V. 2. pt. 1. 3 3h B” ed e! bé 4 11 3.3 3 2 Refrain 2. D ig! bt b? 4 8 2 22 2 Conn. b? b8 2 33 3 1% A al b 2 63 V. 2. pt. 2 3 34 B’’’ c! d! e! b? 4 11 3 3.2 2 Refrain 2. D ig! bt b? x? 4 8? | 22a Bay Conn. h j 2 33 2 4h Really a new song E j} k Bk 4 8 V. 3. pt. 1. 292292 18 F l1mmm 4 2 A Refrain 3. G n FF j o (*p &) 6 12 2°22 2 2 2 IK Conn. k) kk 2 4 Q 23 Songs of the Copper Eskimos 39 Phrases Measures Beats H q 1 k 3 1% V. 3. pt. 2. 2 322 2 I n! j mm 4 8 : 22 2 2 Refrain 3. J r | j ( t) ks 6 13 222 22 383 Conn k’ k- 2 34 2-14 H’ q 1 k 3 8 V. 4. pt. 1. 4 342 2 I’ mn j mim 4 8 2 2 Ded Refrain 3. J’ r I j (s! t) ks 6 13 DD De RD DiS Conn k? k 2 34 2 1% H’ q | k 3 8 V. 4. pt. 2. 2 3192 2 es u j mm 4 8 222 2 Refrain 3. J” rol j (? t) x 6 114 222 22 18 Conn k7 k9 2 34 2 14 (IH n j 1 k 4 8 V. 5. pt. 1. 2222 Y’ nt j m'm 4 8 2 2 2 2 Refrain 3. J" r lt j (s? t) v 5? 93? 222 213 ? In this song we have two joined which are quite unlike except that they employ the same tones of a scale. The first song begins on the fifth degree of the major key with the first beat of the measure. Note the two refrains, one for the first verse and one for the second. The song ends on the third. The second song is joined to the first by a new connective, but the verse proper opens on the last half of the up beat, on the fifth degree. The plan in this song is slightly different. There is really only one refrain, for J is so near G that it was a question which letter to give it. Whereas three-beat measures were fairly common in the first song here they are quite rare and give place to two-beat measures. In the first song the pair of phrases was the same for the second part of the verse as for the first, but in the second song the pairs are differ- ent for the two halves. In the second verse of the new song, or V..4 as it is given ‘in the text, the first part is nearly identical with the first part of the previous verse but is followed by the J refrain rather than by the G. The song ends on its general level, the third degree of the scale. 40 Canadian Arctic Expedition, 191 3-18 No4. 5 2 aft Recsea 18 iother Dance Gong (pisik) joined without josa of beat toa preceding song. It is nearly al solutely regular in tempo. composed and sung by Unahag,aPurvii.g woman. d=ll2 108, A / B Cr eB ee . mau-na hai ye yadi-yum- i-vaktum-a- a-ai nateeghoqtu-nub- i ai-yum-t vak-tig-a Vowe Lptil 1 o 0 eo0e Se d © Go NS Tt we 7 i i A PS J v3 9 ee a-ab mau-naai ya-al ye ya ma-u-na at i ya ha i ya mau-nahai ye aryum-tvak Mefi iain pt. aaa T i } 1 ee, ee, 2s ("RE Dee ee ee eee 4 eo 7 6 ey a # e a e C) ; org : . i ya mau-na hai ye at-yum-i-vak- Tun-a-a-a-ar —ci-lay- yu-a gam. ma oo ku - Verne 2.pt.1. i en Pe org a yu-a gamma o-ki- u-|tx-yam-man hart 2.yore. Se B’ A aoe, te are c ty-Fu-ay- yun-ni- lu in-yu- ma-vaktuga i ya- t yamau-na hai ye : Verse 3.pb. 1, B “- Rh 1 = jh 7 rye ware oe ace oe rae ai- yumivak-tug-a-a-ha- i ya cl lay-yu-a gay: ma o-pin-ya-lin- yas-maan o a e Ce ee a PE 6 r) ar nD 3 4 : c Bee change ce ; b er o e a? oe e ai Cea. iL ya- & ya mau-na hai ye &- li-en-ay-log-pa-a ha- i ca. ni-kuk in first verse Verse 3. pt.2. ? v.08 ; rE] f ‘e* 6 a? e oy e e e aa” e °. picrk-ct-ya una tin: yu-ma-vak-tug-a 1 yamau-na ai yaar ye yamau-nat aun. Songs of the Copper Eskimos 41 vie vio ne ya-i m Tim-mi-yal- yur ya na-laq- ci- ae ha-L na- ya-yay-yu- ik. i qay-leg- ersed, Pt. 1. : A+ K4 = — A A RS Sa ee ee RRS cote a a a we SS C—O oe or a ne c Oy a PT ms tu-a alae pk ee tL Mmau-naal ya ai ye ya maau-na-v ya hai ya Sha 1 mauna hai ye--. frain : Veroe4 pt2. No. 4. Recorp IV. C. 78 B B major tonality Phrases : Measures Beats A { a bc oe 4 8 V. 1. pt. 1. 222 2 B dee el 4 8 222 2 Refrain A’ a bbc @& 4 8 2 2 2 2 é Conn. ce b? 1 3 2 1 Av + a® bl ct 3 8 V. 1. pt. 2. P22 9 B dec e! 4 8 2 2 2-2 Refrain A’ a bic @ 4 8 2222 Conn { 8 b? 21 1 3 AU+ a® b! ct 3 8 V. 2. pt. 1. 12 9 3 B’ dec @é 4 8 222 2 Refrain A’ a bic 4 8 2-22: 2 Conn ce eS 2 4 2 2 AU ’+ al b ¢ ct 4 8 V. 2. pt. 2. 22 2 2 B’ dec eé 4 8 2 2 2. 2 Refrain A’ a be @ 4 8 2 2° 32. 2 Conn. { c® b? 1 3 42 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats AU 4 a® b! ¢ ¢?7 4 9 V. 3. pt. 1. tL. 3 2:3 3 B” d e+g c® ¢ 5 103 2 982 2 2 Refrain ’ A’ a bie @& 4 8 22 2 2) Conn c® b? 1 3 2°34 Ae tee ae bt c @& 4 9 V. 3. pt. 2. J. Oe De BY’ + dd fg eéé 5 10 2232 2 YQ Refrain AB b? a®tg ¢? 4 8 2 2. 2) 2 Conn c® ¢é 2 4 a 2 AUMVUULE al b @ 8 4 8 V. 4. pt. 1. — a BY" dec 4 8 9 2 2 2 Refrain A’+ a b' ec @ 4 8 2 22-2 Conn. ce 1 3 3 V.4. pt.2. A { a-r-- 2 The song begins on the fifth degree of the scale on the first beat of the measure and apparently ends on the third, with the refrain. This is the general level. The melodic changes from verse to verse are quite frequent but the regularity of metre and form is very unusual. The song is quite as regular in tempo as in these other respects. Ordinarily there are slight shifts or increases in speed as a song proceeds. This is due, no doubt, in part, to nervousness or to the disconcerting effect of singing into a phonograph. Songs of the Copper Eskimos No5. Danee Song | g (pisif). Record W.C85a. Composed byTucayog,an Akuliakatak man. ne A Sung by y Kangyoq,aPuivhiqar. Amy | wi Yd pan K) K > STP ga- nog u-nay u-na tayl-a~ yo-mo pro-u-ka: h- 1 u-nartayl-a- yoo-0 v ya-agy-a Cerse Lptl. Teefeain Conn. 4100 ro ae B = (. art Al 4 ff Ww re ee ¥ Ss i | a A ET Be Sy } {+2 1 8F a | 1g I i Lae 9 —@ aaatezees Sg f £" _* kh d e tyaay-e ye yam- a tiy-mi-i-qam-mk ai - yey- ap-kug-o milu-unmt-tk unatay-a- Veiselph2. we Conn. A. # $ Ss f? 4% at o eH” yo iL ya-ay-a Lyaag-e = ye yay- a ga- nog unay una - tayl- a - yoy- 0 i Vewoe?.ptl. an pay 4 > | 4 B +—t+ 3 Se a ms a quarachy%- ig ate tu- Oy el me kum-o — mi-lu-unantk i Verne ?2.pt.2. ~N Cc Conn, ™ fy, 108 B = T ay a_r»~_@—_»> 3S. oe ef a? 2 d u-na-tayba-yo ga- nog unam U-na- tey!-a Peep: ° gey-neq-toy-ti- exoe 3. ph. Conn. PS ee a sess See mie ae 8 f eer ah in diosa Lyarag-a — t ya-ay-e ye yay- a Tig. mi-gammk ai- Nefiain Vere 3,1ph2. c Ske on oe ae on a a om bate Pf ie ee g $ yoy-ap-kum-0 t-cuktam-nr- un at-yay-ba- yo t-ya-ay-a 1 yaame ye a 2! a Conn. AE : B AV, red ‘a pth ae tg tS ae a a a oP Ref - ep Pe ag gg Ree f° at aie 7 ae d af he yaya qa’ noqunayuna- fayla-yon- 0 uqabe-ty-h- 4 urna-tayla-yo ty- Verve 4. ph. Vet B eae c pte. vai x. ert ae wa rere Cite pe Stee pr [a] A ipo as are eataatiaaae! (oer 2a vwewwelemareraceare ig gb in B 1 om Ms ee ef “3 ¢ 7 h migammkai - yoyaptum-o0 ni- ager uy unartyla-yo iyaagra i yaanye i iC hu hu u hu hu] Rfain 43 44 Canadian Arctic Expedition, 1913-18 No. 5. Recorp IV. C. 854 E major tonality . Phrases Measures Beats A a be 3 63 V. 1. pt. 1. 1222 : B de f 3 2 2 2 Refrain Cc gig 2 4i 24 2 Conn. fi f2 2 44 24 2 A’ ah 2 63 V. 1. pt. 2. 33 3 B’ de f 3 54 22 13 Refrain Cc gg 2 4i 23 2 Conn. { fr fi 2- 34 Q1 4 AY if a? h! 2 6 V. 2. pt. 1 * 2 oR 3. : e 2 2 3 Refrain Cc g ¢g 2, 43 51 9 Conn. { fl f4 2- 34 1 3 1 2 ms af 2 6 V.2. pt. 2. 4 % 823 B d ef 2 2 3 Refrain C gg 2 4t \ 91 9 Conn. { fi f¢ 2- 34 1 3 1 2 Au" a? h? 2 6 V. 3. pt. 1. 1 913 B’ d ef 2 5 2 3 Refrain C gg. 2 42 3 2 Conn. { fi ff 2- 33 23 1 AIT! ah h x? 3? 6? V. 3. pt. 2. $4 243 2? B” d ef! 2 5 ‘ 2 3 Refrain Cc’ gg f5 ; 3 7% 212 3 nIF Conn. { fé 1- 2 1 Songs of the Copper Eskimos ; 45 Phrases Measures Beats Aun a h 2 6 V. 4. pt. 1. 4 24 3 B’ d ef 2 5 2 3 Refrain Cc gg 2 4S 24 2 Conn. f! f 2- 34 Avie ah h 2 6 V. 4. pt. 2. % 423.8 B” d ef < 2 5 2 3 Refrain Cc’ gg fi 3 6 242 14 The connectives in this song, while quite regular, really should be con- sidered as part of the refrain, which otherwise would be considerably curtailed. As a whole the verses are remarkably uniform, but occasional half-beats throw the rhythm off. The measure of rest in the first phrase of verse 3, pt. 2, is probably not always inserted here. The singer was out of breath. The two C’ refrains are longer than the others, with the connective additional. The song should be compared with No. 18 for similarity of structural plan which the tabular analysis shows. The tune begins on the last quarter of the final beat of the measure and on the third degree of the scale. This is also the tone upon which it ends, as well as the general level. 46 Canadian Arctic Expedition, 1913-18 No.6. & o--? Pi ands Dance Song (pisif—). by Kulahuk,aKildeikfok man. ie WN Realpaeoominalions se Songs. 75-5 ya g-—s—o. g. wv ,, A nd dl a a T mn te | yt or te es i I 17 a Sa al oo! b Cc ce [a c pi-tog-caun-ma u-na —a- va- ta-nt- yerley-mani — tug-i-mun ma-u-na pag-a- ya: leq- Yuse 1 of Song I Cc ext [4 we ~ cn-ag-mi-li ya- bye ya-a- tL yeyai ya-i yi ya @ wi yar at ya ya-t TOUT L D TA we ae oe” ee 2 a a eae Nene at oe a) TD | one rar y e 72 = Y 7 F, "4 a> an", ee. aa BP is : a. yalya- b yet yaya- bt ye ya- tya-a-t yar ye Lyeee@e avuma-l ya SusSong IT Cc Lt, y Z ", ” = + 4 A ¥ : 4 le — aS Fae Cc d ae f g nh he yu-ma-u- Ya -yievik Tu-nu-mu - yamni tn-yumaut - Ya-yievuga. a-vugeart A x ee ee ee SS eS a a = = wr, ee Pt da c Cc? a VY bt c3 [ots ya-ty@ ya-tya- ast ya A-vuma-d ya ye ya-a-l ya - ai yal ya-a-b ye Conn. A oN c* ct a Be Cc ds e! a tL ya-a-i ya nay-yu-yhu qa ku-la-vay- yu-it i-lam-ey-u- na-inap-Ayn n-ywemau- Verse] .pot.2. : : oe A ‘ q ri ere ¥, =? a yacyivug-a a vum-a-L yaa — yal yai ya a-a-al ya avugat ya ye yRarl yar Conn. A B ee yoy ‘an 2 V tee pt + ee Vr tp et | a3 ct cr at a a a2 d ai yai ya- ai ye tb ya- a-i ya avuga-t ya on-yumaurya-yi-vik Ki-van-mu- Veise 2. ph. re + cA Gonn. A tef—ssin ta ee ee nd a f S vee. pat va YY x a { a ay ‘ ct ¢ a yam-ni In-Yumau- — ya-yi-vum-a byar art ya ney-yu-tku ga Verse 2. pti2. A a es Pe a es ea 1 A a. 7 A" 0 "A" A” A Songs of the Copper Eskimos 47 R H! Lae ) (a Sis @ @ 6 ¢ aes ara ne ee i ee n | ae VV 14 1 Ae Oe ce a e # g ys yu-ya- leat iclag-ey-u- ma tn-ap-kin ine yusma-u-—ya- yi-vug-a z cA Conm. iN B v7 c+ cz o at v Ly re dad t ya- a- i ya avuma-L ya mn = yuema-u-ya-yivik ki-lu-mu- Vee 3. ptt pil oy ms H—pf-e- yt yt t e t g Cc ce yam-ni am-yu- mau Ya-Yi-vugy-a i ya- a-i ya = mm: ° in a a 2. a ete a ES a. A gey-neg-tuba qa = ak-ca-ya-lu-th i-lag-né-yu- —na-in-ap-Kin : Y Serse 3.pt.2 a Re ; g ht a C as Bt ya-yi-vum-a a-wuy-ai yA yal yat yA- a-A-i YA a-Vum-a-i yA Ye ya-al yar 7m VW SD | ———_ ee ya. No. 6. Recorp IV. C. 94 There are two songs joined in this tune which has been given as one. The tonality of both is C major. Sone I Phrases Measures Beats A a b bic 4 gi V.1. 22 2 23 : B ce! ctcb d x 4 9 222 2 1 C e e! b? bef ft 6 12 Refrain 222 232 2 1 ‘ D g bh bt i 4 12 4 3 2 333 So far as this goes it conforms to the regular type. It begins on the third degree of the scale on the first beat of the measure, and ends on the same tone. There is no pronounced general level. 48 Canadian Arctic Expedition, 1913-18 Sone II Phrases Measures Beats A a be 3 64 V. 1. pt. 1. 3 2 123 os & B defg 4 9 2 242 24 Cc h de! @& 4 84 Refrain 22 23.2 A’ a b' 2 @? 4 10 3 8 2:2 Conn. ct 2 4 2 2 A” [al bt e- 3 6} V. 1. pt. 2. 5 2 1g B’ @e gg 4 9 2 22 Ff C’ h d d ¢ 4 83 Refrain 22 2 2% A’ al b! ¢3 4 103 33 2 2 Conn. ce 2 4 2 2 A’? al db ¢? 3 7 V. 2. pt. 1. 3 2 2 B defg 4 9 2 222 22 Cc! hd dé 4 83 Refrain a 2) 2 25 A’ al bi c3 ¢? 4 103 343 2 2 @onn. ce oe? 2 4 2 2 Au" a? b? cé 3 64 V. 2. pt. 2. 3 2 13 B’ @ e! gi g 4 9 2 282 22 C’ hd dé 4 8} Refrain 2 2D: 25 A’ \ at bt 3 4 103 \ 3b3. 2 2 - Conn. ct 2 4 2 2 At a? b? ¢? 3 7 V. 3. pt. 1. 3 2 2 . B defg 4 9 2 242 24 C’ hdd 4 83 Refrain Db ag Oe [A’ al bt cc? 4 103 333 2 2 Conn. { ct 2 4 Songs of the Copper Eskimos 49 Phrases Measures Beats A” "2 92 bt ¢7 3 64 V. 3. pt. 2. 321. B” a e gi g 4 9 7 2°22 2 ; C"- h! d3 3 74 Refrain 38.2 25 Aer a® bic? 2? 4- 8 3 2 2 1 Note the shortening of the last refrain. An interesting feature and one that is most unusual is the utilizing of an A phrase in the refrains. The song is one of the most regular in the entire collection. It begins on the third degree, first beat of the measure and ends on the same tone. This is the general level. 88540—4 50 Canadian Arctic Expedition, 1913-18 NT Prince Mibert Sound Dance Song (pisifi. ecord IVC.79a ® Kaéneyoq, atlas dirl. @=80 ,__A Z | 2 ae) ~N rw | | en a _a_t fn -—— Dy: —fa ND poe is a : “Ee é Cc c' d vy XG @@e ye ye i-ye yi ya-ai tc- u-ma-u-ya- yi-vek — nu-nay-yu-ay-munt-ma-a t¢-U-ma-u- Verse l.pt.l. Cc 84 Conn. A+ yeryi-wk i yai ye ya- ai yai yai = -yat_yai i yas tt yayan- 0- tit-cay-yu-th- COUNT ; i ciate pt.2. p 8B Te Tf Paar a a 1 A Al i ad ts Ki YP ft eT oA i ‘oe c oe $ G ma ga-iv- Yu-na-cum-ne (ya) ai-yurley-mi-yapku-u opi ye tb yaai ya- ai yi.ya layneq-ctn. a - ‘Songs of the Copper Eskimos 61 = ae : o% at hy 7 ar - 4 re yi-wum-a uv'a-ni-lu na teem uvean-t ai ya-t yahai ya- ( ya he : ) Refiarin eo | a .£ € PF | YY 8 eo e |r veers ) |) @ FP 8 tig 8 FT! ar aa T a Tt BE i = a =a ne yal yi yaga ye yi ya ga ga no. li uv-am-a au - la-ni-agq-prx-ya-ai ylya al yahaga 1 Vere 3. ptit. A + + = ill ee ss Te - 7 BES FR oe ee ee ee a -—— 4, eo ee a A A A v v C4 he ar : 3 35 a -A— a8 — al ya-al yi ya Cl-vuy-&- na-luk-pa uv-a ai: ye bya all yarai yi ya 2 Bo teve coe e eee pot ececoe e-2-C or ul - t t+ t t comm | I r I = I wa Cs ; 3 d a $ a qe ne tuc-i-yuctilx- yagy-mi-yu-yO tm-na-ai (ma) famay-cuin t-mat-vi- u-tey-lu — a-i yal : 1 tain ° De té& ¥ J Es co $ ab : ya:hai ya-t yal a he ye yi ya-aq ye yi ya ga gp-nog-li_ u-vasy-a au- la- ni -aq- Verse d. pt.2, ' h h? J. prr-yaal yi ya ai ya haga 1 la-a-tu-li u-na u-na-i-ma& ga- iv-yu-na Gy me EE Eee 2 eee ee Oe Ln Pa ee i a ae S.A aé a a aé c ™m cum-ne-ya ai- —-yu-ley-mi-yap-Ku ai yei ya al ya-al yi ya tay-neqcinsa- yevuay-a te i ; — s— Kk ; 3° ; = oe at uv-o-ni-lu tupiy-mi uv-a-ni—a- i yal yahai ya-t ya i: he yal yi yaqa ye yi ya ga a té& Red gl uv-any- a au-la-ni-aq- pieyaral yiya ai yagqa ov. og vi (Q) The presence of this phrase here is doubtless due toa falee start Cf, vph2,andv.2.ph2, @)These were spoken ,but the rhythm was well defined, Canadian Arctic Expedition, 1918-18 No. 9. Recorp IV. C. 96B AND 97 The tonality is irregular and lies between C and G major 62 Phrases Prelude or conn. V.1.pt.1. 5A b a bi 2 142 B d dd 22 2 Refrain C g b? b3 2 3 2 D h h! at V. 1. pt. 2. 3 2 2 E c a! bé 2 2 3 Record 96 ends here and the song is continued on record 97. ©» wo ao mNo rf ~ Ne No w bp Wo bd | 1 w NiF [<) Measures Beats fo wo WD + OO _ + Nie part of V. 1. pt. 2. and its refrain are missing. A’ V. 2. pt. 1. B’ Refrain C’ V. 2. pt. 2. 4F G Refrain Cc” D V. 3. pt. 1. 5A’ B” Refrain Cc D’ V. 3. pt. 2. 4F’ G’ Refrain C’ V. 4. pt. 1. [e CS OSS SS Sa ea ee ee at 2 > ee an a on nt a Mpg wo oo c oo weg Nowe wrwr NPNONDWD wpe wWENo wry b? a® c ae 3 34 2 3 f f i f£ f+ 222 2 24 j} k a @ 223 38 g? at a2 h2 22 143 k! a6 ast h3 232 24 34 at 1m g?+ hb 2 2 2 2% 3 bt b® a n 22 3 8 a® a4 a2 hé 22 143 a? pd at hi a§ 172 3 2 3 d do d @ 22 2 2 24 j k & @& 22 3 8 af as hs 2 3 3 j af af a8 2 2 2 3 abc m gt kK? 3 2 2 342 j k a @& 2 2 3 3 oad at a? g® 2 2 142 2 6 6 5 Oo GD Or oH oO GD GD wo 34 Songs of the Copper Eskimos 63 The presence of the D phrase at the beginning of the third verse is probably a mistake, although the fact that it also occurs in the fourth may mean a new departure. Compare this with verse 1, part 2, and verse 2, part 2. The use of a connective form at the beginning is very uncommon. Another unusual feature is that the connectives, except in this instance, are missing entirely. At the end of the C phrases there is a measure, the fifth, which is not altogether a part of it, yet which does not stand alone in quite the same way that the connective usually does, especially in respect to the refrain just finished. This measure seems rather a return to the melody of the first part of the phrase. To call it a connective, is, however, not entirely without justification, and, considering the fact that the connective seems ‘an almost invariable feature of the songs, it might be better to class these measures as such. An interesting variant of the usual form is the three-phrase structure of the second part of the verse. The first part has a two-phrase structure. The song begins on the tonic, presumably, if the key be regarded as G major, and on the down beat. G is the general level of the tune and the third verse, which is the last complete one, ends there. 64 Canadian Arctic Expedition, 1918-18 ae Darree as ian Record ILC. 27. Une aq,an Akult girl v a am. "a 7 ee ee ES a Spa Le 8s a b e b' d ye ya- yx ye ya uf - qeg-ragcig-naty - mi- {uny- -& ter- Wont ree ut- Qiny-nag-cigy nay Verret ptt. ; Cc AC Saas amar zoe, 3 d! e @ A Ped a mi-uy-a yeyeyeye etyet yet ye qa ive a a bya yer ye tye nye unr I LEZ ty ia 4 aoa . (one Pig yaylya aagaa tb ya it ya yeu ug-eubyiki um-u- vale “1% yeqtu- ni-na Verse 1. pt.2. iF Cc ext: P. T | SSS else et saat ate SS de _ & ah ne od “ yal am- itaq-pak-tun-a t yet ye iyeiye i ye iye iyetye i yeiye Refrain IL ey A ea has A a Os Ct EL 2 AR SS ee EE a es 4 ft) a ee PO ee ee eee a a os ©. Netiad eoad e@ } Q cae ‘2 oe a be © © tyeat eheaqiyaga-t ya- aya 1 yet ye yeyayi ye uf-qiy- nagq-c1- Veroe2. ptt. LS . TRS «WE Po MS «TR 4 YO 4 SE 2 Pe Oe SS ee ‘ane Ga se ie OR | Su a b? d* d nam-mi-uy-a — nu-nacmi-liutgignaq- cuynupmiuma-a a iya tye iye i ye i ye , core fy AC Ee ye Ste Ye 2s Os Se it a ee ee ivy Oe ee eee — Sarre SRRReSS c a eg is b- wT _, os cé iyea i yaa yai ya tyetye iyetye a tye qaqa heya Lye i- tH Ct ee ts ety 4 , cd’* ed c ay ~~? cd's © tye tye iyeai yait yat yai yai yaa i ye Phrases A V. 1. pt. 1. B Cc Refrain 1. AC V.1.pt.2. D Cc Refrain 2. ext. ext. A’ V. 2. pt. 1. B’ C Refrain 1. AC’ V. 2. pt.2. E Refrain 2. Cc Songs of the Copper Eskimos No. 10. Rxecorp IV. C. 27 Bp major tonality he I<) an NIH - (a TNT NWNANANRNT NTWHNYN rc) Qarw > & Cy we NH NWANWAND NoNANaANWH NXNNANDL ay OQ ic) NHN NTNHW Nie o> Nona Measures 65 Beats 85 63 This is a rather unusual form of pisik. There are no connectives, but the ‘verses are subdivided in the usual manner, although each part has its own refrain, which is not a very common occurrence. Probably the final refrain is not completed although the short form may be intentional. The melody starts on the fifth degree, the first beat of the measure, and whether the final refrain is cut off and should end like that to verse 1 or is meant to be short, the end is on the third degree. This is the general level. 66 Canadian Arctic Expedition, 1913-18 Daeeh WW.¢.100(). Hance $ € PONG (pisif). 4-92 —=Natcin, aBathurst Inlet youth. u-yi-nag-pa-i ya i yal ya-al ne- gi-tu-yoq ga-ni-ga-nit- oq u- na Vere}. a OE , C }—p— pe he tt Rh yg I 3 oe —__e—_e—__ le is, fC, 6 lese-e—_e—_g—_"- Cusmy-naq-pa'uU-na- a- b yal yet yaa tyai di ya qa-ni-ga-ny-cun- i Verse 2. a A a) A eax - ta Ry pais we > ta wow it 1 ww? |) eee eee Ee EE 20 Ae” 3 i de ae See ann ha aan cial) ( omit? L ya-ai cumenag-peu- na yal YU yi ya- a al ya- i ya yi iya ya ate ehe he i ya t ya tn-uy-nu}.i t-vai-ya-if- —u- ag-f-un Ww) Yerse3. fl AX Cr". =Hlb — eS ES NS Fe SS a a ee a ee eee ete ey ee cw re ality cy a° Q ale Ne-gi- tu. yoq ga-ni- se ‘mf. oqu-na = Cu-minag-pau-nai ya yuyi-ya - a-b ya Mefiain p, A) B [ Joa aT 12 1 rs OS | 1 a a 4 ae a Ge 1° a. | it 41 A, sh taiatnsid tai Ht Aa Be Hn it j 1) ‘el u tal td L°3 5 PY é_e—e e i + ro , at a are ae - 1 a tya ib ya cu-mi-nag- pa-t yal yeyat it ya Ko-t-ya-yub-t cat-qun-qai-yu- Vere 4 ‘ Cc? ue j= A a = j co a a oe 3", ar: ko Vere 1.pt.2 4% FE G Ao —~— et { { —— —— } ju i fh tT AT { i™ i i AT 4. ra i ia.‘ J ALT wae my | Ba A = oo re 1 i + bt —}- I t — 4 —- Ir 1 —- Louk - I —b - 79 roma | = 1 14 d ec ie * 0 ¢ oe e @j ty ie 8d t tiy-ug-loy-am- nu ka a= ug- tuy-toq- pa- a gal it-a-yu- na gai Ref 2 3 4d Conn. 2. H ZL. A i T i] JT T Le ~ t { at T Aa A TU an Het A A A uf aa X t re a OR a . | ii ca Ly —fe m™ 1 } 1 T ites | tad i iad | ball 3 =— 1 if Uke fi } i ae * e ms > im mt 1 } a SG a Te yee e the v ee a Fe eeu oat i ya gai ye ya- tL yagai ye ya-i ya a-t ya Cu-cu- i-cu- tag-mi-ya-ma 1-mig- . Verse 1.pt.3. 1 Tee a te TA bed Oe cs ej ce pCe feq-cin- aq-um-a af-a-yu-na gal al ye ya-L ya ga qa-i at-a-yu- Refs. tud I A Fie — nice t t i -— + f= kf BE EB RB BR HR EE tt FH) uy 3s Fete ze ou? es He errr t re Ti i e na ai ya gai ye ya L ya gai ye ya-L ya € yA it ya-a a ga qaihe (atayu) ' Ya.phL B! bed 2 ® p ie: ar FI e a’ na qat cu-tu-t-naq-pa qa am-ma-yi-a- y-yuk qa é - qa- lukx-yaq - 69 70 Canadian Arctic Expedition, 1913-18 4 Cc! aS at + re ¥ 7 n a! a to- yo wna adfa-yu-- na gat ya t yeya L Yaga t ya yai ya Nef. as? ini Cont, tma-ka- li-a- gia nie ua vue Mea dia. am-nu-Ko ne- vdtid- o9- Vee 2.pt.2. 14 ue es a s pa gai at ei na- gai yaqai ye ya- t oe qai ye ya lt ya ai ye 4 A. ES 7\Wa:3 ian 1 ¢, < ak +s + e 2p eee ad es Cu-eu-i-cu = Tay-mi-ya-maty-mig- Taq-ern- a-quey Vewe 2. pt. 3. No. 12. Recorp IV. C. 46 E major tonality and irregular Phrases Measures Beats A a bed 4 8 V. 1. pt. 1. 222 2 B al a? a? at 4 10 22 3 8 Cc e f£ g alia ad) 6 12 Refrain 1. 2222 2 2 D h a ad af a? 5 11 2 2 38 2 2 Conn. 1 al al 2 4 2 E h'bed i j 4 8 V. 1, pt 2. 2222 F id jj 7 5 10 2 2 2 2 2 Refrain 2 G tid dj 4 8 2 2 2:2 Conn. 2: { 3p 2 4 2 2 Songs of the Copper Eskimos 71 Phrases Measures Beats H ? ij jt 7 4 84 V.1. pt. 3. 2 3 14 ; i abed i j jé 5 10 2222 2 G vid dj 4 8 Refrain 3 222 2 I pk fF 1 4 8 22 2 2 AY x? bed! 13 d 4 9 V. 2. pt. 1. 3. 2 2 2 B’ al a? gl af 4 9 222 8 C’ e fig aa 5 10 Refrain 1 2222 2 D’ h? a® a3 al a7 5 11 223 2 2 Conn. 1 { as 1 3 3 j E hibed i j 4 8 V. 2. pt. 2. 2222 F’ By} yt 48 4 9 22 2 8 Refrain 2 G i#d dt jt 4 8 22 2 2 Conn. 2 pj 2 33 2 14 V.2. pt.3. H { Pik k? j§ 4 7 23 141 The striking feature in this song is the subdivision of the verse into three parts, each with its appropriate refrain, and the separation of these parts by connectives, one between the refrain of the first part and the second part of the verse and a different one between the refrain of the second part and the third part of the verse. The odd point is that between the last refrain of the first verse and the second verse there is no connective. It is interesting that in the first verse the same words are used for the first and third refrains, only the latter is a little shorter, but the music in each case is different. On the other hand, in the third part of the first verse the second phrase of the refrain is modelled melodically on the first phrase of the second part of the verse. It is unfortunate that the second verse was unfinished for it would be interesting to see if the same peculiarities prevailed there. At the beginning of the second verse, the first measure was inaudible, although the text gives the words. The song begins on the second degree, if we regard the tonality as E major, and on the first beat of the measure. According to the third refrain in the first verse it would end on the fifth degree, below the tonic, since we do not count the he as part of the song nor as an actual pitch. There are two levels apparent, one on the second degree and one on the fifth in the octave below the tonic. 72 Canadian Arctic Expedition, 1913-18 Nos. Slo Dance $ ONG (pisif). — Nan eyoag,aCoppermine River man. Record I¥.C.91. ott A 1. 1 US VE +— a a — == a. or a ki-a ki-a u- na pincty- lu-ku-aty b gak- yo-ya- t ya pin-éy-luk-coyti- u- ni t- li-cay-mt- na-va-ya ki- Verse). pl.3. f, 496G JergolL 2 SS = ans me a trhs = = ae ee ae 2 a ere = a ae ae ee ee ey te a oy a a a F m? mt! Vin h it 4 potak-ca- a u-na ai ya-at ya- ai ya-i ya Lb yaca al -ya- al ya- Refiain3. f). I (Conn.3.) f WT AS NUT Tt AY rt 1 iT aT | 1 Pe ) kK? v m? : mm? m? m°> a i ya-al YA- L ya-yi ya- a dl ya-t ye ye a-i t yaqga tt ya-a ha 2 3 i, _gA A PP tt O07 0090-20090} 3-00? 12-2098 Kay ps ee BE 7 VV VV BW WVAnyae a ae v me a a b a i ya (ki-a) cu-munki-a — Uvea preuk- a-lu-aq-pik — tu-nu-mun ca- Verve 2. pel 1.%B! a ext Toe — 3 a! da e ; is g ar mug-a gay-h- Nag Cun nada al ya al ys b-ya al yal t ya-yi ya- agai ya-i Songs of the Copper Eskimos 73 $2100 Conn. I. (ow pg ae es ee ee ee ee Rs a be ee SS SS OY SY 2” Oe 7 at ae ae j a a ¥ } E : ZG ye ye a-i yaga iyagqa iya i- pe ee a- li gaq-ea- a-li-i-na Verse 2. pte 2 1 i 4D ma P Y B k3 1 kK ? tr-kin-a-cuy - na-yominyog- —cay-tn-aq-ptk ai ya-a ya-al yeal ya- i yaryi ya- Reh Uva. 4 F TT 1 AL i* af aS 7- agaiya-L ye ye a-i ya Kai-yu-tay-yu- ak-i nan - yo- “Tey yuray- b= na ele Vere? pt 3. air G 1 4H m* m* 7ia s = q kK Vu-ay-in- ag-cu-yo ai ya-al ya- al ya-b ya- bya a al yarai ya- b yaral yan : Refrain 3. ‘ qT) (Conn.3) ; At iL v ™m? m4 m> m* i m a i yayiya- a ai ya-i ye ye a-i i yaqa bt ya ha i ya Cumunk-a a fae ee 5 2 4 A e ree B: 2 a b x a ct qt e uv-a piculk- a-lu-ag-prk ki-van-mun ca-mug-agaytin- aq ae a? a a? 3 i yacai ya- i yar yi ya-agai ya-t yeye a-t yaqa t ya qa- i yaay-naryi-tuab 2 Verse 3. pt.2. 4 D’ E ’ h tL? 38 v v “E ° = 4 - i i tre-kin-ag- cum rayit ki- van-munca- muy- & min-yog-ca- yin-ag-pik ai ya-al ya-ai yearai yar Refvaine. Conn. ®. FEF? ae me mé z ace ee i ya-yi ya- A gai ya-i ye ye a-i yea 9 C-vu-fu- yueyu- ati fa- : Verse 3.pt.3. Fe GH aM Keon on (1) AS yb % Fa 7 T attic end-He- whole refrst J ; ' a ae m ™ }sharped a half step. a im-eyl-yuray- b-hna Ci Vuy-ay-tn- aq-eu- Yo Cu-mun-ki-a Verse 4, ptt. 74 Canadian Arctic Expedition. 1918-18 va 3 3 : : cae B rs V7 ha + v2 vi & a _ am we aa 7 rar i t = cor z = ua pio-uk: A. lu-ag-ptk —ki-van-munca-mum-a opytin- aq-cuynay-a —al_ya-ai_ ya- Refrain. | (ext ) Conn. Cc Neste to et v g: 8 a at aa a? : a! } a? . i ya-ai ya - tL ya-yiya- agaiya-i yeye a- ¢ yaga It yaga- t ya L- D’ h 7 : * kK? ; ca-yu-i-tut- u th kin-aq- cumnag = ki-van-mun €a- mun-a min-yog- ca-yi-nag-pik ai re yy 4 ,_ E° x Conn,2. F - i | P oF 1 m= me 5 ae ya-t ya-t ya ya- & ya-yi yA- agai yei ye ye a-t ya my-at-ce- Verse’. pt3. Sone G l, E T T rt 1 i<— f< 1. ind Ay 1 a e = . * J Ye i? v 44 mé m? ; Vo Ying-ca-ya nay-yit-ce- Yiag-ca-ya ci- Wu -ya - yin-ag-Cu-yo al ya-al ya> : : nd. (@ Oy. jal "4 + + "4 iva tt . h ai ya- t ya (t) The Song becomes half a step higher from here to the end. No. 13. Recorp IV. C. 91 Tonality D major with flat seventh, flatting to Db major Phrases Measures Beats A aab 3 6 V. 1. pt. 1. 2 2 2 A’ alc d 3 7 2 2 3 Refrain 1 B e f g(a a® a? a3 a8) 8 16 2222 2922 2 23 Cc V. 1. pt. 2. D Refrain 2 E F V. 1. pt. 3. F’ G Refrain 3 H Cc! D’ V. 2. pt. 2. Refrain 2 E’ Songs of the Copper Eskimos wl No NY wh cry Ne NH. de Ne Na wf NOR pH. du. Conn. 1 Conn. 3 (1) { m? mé al al 2 12. 22 2 2 y81 m® 7? 14 for) iH 76 Phrases FE” V. 2. pt. 3 : F G Refrain 3 H’ (A”’ ZA V. 3. pt. 1. | A” we Refrain 1 B” (C” V, 8. pate 2. | D” Refrain 2 E” F” tA V. 3. pt. 3. | F’ G Refrain 3 H’ A” Wr V. 4. pt. 1. Aw y Refrain 1 B’’’ x Canadian Arctic Expedition, 1918-18 nie aS j2 38 2 22 i7 m? m! 22 2 ia hit 2 2 2h i81 k! ij! m3 m4 22 2 2 2 Conn. 3 (I’) f m*% m° i? m’ 22 2 14 a a b (x) 22 2 2 a coc} di a 2 Bs e gi gi (al a? at a’) 2 2 2 22 2 2 Conn. 1 al ad 2 13 gh 2? 22 2 is i} o 2 2 2 jl kt 7! m3 m® 2 2 2B 2-2 Conn. 2 149 3 qi 72 76 22 2 i7 m? m! 22 2 ia h if 2 2 22 81 k? j! m3 m4 229 2 1% Conn. 3 (I?) f m? m5 i7m’ 25 > 72 a a bi 22 2 a ct di 2 2 28 e gi g (a a? a3 a’) 2D Dt 2-2-2. 2 Conn. 1 al ao 2 13 Measures Beats 3 6 3 6 3 64 5 “10 4 74 3? 6? 3 7 ; 14 Bis 3h 3 64 3 6 5 10 1 3 3 6 3 6 3 64 5 94 4 74 3 63 3 64 7 14 as 3h Songs of the Copper Eskimos. 77 Phrases Measures Beats CO! / gi h j20 3 6 V. 4. pt. 2. 3 22 18 D’’? Mh k 3 7 22 3 Refrain 2 RB’? it of im? mo 3 5 - gh 21 2-2) 2) Conn. 2 i° 1 3 3 FE” uw a8 4 jl 3 6 V. 4. pt. 3. 22 2 Ff’ itm’ m? 3 7 2 2 3 Refrain 3 G ah - - - = Bc, PS, 2 2 The four verses are carried out consistently except for the usual minor variations. The shift of key is due to the off-pitch singing of the informant. The three-part verses each with three refrains, also the three different con- nectives, are features noted in the previous example. A nice artistic touch is given by the lengthened connective at the end of each verse. This becomes a phrase in itself. The song begins on the tonic on the first beat of the measure and ends pre- sumably on the fifth degree, below the tonic. 3 Canadian Arctic Expedition, 1913-18 Record WC.C95b Dance Song ( g (pisili) ) incomplete, Ulogcaq,a Kiluctktok man. Le ™ 116 A a RB i a b c a = e ; ya-i ya - i yal ya t-u-mavak- > lu-aq-ptk ki-vanmub ca-muma Verse 1. pk. i ; 3 grants re @ t-umavaka- — luag-pk = ya- Ly yi yal ya-t ya hal ya-i ya e) . ya i ya yi yai ya- Lyai yiya tya ha-a-a a-i ya ve of a = bt iya-a ha-t ya — Ta- Ko-na-cu-tu- ay-ney-& ki-val-in wneu-a-ni ta- Verse 1. pb.2. SE > ee | are War seme. ls 6 A SS CS ES NS SS Se aa ae Lt @ © * 2 If 2? 6) am re Ge G an ry Ko-na-cu-tu- ag-nag-a Ki- vat-yi-nunca-vi-a-mk yai ya yi yai vai ya 112. J b ai ya-i ya -t ha-t ta-kKo-yu-na-it- pak-am-a “i-ma-lu-a- yin-a-qum-a al y Gene Beads P q4y (oh nah = san. ee “a i el a SO lea). <2... EY eee p—j > a Ps —} gt} —a- —p§ +4} sp a ‘a, er se ae Be b ae G 5 te ki-van-mut-i cas na-ma yal yi yat ya ya-t yai yl yat ya E =" f. H pa a a a ea == : on wt b tt e : yart ya -ylyai_ ya ya-% ya ylyatya ya-t ya yt yal ya-i ya Stefain's. b+. be JA or aurea b hai ya-t ya - & ha-t ya-t ya yl yai yai hial yi ya hi ya-a Songs of the Copper Eskimos K N R 5 6 5 ve BS * 458 b2 $9 72 be be a ~b T° a- a-t ya ha t ya ha t ya ya: t ya — yiyai ya te-u-ma-vak- Vere 2.pt.1- ? A Pep PR eo ay As J WE a i bet 4 we YY | ie n es e 3 &- lu-aq-prk Ki-lu-mubi camuma- a te-urma- vak- &- lu-aq- pik i, Yivext : FALE = Se Sa OS GS ELL “SN EN NL OL SE ‘lava mae ee a eee eee ee ee ee =f h b! ya-i_ya-t yi yal yack ya" hai ya-t ya ait yay! val ya yal di ya- Mefiain 1. : ain Conn. D : > Rf K ma iat 4. ee b? b" b+ b™ EN tyaha-a a- iya-a tyaaha-i ya ta- ko-na-cu- te- 2.pt.2. a) te) Vewe 2.pt SS es Ra Oo Be b u 4 J by’ b- ary-nam-a ki -lu-erk (fk) U-mig-ma-ni (ta) - ko-na-cu-tu- am-nag-a Ki- lu-etk-tok ka J nu-yentytu yal ya-i yi yal ya i ya gai ya-i ta ta- Ko. yu-na-if- TALI 2. Verse 2. pt-3. \ @) G " . ‘ ‘ a 5 1c Bl 4 YY Yt 1 , yw P 142 9 © 7 2 2 na b cig A l b b7 a pak-am-a = u-mA-lu-a- yinag-ug-a ki lu-mub.i Canama yah ya Tefrain 3. P. H ans a BR K Soo. a a ae a a ee a ee Pe a oi a ee a ee a F b b bet m hg b _ b+ yi yai ya ya-b yal yl yai ya ya-t ya yi yai ya ya-i ya yl yai_ ya 3 E Y ext” a < JT a a —s Hin tp. Sk. a RE. TT OE sn AA] a : EY & = Be (a _& cals ya-b ya yl ya -ya-t ya hai ya-i ya ya-t ya — ylyai ya hial yi ya Conn. IN i + } RATA t s_ der. 2 i aS aed bh ™ a} 7 bv b& t" - j bh ; a> be [= hi ya-a a- i yaha iyaha. t yaha tyai yayi yal ya 1¢- u- ma-vake- Verve 3.ppt.2. 80 Canadian Arctic Expedition, 1913-18 1 Tiny i yy | —_! yY—b b van L—_—_+>—_—_+ Le e: <4 f OL &-lu-aq-pik u-wan-muki ca-mum-a- & 16-U-ma-vak-d - lu-aq-ptk yal on efcainl re et 2 , . bt EN ~ b ins Be yi va yet ya hat ya bya ya-i ya yi yaiya i yal yi yar i yara ha Dt f, Conn. 7 (2)@) (2) (ext A—W15, }— mn ha i ya ha-a ya cu-tu- ay-nay-a u-wak-wn-yumgt-yu-a-ni ta- Ko-na-cu- Tu- Vere 3. pt.2. A. > Fext. G (A) i { ee ee ee ee ee ee LS Arley SS ee GEPiite d aie tt oe a a = J a a7 : t : w — = aty-nay-a u- wat in-yum ki. hy-va-my- tu ya-l ya Ref. 3 LZ ee i = =54 Se ee ar EP eee sw Sw. a I : b+ a _ be m a G yiyai ya ya-i ya-a yi yal ya ya-i ya yi yai ya -ya-t ya is = == De G x yi yai ya ya-b ya yi yatya-t ya hat ya-t ya-a ha ya-t ya yiyat i yai yiya hi ya-a ha haha a yi yaha i ya ha- i ya ya- : b* 3 boyara yl yai ya te. U-mavak = A-lu-aq- pik = tunu-muki ca-mug-a J t nh i 17 a tC-u-ma-vak-d- lu-ag-pik ya-i ya yi yal yori ya hai ya-t ya ha-i ‘ Nefiain 1. 0 CY ext. a ee ) ; JF, «od _ ob . be ya-i ya ytyai ya ob yal yi ya- b ya-a ot ya-a ha ——™ (1) These syllables were not sung § audibly, although they were part of the words given in the texT™ (2) The music could not be heard here .See Verse pt2 and Verse 2.pt.2. (3) 4 considerable portion of the first word, “takonacutuagnama’ was lost here. The record is defective. Phrases A V. 1. pt. 1. B Cc Refrain 1. ext. D V. 1. pt. 2. ext. Refrain 2. E V.l.pt.3. F G H Refrain 3. E ext. A’ V. 2. pt. 1. B Cc Refrain 1. ext 88540—6 Songs of the Copper Eskimos No+14. Recorp IV. C. 958 Ab major tonality abed 22 2 23 e f g 38 3 22 h i bi 2 3 3 a b j b_ b? b? bi 2.2.2 2 9 9. 9) Conn bi- b4 2 1 ole NK No t wo x Qo - bo an we we wR wp wu. NOws NeNTNT No NOTNWTNT t NTNONTNOTN WL SIF SIP sir noo oo om nD ion oOo Q ° i=} i=) — oa Ss io” t) [<) an NOowwoww NOTwe Neanwe Neo. w T wn NH 81 Measures Beats 83 4 8} 3 3 8 7 14 Ca 3% 3 64 5 10 4- Bf 6 133 4 8} 4 8} 4 93 7 14 2 33 4 8} 3 8 3 8 6 13 2 3} Measures Beats Canadian Arctic Expedition, 1913-18 Phrases 82 wilco foo leo rie rin riley S mlea o~ oo Io {loo rilen o ~ o 0 © 7 oD > 0 © © oD ~y Oo nr om Oo N O in et pa) rt oy re Ee a I | + Sc) Ne) tt + © © too 0 (1 N oo Kh Oo Ht + 19 © gS xia won qo ee Oo =a UN é = “es oe iS QD Qo Qo Qn . . . 2 ' Mot) ma g mao Wott) MoD ON a blo Fetter E ates io) ot tl jo} ba ugh ee a oN —-N QNQAN an oO ao mn O ON a0 TARA QNANAN a SL rloo E a -! 3 mloo a =f RANDANAN HN BA ANDO-oN UA MN Doma ANANRAN HMHN*NENDNDAN on a 4 a nail st nN age a ANONBSH AN QPNTNBMON DAH COTO ON ANOQNBSM ANANTNA BAN GAUCNAN TN AN ENANAN BAOO AN AN HHONBA “AN AN EN AN Soo rl00. roo. riloo. rll rijoo rico. eS" Se ee oe eos" soe ee eo Ko: % 5 % ae Se By ose Oe o fF Fy Oo Gf aA Ss — 4M OD &§ A &$ A &e oO fF BB 3 ———* —_ eS HY YY SS oS os is | ie = os ~ » » » ee) 2, 4 Q, = Q 8 jor 3 for 3 nN HN a os 4 0 & os Aa s oO . . . a o a for > fon > fon > fam > fon 33] Songs of the Copper Eskimos 83 Phrases Measures Beats me of Le it ig 4 9 V. 4. pt. 1. 2 2 2 2 OF B ef g- 3 8 3 3 2 C h i b” 3 8 Refrain 1. a ae ext. a bj b bk - = is (a 2222 2 This is rather a complicated form, as the analysis reveals. The G and G’ phrases are closely modelled upon A. In the first verse there is a connective although the A phrase is so short that with it there is only about the usual length. Inthe other verses the connective is extra. In verse2, part 2, the refrain is very short and the phrase following it takes the place of the second part. Possibly part 3 should not be considered to begin until the place marked refrain 3. It was so marked in the text, but when working with that alone, the number of repetitions of the poetry and the great number of fillers, or burden syllables, make it exceedingly difficult to determine the breaks. Usually the music is a great help, but when the repetitions in that are also numerous, and the variations -upon one little melodic theme almost innumerable, it is exceedingly difficult to make a final decision. The song begins upon the tonic, on the first beat of the measure, and ends on the same tone. This is the general level. 88540—63 84 Canadian Arctic Expedition, 1913-18 Sub-Group 2. Syllabic but not Musical Preludes. REawens Dance Song yprisik). composed by the singer's father d=too Kexut.tk,a Dolphin and Union Straits man, el 2. ‘ 72 ore Gm - = 5 is aA z or = + Ka- Mai ya Ka-mai ye ye yap - A ka-nal ya Ka-na-i ye ye @ ya kanad- Prelude. ~ oe Cb ae “i KE) - © ai ya = @ yam-a ka- nai ya — ai- yu-leq-pay-mi-yi- yay- a ko- Verow }. a a a ee ee eee Conn. _ 4A |) CS eeesiae neseen=- 2S Sass] = ne ae Oa eee bs br. x ma-yu-a al- yu-leg-pag-mi-yi-ya Kanag- a-t ya e& yan-& pr- Verse 2 IS z bt 362 \va she LHe Gd +e & Sh ae ye Sha UR, Ns] @ ue He Lb 4, rhe ye ie te tt} y Lid as a: | 1 Ls c d* e a’ b cxk- cum-ni na-lam-ni-ya-ya- yay. a Ko-mayu-a ai yu- yi- vaxy-mi- Vv : té Lb? a Le yi-Ya Karna -al ya @ yam-& Ka- ma- t ya ai- yu Yi- vaq-mi-yi- Verse 3. is Peig t TD tw pte 3p 2s a 43 Comm, A a 4 Hy —— Cc d* e f e yam- a qai- yu-db-in af - yu-yi-vag-mi-yi- ya Ka-nay-ai ya € yay-a cd- | Vewed 3 ee 3 3 \ a 3 3 3 a en2D do ere te, 43 2 a ot os p= ——_— b nie-eK-pam-mi gad -vek-ni-ya- ya: yay- & Ko- ma-yu-a ai - yu-leq-paymi-yi-ya kanag- t, eo ¢ 6 2 6 a(t) Conn. x os 3 3 2- rm iB 4 ee 5 cy 2 7 [or b hu hu hu hu huhu hu b “s b al ya @ yam-a ka- na- t- ya ka-na-ai-ye yay- a ka- Verse 5 a prelude ov interlude 3 ), 2-0 ee ve ,2 2.2 Conn. Songs of the Copper Eskimos 85 a 4 3 : 3 3 B = a 2 + >. a=? >—_a oa | — 3 - as. $05 al 3 3 ° —— PN %_S ,_ e_93_0o|_0—_o_e—o-?@ ha | T I "4 : is 1 FA od Y 41." ft | a a | Pa v3 17a Wi iy, ¥ M4 } La 4 ar w+ | a v v ¥ v v vftet — v J a bé ¢c a e na- ai yaal- yu-leq-pan-mi-yi-yam-a mig: ne-yi-a ai - yu-leq-pag- mi- ere pe) Conn. x 3 3 3, 3 i" : —_ a3 3-7 —_ 4 2 Ly x 1 T_T | a ey ae I J EE RS RE i a. 5 | eR | is | A iva if ae | Ly TT BG Os, Ls Le i I ¥ | REL if : E: | aa § Lé = Y— f iF b2 x x + 4 yi-ya kanay-ai ya = @ yam-a Bay- yug-cam-nk gad-vek-ni - ya - ya- Verse 7. : 3 b7 C- tn-um-nuki-i au --la- lix- ya - 2 AM chow ducts ee it .Y (1) Not really pitched. No. 15. Rucorp IV. C. 738 Bb major tonality Phr ses Measures Beats (A a bo 3 3 Prelude : 3 2 2. 2 |B de f bi 44 gh % 22 2 86 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats A’ 4+ag ec 3 8 V.1. 2 3 2- B’ dt e f bi 4+ 94 22 2 8 Conn. b- x 2- 5- 3 2- A” 1 22 bt ¢ 3 63 V. 2. 2 2 2 B” d e f bé 4 8t Bri.) Bt) Ber? Conn b? 1 3 3 AY a b& ¢ 3 7- V. 3. 4 2 23 2- BY? + de f bi 4 gt 2 2 2) 8 Conn. b- l- 3 3 yAlT 4 a bt c& 3 64 V. 4. 22 2 B” 1 de f bi 4 8t 2 2-2 2 Break of 3 beats Conn. b? 1- 3 3 (a prelude or interlude) Av” a2 b? ¢ 3 63 V.5 1 2 2 2- Bl” 1 ge ft pet 4 8h 22 2 22 Conn b? 1- 3 3 Aue a2 b& ¢ 3 63— V.6 22 2 2- B’- de f b* ' 4 8i 2 D2 2 2 Conn bx x 3- 63 3 2 18 Aun bt bt ec 3 63 V.7 $22 2 Burs ede f bi a 10 2 3 23 Conn. { b? 1 2 Songs of the Copper Eskimos 87 Phrases Measures Beats Aue a? b? ¢ 3 64 V. 8. a ae B” d e f b 4 83 \ #2222 Conn. { b? 1- 3 3 Aut a? b? ¢ 3 64— V. 9. a ae B d®te f bi 4 93 ; 22 2 8 Conn. { b? 1- 3 3 A at bite 3 7- V. 10. 2 2 22 2. B’ d e f bi 4 93 43 2-3 3 Conn. b? 1- 3 3 V. 11. A a® b? ce ae The prelude has exactly the same form as the verse, and there is no refrain, a very exceptional lack. The words kanayai ya atthe end of each verse suggest one but are so brief that they can hardly be so designated. Although the song appears to be very regular there are varying intervals in the different verses and slight rhythmic changes. It begins on the last half of the up beat, on the third degree of the scale and also ends on this tone. This seems to be the general, level of the song. There is a peculiar situation at the fifth verse, where, as far as the text is concerned, there is an interlude or refrain, but musically we have the same structure as before. From this point on there are more variations than in the first part of the song. 88 Canadian Arctic Expedition, 1918-18 WE merse Danee Song (pisif). oe composed by the singers father (unfinished) Ciniciag i] 1 A = @ be be a rs ds ra b c d é ai ya a-va-t yal yaet ya a- va-i ye a-va-i yalyA - 1 yaa yaa - He 2. ; Conn A po or ee b bt b* b* 63 c b? Va-L ye ya-i -ya- tyaet ye & ya tb ya a- va-i-yaa- Ci-ylopnilaya Vewel. : ye t ya i ya qai- yu-ya-yhi u- pai-yamann-maga-le a- tim-ni- i a- Vewe?. Cly-tm-ni-lay- a - le a- va-t ye yai at ya-lb ye i ya- Y Y ; Reflain | y Y ¥ ¥ t, A. tthe bo> =. J B [x tt Ls ¢ a e* ya can: ék-ta-ya ni-kay-tnag-tik- u-yo qu: li-muk-i a - yi-cit-yamig-may- a a- Voroe3 S ‘ L i os ao cele ks yh AS 5 ie ¥ t i y iF yy f & t y + b& g be ~~ b® ¢ e! 53 Na-i ye yahe he “i ya- i ya a-vari ya a-el- yig-i- lay- a ko- Vorwe4- i es — Phe ber 25 Conn. c a ae Y E : by mayu-a a- ci-yim-i-lay- A lu a va t-yeyai yaiyai ye Nefrol. sa b? ae e G be : Ss d : u a te - u-ga- tin nay-N-yam-mio-mai-yuntu ko-ma-yu- -cl-vam-i-lay- ye ¥ er q yam-mia-mar-y yura a -Cl-yag-t- lay Songs of the Copper Eskimos 89 van be > 2 a a ar a aay cae us a a 6 Ca a ? y—t Sy ¥—Y_—-+ “414. A YY 2 YY ’ ez ; b : ; T ; mx) 7 > a- lu a va t yeya-i ya-t ya-i ye i- yari = ya a- rain t. V6, 2S SO > —bhe— ___ a= =e SS J © b Er > = Z q ¥ y Vart-ya a ci-yim-i-lay-ar-a ya nay- yu-lty-li qa- ¢-fix-yem- 5 ) 1. hens RS) Coun. A tthe 9-0 1 15-00-0001 000-0 13 90} 2-0-— 0-3 -0-0-] Se as a at Soe =m “ot es ee a ww = b&b B 3 b B tm-malu a - vari ye ya-t ya t-ya-t ye ie) ya- i ya fal- . WT. ee ae Se ae a oe ee ee ee ee ——— I c t 7 Cc} fd um-ni-t- ma na-hoy-mx-yag-trkum-a nay-yurhy-li ga-i- lix- yam- — se s 7,7 hb - ~~ » o» | 27 ~~ ~¢4 oe » #6 | «4 2 2 se! het _?_e_ ra tS _ 8 _ 8 o_o 9 9 = 2 et Sf) J es e+ ; b 58 am- ma - lu a-va-l ye ya bl Yat ya ye i ya ? Refrain, z : ee y Cerve 8. ele. Note shift of accent in lact verse, which in that respect is similar fo the first No. 16. Recorp IV. C. 25p Tonality Irregular Phrases Measures Beats Prelude A a bede 5- 113 3 38 22 1% Refrain B b bt b? 3 7 43 2 14 Conn. b? b 2 34 221 Vv. 1. A’ c bt ct f et 5 113 ae ae Refrain B b bY be 3 63 £5 33 Conn. b? bi 2 34 a ; V. 2. A” e bt bb ec d e& 6 12 £9929 9 Refrain B bh bb 3 63 £32 1 Conn b? b3 2 33 3 2 1 90 Canadian Arctic Expedition, 1918-18 Phrases Measures Beats V. 3. A”! ce bt b’ ¢c d e& 6 12 22222 2 it Refrain B- b® g 2 5 = @ 13 Conn b? b? 2 4 z 2 13 V. 4. A’ cy Be. gd 6 114 $22 422 1 Refrain B bb! b3 3 64 £39 2 4 Conn. b? b 2 3 eed V. 5. A’ c bt b’ ¢c de 6 12 422223 2 2 Refrain B b bl b 2 65 ee Conn b? b3 2 33 ie ae V. 6. Ave c bi b? b? ¢ d e 7 134 a ee ee ae Refrain B b bb 3 65 2 2 2 1 Conn b? b 2 33 1 94 Ver ra c b! b’ el fd e 6 123 £2 2 232 22 2 Refrain B “et b be 3 8 38.3 2 This song, as may easily be seen, is very regular in construction, but note the difference in metre in measures c! and f in the first verse and c! and fd in the seventh. The change is due to the text. The tonality is uncertain. The song begins on the general level, db, on the first beat. The same refrain is used throughout and the melody ends on the same tone on which it began. Songs of the Copper Eskimos i IWC. 87. Dance Song (pisifi. Kexutik,an Akuliakatak man. dX N 6 9s e _—_ rie A Sea Se ee ee eee ae “t a ob c d e ye yet ya i yal wi ya ye ye t ya iyai ya-t ya ye ye b- ye Prelude Lefer 0 104 ext Cc 1 Pa ee 2 ee Se ee Bae Oe ee ee ee [a pf © ae ee Fa Se Ls ca et eo re ro Vm a eS © ee ee ee eee ae g Si, ROR MeN Oe ene ae, : ya-Lya- t ya yal ya-t ya-al b-yal yal ya- 6 ya-ai ya bya b ya: a Conn. A. @ 6 66 4x = eS. . e e a ya-t yatye i-ya> bya yal yab ya. ab yalya. iya ty tu -ay-yuptiay -nt F Verse lL. yatil. : egies 3k Hag = (ext: ey Ast bp tt te tt oth Ma 2 ee 2 eee eee ts 7 2 2 vow. eee Eo ttt A+++ p+ —++4 ae ere a = f $ i “Ene go-tun-ivaktuy-a ye ye t -ye ya-b ya L yA yal ya tya-al st yal yal ya- LOL ( Sire. A‘ ep . es. € Lah ma Em Ps te LL 4-6 7-7 Ss J i § g a Lya-al yA ot ya-b ya - a ya-L ye i ya bya et-la-lt-vat qary-ma go-eun- wast pte fn © @ @ @ @ @ @ 4. » » B, oe. © u i a a a am 7 SN EE EE Ta TT ore he A SAY A * GY A AA OP "A © AV A ro ne LTA LA 7 SS A 1 VW A os a Tor P— er Tor a OS T 1 a a a € ¢ in-at-un'() —ty-tu-ay- yup-tiay - ni qo-eun-i. vak tum-a ye ye i-ye ya-i ya- MN. . fi ext, $ f $ oe es sé i yayai ya-i ya- a-t ya yal ya-t ya-a-b — yal-ya-L ya. al ya-lya-d ye Z A Jet ne a a a a ce Sees ees Sra TELS OVER Ae I v7 vannrm ae re a toa—+—_t— e e ab ZZ TZ e Le J i-ya i ya yal ya-t ya-al ya ya- & Ya Verve 2.1pt.0. ¢ ai = i = = tu-pay-yup tim - ni go -cun:i- vak tus.a ye ye t- ye Ya-b yA a-b (u hu : COUN 92 Canadian Arctic Expedition, 1913-18 uhu ya ya-i ya- al i ya yal ya-t ya-a- yal ya-i yarat ya. ? ya d tL ya- 0 ya a. valk. i -vuf qanma etent rinaf un = ¢ tu-payyuptipnt qocunsi-vaklu -a VYouse 2.pt-2- ( Be ° (ext) c* za a a a a a To a Ce ae | an" 2 f cae $ 3 ; es ye ye l-ye ya i ya L ya yar ya-( ya-a- ri ya yal ya-b ya-a- i yal ya-t ya- OUN Conn. A. Hees go ¢? } 3 g ab? a ya-L ya. al ye oL-ya> bt ya yal ya-i ya-a ge Verse 3. pot.1. No. 17. Recorp IV. C. 87 C major tonality Phrases Measures Beats Prelude A a bed 4 104 2 3 22 3 : B e f g (h) 4 9 Refrain 2 2 2 3 C gj k ¢ 4 10 2. Qe Bh 8 Conn g* gt 2 33 2 ik V. il. pt. 1. A+ a b! gt cl di 5 12 B’ : 4 dy : 4 9 e g Refrain 2 2 2 8 C’ gj ig 4 83 2 2 2 28 Conn. { 8° ‘ i+ 3 Vil. pt. 2. A’+ —a? bl oS cl di 5- 124 oh 2 : 2 3 33 e 2 the 5 10 Refrain | 22 2 23 9 GC” gj} i gé 3 84 38 2 34 Songs of the Copper Eskimos 93 ; Phrases Measures Beats V.2.pt.1. A’+ ab g! @& d 4 12 3 243 34 BB”! e ft ? ? h-‘g? 4? 10? Refrain 2 3832 2 2 24 Ces ej Pg 3 8 3 24 24 Conn. {. g? g3 2 4 2 2 V.2.pt.2, A” ’+ { ab! g8 el di 4 13 3 3 34 3h B” e f g'(f) g 5 10 Refrain 2 2 2 Guu gj i} gl g 4 9 3 2 2 2 Conn g? gS 2 4 2 2 V.3.pt.1. A ab! —- — -— = 3 The song begins on the tonic, with the first beat of the measure. Presum- ably this is also the end tone. The regularity of the form is pleasing, but the rhythm varies slightly from verse to verse. 94 Canadian Arctic Expedition, 1913-18 News css — Dance Gong (pisifi. Composed by Ikpakhuag. Sung by Avyana aPurvtig man as Cf.Noso and No 22. py Aq ee ee a» } i Jail $- i Z A fs of cr TI b b Cc. es [ae ye heye yeyi yay € ya gayn- a ai ye yi yal yagae yagi yay: al Prelude Neficin = 7.1 Lear 1S yam-i it yagai yam-a Lt ye yam-a- L yam- ai ye L yal ya Mef (2nd fine) Conn. A o_o { 1d oo—6 Verse) a , cen 46 BF oc Ptr Fe yay-a na kin-mi-yu-na-a gai-le - ya - y-t- naq-tum- 0 al ye t ‘er | e yan-a na- Kin-mryuna-a ai-le ya- naqtun o al ye t B! Cc yn oe et ee re) [ oe! a 9 vt iy ef 5 z x 5 . } = yai yag-a qi: lkq-Ti- li-ay-yuk tu-le-ya-vagku-n- im-t it yeyam-a L yay- yal yay-a Ka- fa- in- a 9 luk tu le.ya vagt-un im. i Kefiain (And Inve only) : Kn rN " Z o-—s 2 lak. i ae) i ial Pas EARS say i pili ad ima J pl at 7 v v t ; j ef : ov b ai yet -yai ya = Gaptefe yaya u- — vam-a tma-amy — L-yi-cu-aq -paktu-yuy- 0 Vareptas e-yan-a ou van-a& Lmaam — pi-yu-mat. gag-bun- 1-1 B Dal # Le a oe | ee eet ot g al ye. yai yam- a gay- yu-ay- yu-ay-lu L - pi- ye-yagy-i-nap- ku lum- 0 al ye i yai yam. & pun-mu-ay- yu-ay-Llu i - pi- ye -yam-i- nap. ku- lun o Cc - Caco Cnn. A 2 . 1 Bd <—_- | vy if i a 8 1 4 i aa | 1 ae } + | a eS: & © J K. A, Hi vt T |e T or _v sy yt, t,t o—o h T c o ag a von u b ye yam-al yam ai yet yal ya e@ yam-a cu-mmmiyu-na — gai- le -yay - Refrain (2x2 fine onby). Sesesipehs —— _8 : R44 b' c ct da et tn-aq-tum - o al ye yi_-yai yam-a cu-my-Wa-yay- yuk pa liy-ywat-gag-tun - im: t Go yc , Conn, A ic i? o.oo 1 EE ne God Ga 0 Oe GS | AA T a a a. ms To re 1 ha § Dx + —— ~ + = r Lier sd t oT rt o—? mi a ' e cr C "a b Lye yam-a-i ya al ye i yal ya € yam-a U- vaya t-ma-ag a-un-im- at- Mefiain (2nd fine onby). Verne 3, pt. 2. Songs of the Copper Eskimos 95 yai yaaa au-yaylu cam-na t- pi-ye-yent-na-yu- Prelude Refrain V. 1. pt. 1. Refrain V. 1. pt. 2. Refrain V. 2. pt. 1. Refrain L ye ya a-t yam- al ye i No. 18. Recorp IV. C. 56 G major tonality cola NOPwonwp NuNone ale ale ale AIH RIM AIR Measures Be 4+ 4 1- 3+ Beats 96 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats A ab bi ec ch 5 124 V. 2. pt. 2. 4 212 3 2 23 B’ def g 3+ 8i i 3 3 2 Refrain Cc h ic @ 4 9 o 2 2 3s Conn ce 1 3 3 A’ a b b! c ct 5 12% V. 3. pt. 1. 242 3 2 8 B” def g 3 8 3.3 2 Refrain Cc h ie? 4 9 2 2 2 3 Conn. { cl 1- 23 93 4 A al b bic cf 5+ 122 ¥. 3. pt. 2. + 222 3 2 8 Bee d' ef! ¢g 3 8 3.3 2 Refrain Cc! h ie ?eé 4 7 \ 52) 7 This song should be compared with Nos. 40 and 22, for the borrowing of melodic ideas. The text states that the second phrase of the prelude and the C constitute the whole refrain, and the C phrase as given later after the verses, the second line only. But judging from the structure of the entire song, the B phrase is really part of the prelude proper, followed by the refrain C, which is only one phrase in length in this case. The song begins on the first beat of the measure, the fifth degree of the scale. It ends on the third degree which seems to be the general level of the tune. Songs of the Copper Eskimos 97 No.19 Danee Song (pisif. Record IVC.82a, Avakana,a Dolphin and Union Strait boy about 12 years old. 4: he A Song composed by his mother, Apat-og. B 75_ T 7 re ; nam 1s k Pe ht | LN FT be AT __|_~_|_~—_». ———— a aS ee ee a ee a b ¢ oF c a e ai ye ye ya yeye ye ya-ai ye ye ye ya yeye yaga ai ye ye Prelude ri Mefiraur Ire: Comm. A 108 Hy SS Se ee Lj —_9—_»-_+-»_@_|_- » s| 1406 4 114-613-364 =| Ts a 2 BF uF Th a . rs ye ye-e ya ai yal ye ye ya i ye iye al ye ye = ye k&-ca-ya- ; Vee! ph : __B Sy G be oo e b* b" a-Taq-puk na - paq-toq u-na ka- ca-ya-tag-puk ai ye ye yei ye- e€ i ya oad Conn. AA hh a ee oe ws ee Ty a i i | 90 if yt J 4. | 4 gh he Ll A gd Og: dl lg ge lg rt 4. 4 mn = ee or od ~~ o_. al OS J oe | an b? b* b* ’ a aaa b+ ai yar ye ye ya i ye i ye ca-vi-yo-ti- ya ti-yu- la- yap-ku Vore Lipt.2 (or V.2) ‘ fate Br That a | ra a». I 4 » 14» a rian sa! j | 2 A SR fa SE SR 1S A AY > Lad * ta * a Ey aa os 2 6 46--|_-4 4— 4 4- h o—_ 4 te —_0—_0—_9—_6 A A A A OT A A A PO 9 VE D2 vf o_o ee J a be b c e! iG =— pu -yu-tak-ca-ay-yuk in-i- la-ya-mi — go-vi-a-na-yi-voq al ye ye yei ye- ; LOU A A bl FL VS SO SS fas TS NC SS Ss Ss A A OO mi? L z = = Es 2 be a Te E TF 5 a e tT e tya aiyai ye ye ya tye Lye ai yeye-i ye tuc-an- éq- Verne 2.pt.1 (ov V. 3) re 7 _ B Comm “+t > +t ra t - = 7 b a B ~ ee > Oe caq- pak-tun u- va- hi-vu- li-ma tue-an éq -caq-pak-tun i ye ‘ { AA* v “ ar mot b+ az b i ye a-qoq-tu-hm- miki nu-nag: aq-pak-a.mik = U- va. ti -vu- li-ma tue-an- Verse Z.pt.2 (or V.4). : ‘ —e d cl bé & 5 12 22 2 3 8 Refrain B’ e b! b? a bi 5 10 2 2 122 8 Conn. b* bé 2 4 2 2 V.1.pt.2. AA at f b+ a? bi b @3 7 16 22 23 2 2 2 34 Refrain B” e! b! bi a bi 5 ll 2 2 2. 2-3 Conn. { bt bé 2 4 Phrases V.2.pt.1. AA’ Refrain B” V.2. pt.2. AA”— Refrain 3B” V.3. pt.1. AA’? Refrain B” -V.3. pt. 2. AA” Refrain BY”’’ V.4.pt1. AA’" Refrain B’e V.4. pt.2. AA’ Songs of the Copper Eskimos a? el a 2 b> b! a2 b® cf oo 5 9 b! b! a bi 222 8 Conn. { bt Conn. b! 2 b® bi a? be be et 222 2 2 32 bt bt a bs a ae Conn. b4 2 f be+ a? be ct 2 22 2 2 23 b! b? 2 14 2 3 f b® be a® bs 2 222 2 b+ a bi-+ 4h 2 34 Conn. b* 2 1 z her Pikes Ee Tepe cS 21--- - bt 2 b! 2 Measures 6 5 99 Beats 124 11 This is also a very regular form, but with slight variations in the rhythm. The song begins on the fifth degree of the major scale, the first beat of the measure, but the seventh degree is very prominent. It ends on the third. The tune is astonishingly like that of No. 20 but the latter is much more regular and beautiful in its appeal to our ears. 88549—7} It should also be compared with No. 3. 100 Canadian Arctic Expedition, 1913-18 ee cw Haittee Hong (pisifi). Tdptuna aCoppermine River man. J-100 A Be 0969 eo a a ya-t ye yl yo ai yat yA a-t ya ye t-ye yb yar ye ye i-ye eiya ye i-ye yi yam-aiyai ye yi ya ai yayiya-iya t ya fain i j o cs K ro i ya-a ye ivye yi ya ai-yum- i (vat) - tuy-a-i ya nat-ceg-cuktu-nul.- i ai-yum-i-vak- Sewe | -ptl. c (ext , ) tty Nn Comm. = Aen te tr tb ei es f Ss h c? Ge tum-a aiyai yet-yeyi —yay-ai ya-i_ ye yi -ya-& al ya yt ya-t ya k Nese pt 2 | cya ug-eu- ieee - t at-yu-leq-pak-ap-Kin niatceg cuktu-nul t Nersef)ptt. & ya-ai ya - tye yi yai al-yum-i- vak-tug-a €-qa-luk-cuk-fu- nun oeee 08 es wig lal I | 1 b bi A, I u LA dew 'a @? e> j f gt ht c' ea ee ee Cini: At B e Te Oe ee oe ee ee ee ee CD a OS AS x a o v eT eons saa iya-i ya tb ya-ai ya-t ya yi yal al-yum-t-vak -tua-a pretketktinul.- i nos Veroe 2. pte1. eo} Cc Comm. x ° ei e* e? eq i : J ai -yum-t-vak- tum -a ya tya i ya-ai ya-t ya yi yai at-yum-t-vak- ¥ ? es as y Verse (3) pt.) y y y me. gn e460 eee © Con AP ce kt ? et e i Tum-a gay-at-qeq-tu- nul.- t airyum-i -vak tum. i ya-ai noy- Verse 3. pt.2- Songs of the Copper Eskimos 101 e Bit» 0 _@ © e000. ¥ " LA Yt 1 4 Covwyer ——__¥¢ A iio + a Mae /A i naam 8 J . : c as e- a-lty-yuedl.- i al- yu-ltq-pak-ap-kin ga - yat-qug tu-nul. - i ai-yum-i-vak tug-a Ce toe Coe Conn. | — a ptt it t—y—t t A 4 C—~vVe"r yry t YY rt t I if gt A ¢ x e iS yet-ye ye yam-ai ya-i ye yi ya-b ai-ya-t ya ? i ya Dtefiain po we i-ya ob yaai ya- i ye yi yal ai-yum-i-vak -tum-a Verse (4) pt. (repeated te slightly afferent melody) 2 oe 2) =: : Yt | : f ig? ga-lukcuk-tu- nun at-yum-i-vak-tuy -a ye i ye ye yay ai yas i ye ye -ya-t i ya ye ya-t L-ya to ya-al ya- io mim-ne-yi-yan-t- ma Verse 4.pt.2. at- yu-leg-pak- ap-kin €-qa-luk-cuk fu- nun ai-yum-t-vak-tun-a IN Bi. yt p+ # 8 -o— Be Se So ee ee eee ee ppt ‘an a on Oe oe a wa ee eee en Tan Gn | ON * RD” Si ee : os : ‘i 58 tei-ku-t-nam-mi-lu ta-kol- ya -fag-te ya a ha-t ya-al ya-t ya- a ga-i ya 3 : TOU 2. : d' Conm. 2. ly =y J v art 7a ‘YAMS Rew 9 os bd ins A Ee a4 L lw at ¥. iY ia > a 2S ha-t yai ya a- val ye i-ya- a ga-t ya &g-ci-yin-ag- tu-yo-0- ni Verse 3, pt.3, Songs of the Copper Eskimos 107 3 ‘ b ? ? -U-na-ta-a - yi- va-Ya pt -c1k-ca-qam- if u- ay’ man hu hi hu hd a-t- “Ya- Lye B ty y Verse 4. pt. |. on a i die d- “ag tu-ay - la-yo &- “ga lu- “AY- yu. -uk ta- yeo- mi im-a hai * t Ref ain 13 (ext b' i > yatya ga-t ya ha-t ya-t ya hat ya-i yaqiya- a A ga ga ez Conen.t c.. a A tae al | a Y i'd +7 | i ee pt i + vo Ls h* k b° b bs v i ya-i ya ta- cuv-i caman-i ai-yu-leq-pak-ap-kit ha-i ya ma-yuk-ta -ay- Vere 4. pt. 2. : 1 -~D* —>. ' b3 bs B ° as yuku if-qa- ya-cay-la-yin ha-i ya- al Ae i ya- a ga-i Ya hat ya-t ya-a- Vo a ; as 62 al ye b3 Vat-ye i ya = & gai ya ai-yu-leq-pak-cu y-onam qop-qagfa-ya —— Verse 4. pt. 3, (1) Here the singer made a mistake. No. 21. Recorp IV. C. 57 C# minor tonality Phrases Measures Beats Prelude: le -ya- Yi-naq-tum- o - Vowel. 7 4 4 ac “= ai ye yi -yaiyam-a gt - ‘eq ti-li-ay-yuk tu-le-ya-a-vag-tun- im- t i ye yam a iyam ai yeyt yal ya © ama = re. t-may — L-yic wag: b : pak-lu yuy- 0 ai ye yi yal yama gay - yu-ay-yu- ay-lu t- Pl-ye-yary-mnop-hus Tox: Ca me —T——7 — —= a ee og eS be —“4 ey nya TT he is m= rf ae, a Se 7s See Oa 7 ot a Gh L, kin-mi-yu-na- a goi-le-ya - Yin-aq-tuy- 0 ai yeyi —-yai yam-a ka - Songs of the Copper Eskimos 111 fain-a - luk tu-le-ya-a-vag-lun- wy-i i _ye yay a- & yam ai-ye yi yai ya € yan-a u- oe t-ma-ay — pr-yu-mat- gag-hu-yum-o ai ye yl Verwe’. Yai yaya pun-quray-yuay-lu i= pi-ye-yaq-an-ap-Ku- luy-o i ye yas a- i yam A? a L 4 A 4. —_ Yok “es yy Tos = 4 2 id c7 cs — EF ‘ ‘ : b a ye yt yal ya @ yam-a oo na- Kin-mi-yu-na- a ai-le-yam- — in-ag-tum-o Verse 3.pt.1. 4 ae geqtum-nm-t ai yeyi yai yaa au-yay-lu camna i- pi -ye-yay-tn- a- yu - Cc. (3) xt vif og h i : lum-o i ye yam a-i yam(huhu hu hu hu hu hu) DWefrain. (1) These words apparently have nothing fo do with the song. A woman can be heard talking while the man is Singing and he breaks off abruptly evidently to speak fo her. (2) A cough upset the rhythm here but if was obviously unintentional. (3) This was not really pitched. 112 Canadian Arctic Expedition, 1913-18 No. 22. Rercorp IV. C. 76 E major tonality Phrases Measures Beats Prelude A- \ a b b? ¢ 4 103 | 2 2 sbs talking B def g 4 9 Refrain a 2 2-2 ome h i ct 3 6 22 2 talking Conn. { e - 37 3% A’ al b! b? ec! ¢3 5 135 V. 1. pt. 1. 2 212 3 2 33 B’ def g 3 82 23 23 Refrain Cc h i ce! ¢ 4 9 2 2 2 3 Conn. { ce 1 23 3 4 AY al b! b? cl co 5 122 V. 1. pt. 2. i o19 8 2 3 : B” a? ef 3 83 4333 : Refrain C h i ec @ 4 95 5 2 2 3g Interlude BB"! def xz 4 95 a: 3 2 2 2 z Refrain C h ie ¢e 4 9 222 3 Conn { 2 1 23 3 4 A” at bt b? c ¢ 5 123 ¥, 2. pt. 1 z 232 3 2 25 B’ ; def g 3 8h $332 Refrain Cc h ic ¢! 4 9 222 3 Conn { ¢ 1 23 23 A” al b! b? cl of 5 123 V. 2. pt. 2 4 Oo Bo OE Bl”! : dt ef g 3 83 $33 2 Refrain Cc" h ie¢@é 4 9 22 2 3 loo Conn. { 33 1 3 4 Songs of the Copper Eskimos 113 Phrases Measures Beats Al? al bl b? cl 8 5 123 V. 3. pt. 1. + 932 3 2 28 B’" , @ef g 3 8i 43 3 2 Refrain Cc h ic ¢ 4 9 2 2 2 3 Conn. { of 1 23 4 A” a bi b? cl 9 5 123 V. 3. pt. 2. £ 219 3 2 3 Bees dt‘ ef g 3 8 38 3 2 Refrain C-— he. ah oS ee ee a a Deda This song should be compared with Nos. 18 and 40 for they all have the same tune. The points of difference will come out better from a study of the analyses and the music than from a description of them. The present song begins on the fifth degree of the scale, on the first beat of the measure. It ends on the third degree. The level is not as clearly established as in the other versions but is probably the third degree. 114 Canadian Arctic Expedition, 1918-18 sha Dance Song (pisik). Record IV C. 42. oN " Amivyana ,a Purvi man. s 5 a —F > L Se a a ye ye-e yi ai ye Ki ya ga ye ye ki ai ye ya agyi - © yas ya qai yal yal relude —* Sn pee e009» o> 5 a d? d* a f 8 ch iya yi yal at yai ya yet ya gai ya yeyeki ha-tyalya-i ye yal ye yal yal ya LOLLY ee Conn. df a rz ct oF fn @ gal yal yai i YA ga-t Ya YA L YA aga A yeyal ye qa ga-t L ya gat ya el, a-cu- a-ya-cuk-pe- ki coma-mg-i nu-na-mi ca-ma-ni ki ya i d? ab? k bt c3 a’ dé e yaga-t ya u-lau- yag gay-yuiy- b-fan-ik ye ye-yi yal ye ya ga ya L yo oa (nay} VaweR. : mit-qu-lyMt puy-a-cu-ay-a-cuk-pr-t- ki Ca-mam-sy-+ nu-nami ca- ma-ni-t ki fareik naub-yutyi-tu ~ag-pa-ya nay-yu-ly-yuak- i cama yai ye-yin-i yai ye yar a (1) The refrain is exactly the same as above. Songs of the Copper Eskimos 115 No. 23. Recorp IV. C."42 A major tonality Phrases Measures Beats A abbedde 7+ 154 Prelude 42222 2 2 23 B ce! d! d? d® d3 5+ 134 + 3 3 3 2 2 Cc f g ce dé ds 5 15 Refrain * 8 3 3 3 8 D f @ d® dé h 5 114 23 2 2 2 Nie Q ° 5 B , oS Qu ee —_ + oo Nie < e wy — eer—eeoa~—oa—s—r >. —«“~—_ rm eee ooo erro? Q om o eee Noe 8 NAWANAKANHNH poy RS Nowy ot ao or la ee On — oO oO i 2 2 2 ext. {7 f* j 8 2 12) -2 Cc f g ce! dt dé 15 Refrain 3 3 3 3 D f! co? d®§ d® h 113 23 2 23 Conn d® d°db 2+ 5 $224 A’ k b! c? d® d® et 6+ 15 V.2 1k 223 2 2 28 B’ ct dl dio dil(di2 dio di?) x T+ 153 $2229 2 2 2°'1 Refrain C’ f g! ec! dt dé 5 15 38 3 3 3 3 Conn. omitted V. 3. B” b? d®& d dio qd? d3 6 12 2 2, (2 2-2 2D Coda de d¥ dit 2+ 44 22 3 In the first verse the second phrase is lengthened by an extension so that it more than equals the first phrase and the connective together. In the second verse the B phrase is extended in place of the F phrase of the first verse, but with the extension it does not quite equal the first phrase. Notice how the refrain after the second verse is made to nearly equal that after the prelude and the first verse by the addition of part of the next verse and the coda. Whether this was intentional or merely accidental is purely a matter for conjecture. The song begins on the last half of the last beat of the measure, and the fifth degree. It ends on the third, presumably, if the end of the refrain for the first and second verses may be taken as a guide. 88540—84 116 Canadian Arctic Expedition, 1913-18 Sub-Group 3. Prelude Effect Nos. Dance Song (pisif. Recordi C 50b J-80 Kaiyayyuk a Coppermine River man. p. A B Se a = a at b c ct a e a-ln. ag- pam a-t yal yi ya a al ya ap-qal- i- ya -ay-yuknumt- lix-ya-ya-mt fa-ko- Vere 1. pt.1. -i bya t ya-t ya-t yar : a As 1 ; "e I oe cae Ca yl yar a ga i ya-i ya. cya-tyal yi ya-bya Lb yaa-t ya Aga- ai-iyaa 1% hn T. = ee 3 i f Ll ya-a Lya a gad-yt- mers a hai- yu-ya-xu-yit ai = nu-m-lix-ya- ya-mi fa- ko- evel pe& f ft & «as $s iis 4 h syan-ty-log:a- a A-lin-aq-pa- ima st: yay: ya-a aa - ai t yai ya- t ya-t ya yr ery Retain yicyaca 4 yat y. ya-t ey E (ext A 3 = a 141.0 aca | t- |_-_@ - »_|@ -»—_»__-e_o_s-_|_-x ws Ae = = Pz pet a ca a pac g ee ial ke . 8 a as, ig yi ya-a qa t ya-b ya Lya-b YA yi ya-b Ya-> bt yaa-b ya a ga ; 2 Cown. F a. oe = 7? 7 T= 1 ci ce a-i yaga i ya-a ot ya-a a- hn-ag-pa-in i yaiyiyaa qa pa ee Verse aut. qc! Sa ee 2 Bee 2 eee ee 2 ee ee ee ee mia ae a. me 4. ee ee eee eee ‘7 an Vn Ve bec Maca bl td y L Yo 7 uVvy _t | ais io a f f an o dg : a-vi-a-Ya- Y-yunnu-mi-lixyaya-mi- Lal yaa-hnag-pa- in a it ya ylyaaqa tal Se es ee eee ee Gi MEU mae ” a : S h ? J : gl : gl ai iya-i ya-t ya-i ya tb he he bya t ya> i yab yas © yar ya> Songs of the Copper Eskimos < ee a: e o a d Lya ot yae tya a tuc-a-yi-dn cap-kwa hai- yu-ya-xu- vit ai nu-me-lix-ya- Vero 2. pt. 2 ° ! ale * f f Ue d dg, ya-mi facko-yantyloqva - a Alm-aqpa-ina- i ya he he i No. 24. Rucorp IV. C. 508 Ab major tonality Phrases Measures Beats A a abe 4 82 V. 1. pt. 1. 22 2 3 B edef f 5 il 22 3 2 2 : C d'dg g g! 4 8 222 23 Refrain D gh i 3 7 2 2 8 E j kel 1 Fe #B 7 144 22 2 2 122 8 Conn. { Vt ht 2- 34 2 ik F i- f ¢ o 4 9 V. 1. pt. 2. 3% 2 142 8 B- df f fi 4 8 22 2 2 C d'idg g g? 4 8 22 2 2 Refrain D g hi 3 7 22 3 . |E j kegel 1 PQ BB) 7 143 22 2 2 142 3 Conn. I! h!- 2- 33 2 14 F { i 2 og oe 4 83 V. 2. pt. 1. 4 2 142 2% - df f f% 4 7% 222 13 C’ @dg g g 4 93 1 222 2 2 Refrain D g h ? ? 4? 8? 222 2 E jgl gl 4 8 22 2 2 Conn. It bh? 2 4 2 2 118 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats F’ fi i? @ c 4 8 V. &. pt. 2. 2132 23 B- dof f f8 4 74 222 1 Refrain C didg ? 2 - - 22 2 The second verse was not quite finished. The text gives the song as be- ginning with the verse but the structure of the music is typical for the prelude type. All the other parts are alike and are different from the first part of the first verse. The three-part refrain is a little unusual. The song starts on the tonic with the first beat of the measure and should end, according to the end. of the refrains, on the second degree. While the general level of the song is not well established here, it seems to be the second degree. Songs of the Copper Eskimos 119 Reis coon Dantee Song ( et lo » Niptanatciag, mee ee iver woman. t-yay ai yi ya o-vi- a-na- yi- voomin- ne-yi Oq-ci- un a- U- lax - ya-Va -ne-yi ya Verwel. plat. : Cc ies a tempo AN ‘ b e a “ i ai ye ya-t ya i yay a- i ye yA- yi yaa-a- i ye ya- yi yay tb yal ya Refrain all Conn. . Seeker, D (4) 9 iaaphe e t-ya-t ya ni mun-ne-yi-ag- ¢i-un ci-ag- Tux -ya- ya- mi Verse |. ot 2, (sta Cc ae a im v ae mu ni-yi -yam-ty-fu qub-vek-erxypy-i-vog ot ya al ye ya-t ya t yay ai ye yar . Me Meftain 196 Comm. yD. ———— mar: a ae, ; fa" er re yr yaa-a- i yeya- ye yay t yai Lya-a-t yA tyat al yl ya : ; , Vere 2. pl. Tpit f A 3 Tr. : oe t-ya-t a ko-macyo - ag-ti-un aU lax- ya-ya-mt Ko-mayo- aq- ct- z tense @. pt. Z aa ‘ 7 ¢ (2,)»+100_ Gown. D Lf [sr Tats ans 7 d be , . : £3 ; 2 urina-lag-cix - yay-i-vog + ya é he bya-a-t ya kya ai yi ya es Verse 5, pled ) T T a ~ iN = RT AK 3 T 48 c ‘od t} go- vi-a-na- yi -vog qai- yu-aq- ci-ub- iny-i-ya- a- Yarne- yi ya 120 Canadian Arctic Expedition, 1918-18 ct | a a ax. AY n rm .% T T | i 2 dt e eae ai ye ya-t ya a- t yay a-a- al ye ya-yi ya-a- al ye yayi yaay | yaval yal Refi” ; ai] Conn. G4) 5 tied A F re T T= nN it 5 as : = oo — t t iya at ya - yaai ai Yi ya go-vi-a na-yi-vog gal yu-ag-ei-ub- i Verve 3. pti. tepeated with modification Se ee ae ee SS 2. a a Se ee ce can ey +t] —_ a ar tee a b ae dF, Cl-ag-tux-ya-ya-ne - Yi ya- ai ye yal ya t ya a- L ya-yl yaa al ye yayl yaa TOL ' ee 4 ae ee eee AL ye YaYi yaA- yl ya-ai —-ya- tb yerai L ya-ai t-ya gal-yu-aq- i Ube ; : Qewe3.pt.2, b v . d » \v.e I A i Ga ie Jt = 4 ree ee ee a oe bt lye ya-t ya a-bL yay a & ai ye ya-yi yaa al ye ya-yi ya-ay = t_-ya-al-ya (1) From here the song almost imperceptibly drops a full half step ee : Gradually. wt =| } (2) The refrain was omitted. oe a (3)A long pause occurred here before the song was resumed. (4) From here the song by imperceptible degrees was flatted an additional quarter-fone. No. 25. Recorp IV. C,. 90a C major or A minor tonality Phrases Measures Beats a b 2— 7 V. 1. pt. 1. 3 4 B e d bi b 4 103 2 2 3 388 Refrain C e al b? b® x 5 12 3° 8 22 2 Conn. {? 1? 3? 2 1 Interrupted by talking Songs of the Copper Eskimos 121 Phrases Measures Beats D f! bt b? 3 64 V. 1. pt. 2. 2 2 22 B’ ce! d! bt b? bé 5 104 222 2 24 Refrain C e a! b? hb? ae 5 12 = 3 3 22 2 Conn { f2 1 3 3 Beaks e fa? g 2 7 . 2. pt. 1. 38.4 B” = d b! bi 4 104 5; 2 2 3 3 Refrain Cc : e a! b? b® x 5 12 3 3 2 2 2 Conn. f 1+ 24 23 D” f? g! b4 3- 6 V. 2. pt. 2. 3 B’’-' ec d bi G 3? 74? 2 9 2 3 (3) Refrain omitted Conn { fe 1 34 2 D’”’ fa? b8 2 tf V. 3. pt. 1. 3.4 |B re: d b! be 4 11 21223 32 Refrain C * 43 at b® be 4 12 3 3 3 3 Conn. { bt b# 2 4 D~ 22, V.3.pt.1 (E al b? 2 6 repeated 3 3 with a modi-|F i gt b8 4 11 fication 3 2 Refrain C” a? d! g? bi? bé 5 133 3 3 3 123 Conn { 93 1 3 3 E’ as pb ple : 3 84 V. 3. pt. 2. 3 2 33 B” c d b? bt 4 103 2 2 2 3 3 Refrain CY? “ai dt g? bt bi gt 6 16 3 3 38 2 3 2 The phrases and refrains progressively lengthen toward the end of the song. ‘The first part of the third verse was repeated, probably because the singer made a mistake. This may have been due to the fact that she forgot the refrain at the end of the second verse. The refrain in the first rendition of the first part of the third verse has twelve beats like the previous refrain, but the measure lengths are different. The song begins on the first beat, third degree of the scale if the tonality is considered C major. It ends on the same tone and this is the general level. 122 Canadian Arctic Expedition, 1918-18 No. 26. Not og Dance Song (pisik). composed and sungby Tlatciag a Kiluctktok man. Jet ix La » d ya- i yai ya aq-cag- tog: any: a an--o- ye-yu-um u- [t-kafam-mni- lu ac cagfog anya Vere). ‘uy B- Cao - h f" veal e. a ya- 1 ya-al ya-b ya €ya- b ya- alyal ya-t ya ya-t YA- tL a ya-ai ya- Lb @ ya-al yYA- + Ya-al ye bt ya- al ya U-n- thei uve a Vowe 2. af* h F J kK. T B-nag-toy-me-yuy-a — an-9-Yé-yuemy- tu U- Ti- Ka-fam-ni “lu aq- ca-aq-toq-ay-a E Ce). as m he f Pe a nr ‘ ya-b ya-ai ya-b ya = @ ya-t ya> al Ya yal ya-t ya-t yaiya-t e@ya-a . ue 2 Comm. hit hs he _ «Ae h® yar t yal ye Lyaha & ya hs fa-cam-na-i- na-li poc-in- you-mf-ki-ya Verse3 Ic.-U-ma-yi-yu-Ya pac In-Yorni-va- ya A-al Ya- b ya-i ya @ ya-b ya- LOU al S os Com, a oa h" he g ae —— ao h® hs alya-a i ya a bya ya-i ya tb yal ya tb € ya ya-t yai ye L ya i] (1) B* D® e @ he v £2 bh kK n } i ya ya: t ya-l ya aq- cag-Toqrany-a “t Werpe A. a) -L-2g-tun t-ma pre. Lay-yumy ti agcaaglogagya Songs of the Copper Eskimos 123 @ ie c a y — ; 1 1 ' Saaeoea ee Lf om ro 7a a ae he ss oe hs h8 ya-i ya ai yas + yar t yal mA ya-t ya: i yaat ya-t yaiyA yatyat ye COWL ) Conn. B* D. he CS fs iY he : k* tiya t ya ta-cam-na-c-na-li a-nex~ on-tt-ki-ya qi-ta- u- ti- ya- luk Vere 5, ) rE woe 6S Ta a ee 2 a a (3 oo — a a Ses a a Pa a a SS Pe ee a , a : ce h- ft he 8. Ki-vikte-yi-varya = -Ya-t_ya-ai ya-t ya oe ya tb ya- al yai ya-i = ya-i ya-i ; Nefiaur Comm. Béalt. - A 8 hy hs hé . ‘ . AS ike a ya.t ya-t eyaad ya- tyaai ya tya- t ya ya-l ti ya 24g; ca.aq-loce Veroe 6, A ly 1, g | 4 Vg oa a A A a LL RSet = D+ TT ge a Ke Tr m> he any-& Sk vii ontp-qaq- camnik ag ca-aq-tog-aya = -ya- i ya ai Ya-i ya ) Cobos f sf he $ 7 h?> h" eya-i ya- al yal ya-t yet yaoi yai yat eya-a-t — yat yaai ye ] Comm. DF, > = =a ae ee eS me he 4 , he ‘ k* bya. bya u-nih-i uma omp-qa- yu-meyum-a calz yik- i. 1-ma Veroe . : ES J PF ig m= : h f A's. o-nip-qag-cam-nik ag-caag-foo-an-a ya-t yaal ya-i-ya © ya ya al yal yart ye ya-t ya-t ya-1 yet e ya-al Ya-b ya-b ye oe ya facamnai-nati Vere 8. 124 Canadian Arctic Expedition, 1918-18 T co i ‘ : ™ h- Lhry-cumat-ki-ya — ha-ne-ya-ni-la tb hty-co-yi-va-ya yas tb oyack yas & ya 4 * COLUMN. , @ | > ef @ =e oo , [2 rte x ae uWGS eS VV As 7, ES “¥ . eas h'> J s h®? ne h® e ya-t ya- at yai ya-i yotya-t yaal ya Lai yaa ya bya ye 4 Conw. Béalt. = D’ Py “pt £8 h> k> pe Yarlya ya: ya- lb ya ag-ea-ag-toq-an-a uy-yuytuy-yumilu tu-kag-ciyamntik Yurse 9. ; ty EB? Co Conv. B'alt. vhs ; nr he h? Ki? aq -caag-Toq:am-a b ya- al ya tu-piy-yat-i L-ma piryu- Verse lo. + ; ‘he eo , 7,” ae oe 1 K? [fe * py Lema pi-yu- — maa-min-mata u-tagre- u-tipvik ai-yaleq pak-xumya dda EC a Comm. or Coda ? TT Cy, wi 1 di L tt bid [°\d 4am FE | den a ' 1 i eat ‘a i" it * hr h L ya- at ya (1) The singer sang the first five notes of this measure,and then abruptly stopped for five beats, then re-sang the same measure. ince itis obvious thata fresh stari~ was taken for some reason: :-the first rendering of the measure andthe rest have not been represented in the music. (2.) The singer stopped fo laugh at this point, but the laughter does not appear 16 belong To ‘the song. No. 26. Recorp IV. C. 99 Mostly F major tonality The singer was very variable in pitch and in exact melody. Phrases Measures Beats V. 1. A { 5 16 vie wo rey Refrain Refrain Refrain Refrain Refrain Phrases es ” Lyre. NN eoe~rCO_ rer erro er?) —_—err'—_—_-__'+-er. Songs of the Copper Eskimos h ft hi 242 3 ht 2 2 2 boge bo a > ao Conn. Wow DD ren T “I 1 wih OmrNrm {8 ht0 hile 2 2 8 kb op 34 33 mh ft hh. 2 22 3 2 g m} h® h}8 22 23 Conn. hé ly 125 Measures Beats 4 94 4 84 2 33 3 74 3 104 4 8h 3 9 2 3h 3 63 2 4 5 114 4 9 2 3h 2 6 3 104 3 6h 4 9 2 4 3 63 2 4 4 8h 4 gh 2 3h 4 9 2 7 126 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats fhe m2 h- f! hié 4 83 Refrain 22 2 23 C g bh? h® ht 4 9 222 3 Conn. f{ h® hé 2 34 12 a V. 7. DF q r h’-k pt b 6 184 33 2 23 33 33 33 Refrain Hue mh f! hté+ 4 9 2-2-2 8 After this verse a reversion is made to the same plan as before. It hardly seems necessary to give the complete analysis. There is no prelude to the song but the musical structure certainly suggests the prelude type in that the first verse makes use of one phrase, A, which is not introduced again, except roughly. The first phrase for the following verses is taken from the first phrase of the refrain while the phrases for the refrain of the subsequent verses are new material. After the second verse the song is regular in form with the exception of the seventh where the DF phrases are combined into a long one, but throughout the song the minor variations are almost endless and almost impossible to list accurately in the music without encumbering it with more signs than notes. The tune evidently begins on the tonic although the change of kéy makes a decision on this point difficult, especially as the A phrase is not repeated else- where. The start is made on the first beat of the measure. The melody ends in F# major on the fifth degree. Songs of the Copper Eskimos 127 Nog, rine Mbert Sound Dance Gong ( (pisift) . Haqumyaq, Puiviig woman B fe WC.38, [ — a eg “va a de d f ai ya a-t ya ig-th-yo-ci- tre yi-vik ug- -cul- ty-yu-ag una a Tei-ku-t-nagmi Verse 1. Pt.1.° © r 1 t= rts rH top tc it ~ # + g rere re CU OOOO ma-ni-lu a tye yo @€ ya a eyaga-i ye ya-t ya gai ya-t ye Refrain’ )4 | Corn. D Ee #1 coe 4 1 i J 1 Ni a oe 7h, Le ee t+ er eo) 2-2 eS ar ee u yal aa - b ya ka- po -€q-2q - puap a b yaya qa-i ya qui-vekx-yaqtu-ay- Verse 1. Pt. 2, : , de96 i r j= IN, i | Tet vere eee E's t+ + + ap- 2q-veq-laqey-yur aq camna a-i yeyae yA a e€ ya ga-i ye Refrain tat 4,03 7 xe a 2 ; yat ya qga-i ya i ye qa t ya ge: iyaga i ya a iyaty- B! Verse 2. Pt. 1. th-yo-ci-tu- yi-vik — nayyu- shiye yu - ag u-na nunami — ha-ma-ni- lu Cas Conn. 1S E.R I ia. i= 1 weal iw. AN tt as TR. = GS Stree e +S eee ee a-t ye yae a a da-t tL ya -t yaet ye ot ee ye ya e ya da-t ya Ya y Ga t ya- ty’ ya qa i # D I I Ee ] : See ee eo 2 eon oon 5 } | K x _ > t f + i me jt ie Mf j ae Fr ji r’ - > 4.3 i\e ++ il olla Ce) +t eo + + +,e i ya day- vile he pum-a tye yaga-t ya na- lexyag-tu-a- yap-hu ta Verse 2. P : mani ca-i-li-yoq A i yeyae ya a e@ ya ga-i ye ya-i ya Refrain 128 Canadian Arctic Expedition, 1918-18 hah - Comm. D z T 4 T T I a | tS ce re) Reh kt T | r’f seo + belt © bal et Or oe + = are Cette CF: ga-- ya: & ya L ya oa- t ya qa - t ya a- t ya in- Hyotei-te- yitvak C00 Verse 3. Pt.1. % 4B Cc Ro 13> l= T ALA 1 & NA A A TY AR »\ J A RK A A A ONT A RA RAS a o__' i" v 2 T T T T LS neh | f'- j fo 1 . go SS tterte é-ga-lu-ne - yuk u-na ta-ct-tn-ay-mi uv.an-i- lu a tye yae ya a e yaga tye Refrain re Comm D i il 2 iY T hoot tt Kh 245—K on oe Ss el he 4 fH > > | mame § a it alli 2 I ) Ca Ba hi4ed & at 1 | 1 Qo A, DI bs | ba hd q Cae 2 +* a €,2 ra = = qd ‘fe 7 +t @04 ya-t ga ga-b ya-t ye L yaga-t ya t-pu- éq.- 2g-puay-a a i ye ya qa-iya 1 Verse. 3 Pt, 2, da gE =e 3 Sioa |; x MELA OR NN 2 GT eV.) = —O—5 5 ha + | mn ~o- Ty itd | \- SAE ARR Ge + ¢re eer to b 7 y qui-velkx-yaq-tu- a yap-Ku a veg tag: teyl yu-aqgamna a iyeyae ya a e ya fai ye Dp Refrain . f As 2 at At: Tz C4 T LA —_J : Mad a Fa js ee a a aS | ame 4 ; vo. Uf ta al ad aie a (a ee 2a yatya ga-i yat ye & yaga-t yaga tyaaa iya — ig-it-yo-ct- V . hia B iy erse 4. Pt, 1 c rine a aoe re SE SN a LY RA K-32 ro] ett Re * q ee a eee tyr vik uy- yu-luy-yu-ag u-na a Cly-ya- t-nagmi uv.an-t- lu a-Lye yae ya 1 Refrain Nag Comm. D J\tal [4 } } TA i ] ey T T= rs | 1 z z j | ] AU UA_A | kia ae os Sa Tae x + nl di eats aeyagat ye ya-i ya ga-t ya i ya qa- i ya ga- yageq-oq - puly-a E Verse 4, Pt. 2. t t+ —o t tt bo pRB RRR Bette tet hth des ie ales ors teeter ees d- i ye ya ha-t ya ka-le-cux-yaq-tu-a- yap-ku ery: yarin-ag mi No. 27. Recorp IV. C. 38 A major to F# minor tonality Phrases Measures Beats A a b b' e¢ 4 7 V. 1. pt. 1. 142 2 13% B d i 3 93 3 38 3 3 Refrain Cc g b? c! bi 4 11 3.3 2 3 Conn ( bt h- 2 34 2 it 129 133 11 Ler Measures Beats Songs of the Copper Eskimos Phrases V. 1. pt. 2. Refrain V. 2. pt. 1. rien 12 Cc V. 2. pt. 2. Refrain Refrain V. 3. pt. 2. AIA 12 9 88540. 130 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats D’ db bt b 4 8 V. 4. pt. 2. ae ae E” kk bb 1] - - - - - - 2 2 2 Musically this song begins with a prelude and refrain instead of V. 1. pt. 1. as marked in the text, although poetically there is a verse at the very beginning. If the first part is considered a prelude, musically, then there is a regular alterna- tion for the first and second parts of the verses in the phrase arrangement, D Eand DB. The song would then end necessarily at the middle of the fourth verse. It begins on the fifth degree of the major scale, evidently on the last half of the first beat, and probably ends on the third degree according to the refrains given. This is the general level of the tune. Songs of the Copper Eskimos 131 No 28 Dance Song (pisif). Record BC. Th composed by Taptuna (Coppermine River native) Jl -about low Sung by Haviag,ayouth from the same region. A ‘ La 1A! fae 3 = [IN f faa La \_s_e._»_\ =i © ~ » » » | 6 6 2 rs td 1 5} 1 td 7, A oe A, VE A) | a th 4)» 2a v2 n hs SRL A FO Sh A VA A A Pr 9 VW "A Lo | Ft Ad ¥ Ye Lae "2 7A a al yo c ; d ; ya-t yal Lyal go-vi-a = Ma-yi-voq nu- na-mi ca-ma-ni pic -u -ya-yamra-a | Verve 1. ph.1. : f) c Bt t7 (7 Samim © "4 x Z i. i a ¥ tz i? A SL z Me " msn ‘4 1 = = 1 lara ei | < . h ip $ “« al ya-L ya-a- L Ko-may-yuan t-ma &-mi-mt- viu-yitgay- yuay-yu-ab. i am- ‘ Verce 1. pl.2. : . ( :: re Conan. : lo @.! Oy py t a a 7 7 © d ee c a er et U-iy- vhoq tai ya i ya-a-al ya-t ya-t ya-yi yal ya-t ya-ai yal yal L-yai Nefrain : V2. pt. ) Cc B? me Ve ee eee ee ee 2 2 2 ee eee ee ee ee eee ee 2 © NS = PO. GW VO L aa F ee pa ea iy e. { f? ee ic d yal ya-t ya- t ya go-vi- an-ay- i-voq tee- Ku-mi cd-man-ipic -u-ya-ya-ma-a i B’* Comm. c B* " e e4 ‘ e} e Q fd es ¥ Cc ai Ya-l ya- a- L i-ya- b ya gal-yu-yuaki t-ma wy-a-leq-tu-ni nau-la-a-yi-ya t- Verse 2. pt.2. ; () B* Conn. D TPs f-st } 4 ~~ _ tT hae a L 4 ue: rt 4 YoY Yt 1 b Dl 2 I ¥ Tf 1. ‘on LY Ye te d dt e2 eé e er fg e3 prgtam-yaopitog i ai ya-t yal i ya- t ya ya-Lb yal ya go-vi-an- bie a Vowe 3, pt.1. » 0 be 2B Comm hi — a a a SAA me ee Se ee eee ee eee R41, ef TAC A Vg et oe £ a 7 =, v 1 2 vm d? as c : d-~ ; er . et yai ya: yaeai uhu = ya- Lb ya t ya t yal ya-t ya- at ya ya tain repeated Verse 3.pt.2, Dd B* < 7 2 y £3 es ey c d bya Qt- mu-ay-yukcam-ana- Ka-ta- —yi-vhu-yo tuk. tu- ya-lugmun i tip teqemagpiki 88540—93 132 Canadian Arctic Expedition, 1918-18 ai ya- i ya-ai i ya- tya ial peay-yurya quy: vek-c ran-mipman tuk-tu-yaduy-mun ma- VYewe 4. pt... al Conn. _C' = . a eé e el . ae ra e? ms Cc d qq paliguya ait ya tya yayi ya t yatty-li- a-taq-prk ko-ma-ya-t-jan pokun-iagtibi Verse 4. pot.2- Fi s B* he Comms, D e" c d- ee eF e 9 es ¥ ai yai yA -ya- i yal ya-t yal yack ya- al i-ya- tyat ya-t yal ya go.wi- a- Dteficury Verse 5, pt.d. ) D at mo a Se ee a) ee ee ee EB eo tt ta ee ee a © Ye 7. ee me — t? is e e+ c @) nayi-voq qi-liq-tliay-yuk —— gu-leg-tr-li-ay. yuk mi-tiy-Heqay-ap-kuai qay-yu-ay-yamani-lu i- TumaiyeKtitpk tal ya-i yaa ya-b yayi ya-b yal ya-t ya A ya tya- Lt ya c Tefiain east piel. qay-y ya- i yal i ya go-vi-a- ma-yt-voq gat - yt mi ca-man-i na- nek -tu -aynty- "es e? x e d- e x e! e* mi iat ya- i ya ya-iyayi yal yal ya i ya-ai ya i-ya- i) Ya nu- Refiain Verse 6. pl. 2. = : = * fe f2alt e ad e d mi-kam.ma t-macadvau- T-yag-im-may-a gi- la. u-yay- yuk i- ciq-Tu-aq-pak-a i al ya-i ya-al yoa- i ya-yl ya-b yai ya-L ya: a taima Since ee: (ee) (2) This measure seems fo be a mistake. Phrases A V. 1. pt. 1. : B Refrain omitted Cc V. 1. pt. 2. B’ Refrain B” C V. 2. pt. 1. B” v Refrain B” Cc V. 2. pt. 2. B” Mt Refrain B” D V. 3. pt.1.~ B” aa Refrain B’’- Refrain re- B” alt. peated D’ V. 3. pt. 2. B” ‘ Refrain B” f D” V. 4. pt. 1. C oe | | | Songs of the Copper Eskimos 133 No. 28. Rezcorp IV. C. 74 F major to D minor tonality. Irregular. Cole nie Co] ‘00|- ol Cole ol Woawodee Wone - vie nie Wa Wore th Wo Wawa Lord Wo Wo WwWo we Measures Beats al b 3 63 24 12 dex 4 114 3 3 2 fi ge 3 55 3 1 d e+ 38+ 104 3 4 d' el 3 8 3 2 Conn. { e! et 2 4 2 2 fl. 2 3 63 2 23 d e et 4 104 3.2 2 d! et 3 8 3 2 Conn. {¥e! e! 2 4 ¢q2 2 e 2 6 3 d! e e§ 4 10 38 2 2 d! et 3 8 3. 2 Conn el el 2 4 oho ee 3 5% a 12 d e& 3 102 3 4 d ? 22 7? 4 2 d- et 3 7 2 2 Conn e! @ 2 3% 2 12 e e- 3 64 2 2 d e+ 3 104 3.4 d! el 3 8 3 2 Conn e! el 2 4 2 2 f!- e 9 4— 83 2 2 23 d eé 38+ 8 3 2 134 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats Refrain omitted Conn { e! el 2 4 2 f+ fi- e% 3 63 V. 4. pt. 2. 2 2 24 B” weer c d ell 3 8 3 3 2 Refrain ec d- eé 3 7 3.2 2 Conn. { ev el 2 33 12 2 tg 4 el ee 3? 6? V. 5. pt. 1 fg!+ e el 3 73 2 3 2% Bev ec d e+ 38+ 103 3.3 Refrain c d- et 3 7 3 2 2 Conn { e! el 2 4 2 2 ie t f+f gi 3 63 V. 6, pt. 1 2 23 25 oa c d- e e! x? 5? 11? 3 2 2 2 Refrain ec d- e* x 4 9 a eee Conn. { el ers 2 33 2 1h (Dieu f+ f? e el 4 82 V. 6. pt. 2. 2 2 212 12 B’ : : co 3 102 Refrain B’- Oa alt .. 2 3 38 - - - - The music of this song is certainly of the prelude type, for the first phrase of the first verse, A, is not again repeated, but a new phrase, C, takes its place in the subsequent verse parts until the third verse, after which D is used. The second phrase of the verse parts is taken from the second phrase of the first part of verse 1 or the musical prelude. It is rather unusual that the refrain should also be modelled on this phrase. Another peculiarity about the first verse is that it lacks both refrain and connective. The second verse follows a set plan, but in the third we have what is probably an error, the refrain wrongly given or an unusual pause for breath so that it is repeated. The remainder of the third verse is regular. In the fourth the refrain is omitted in the first half. Verse five again is irregular in that the first phrase of the first half is given twice, perhaps because of the irregularity in the first rendition which was un- intentional. Evidently this singer is more conscientious than the majority. The connective preceding the fifth verse is a little shorter than customary. The song begins on the sixth of the major or the tonic of the minor, with the first beat of the measure. The end is on the fifth degree of the major or the seventh of the minor. The level of the song is divided between these two tones. Songs of the Copper Eskimos 135 ots Dance Song (pisif). a 8b. by Kan.uva, a Coppermine River boy. iz: A : B ’ Oa b . 6 bt : t ye yeyeyi ya &- Ii é-nay-luk-pa — A-fag-cay- yua tain = tg-cavift- aq L Verse I.ptl. ‘ 2 ee aa .G : ah ; ! ya-t ya ht ya Lye i ya ai yi ya ha hi ie yl ya i i ef ha ae B D a) k Brrr SSS 2S Sse Se i oe h a e e & L ya dain- iq-ca-nil. u a- va-ci-yab-uy- in (no) ug-cu-lry-yu- th i Tei - ku- Verse I. Pt. 2. 7 Comm. )c* i ios _——— a a oe Ct ne sh Ti Vy Lt tg at} et et a me eS . Co b3 b? b° 1 b? ae micamani i ya-i ya hi yaa ha t ya ai ya ¢ lam-neyl-u cin-a- yap-kin Verse}. pt. 3.. () cext B- Cc <7 3 be eos ee Be be Ta- t-cunag-pat-ka ay-luemy-nun u-ruvammata i ya i ya hiya i ye i ya (ext > Grn. D' f a Ce oe el ai yi ya ha hi yeyt ya fi yd- Ahaai ha ai i ya tyee byet yeayayt ya Vises. tt. d. —— ae B ee 7 a Pa LAG Sn ee b3 bt c tt d te “ of b d- li-en-ay- luk-pa- A tag-cay-yu-d fal- mig-ca-ttoq i yd-i ya hi ¥% ’a-a ha-t bye i ya-aiyi ya hahi ye yi yahi ya aha a hai ha-t ya (he he) ie il oF b* , ; v- | oc L ya- t ya fa-tn- q-ca-nih-u as va-ci-yak-uyin — Nay-yu- hy-yu- wh- t nu-na- Verse 4. rt. 2, 136 Canadian Arctic Expedition, 1913-18 qd te CB be abe cn : micamant i ya-t ya hiya-a ha- & ya Lye t-ya-ai yi ya ha hi ye yt frain ca Dy Be alt a ami —— == ier: er. ae: BP vt 5! a ya hi i ya- a ha- t ya t- lan- neyl-u-cin-a - yaprkin fat -cu-nag-pat qa- iy: ney tn Yeroe 2. pte 3. t. on DBC! a ee pe rrath oe et —| a | Verse 3,pt.i_and its refrain are the : ve : b* same as for V.2 ptl. buf the “he”® is Lli-yeq-pamy-ma-yin 1 ya t ya hi ya omitted at fie end of the Refrain. f Conn. D B : ee : Cl «ER. *3 + aa bal id t tf i. i. + —-t Bs R re ! a RK = be & oe 2 T aa AY TS. at J ae cae h b > ana we i yea ha i yatain-ig-caml-u a va-ci-yakeuy-in — uy-yu-luy-yu-w- i fei-ku- Vewe 3.pt.2. ee c’ Pa *e b be 3 GE bv? micama-ni t ya-i ya hi ya-aha 6 ya al ya o2 lagy-neyl-u- cin-a-yap-kin Verse 3. pt-3. 8 fa-1 cunag- pat-ka ay- lu u- nu-var-mata t ya i ya hi ya- (mmig-nun) ‘ Refrain b3 ai L ya hahi ye yi yahi ya. No. 29. Recorp IV. C. 928 Minor tonality! Phrases Measures Beats A- a b 2 63 V. 1. pt. 1. 4 3 8 ec bt de b 5 ll 2 2 232 24 Refrain Cc b? f b? be 4 8 2 2 BD Conn. bt g- 2-— 3 Dl, 1 Owing to the singer’s shift in pitch it is arbitrary to say which minor. Phrases D V. 1. pt. 2. B Refrain omitted C+ V. 1. pt. 3. B’- Refrain C’ D’ V. 2. pt. 1. B Refrain C’ D” V. 2. pt. 2. B Refrain Cc D” a V. 2. pt. 3 B’- Refrain C’ D’ V. 3. pt. 1. B Refrain ° C’ NOoNo NDT Co NoTNeo ND be 2 b3 2 fl dl Songs of the Copper Eskimos b2-? 2 de 25 2 nie Conn. { b8 (b8) b?- 2 2 2 e b2 2D b® b! (b3 2 2. 2 Conn. Measures 3+ 4 3+ 7? 10 14 co ie 138 Canadian Arctic Expedition, 1918-18 Phrases Measures Beats D h b? be 38+ 7 V. Bi ph. 2 i 22 2 B cb? d e 4 85 2 2 242 Refrain omitted Conn. b? 4 2 4 2 2 ee b® a? b? b? b8 5 11 V. 3. pt. 3. 2 (22 2-38 {| AB’ ad e b 3 8 3.2 3 Refrain Cc b? f b?® b! 4 8 2 2-2-2 This is a slightly different type of song in that the verses have three instead of two subdivisions. The refrain is fairly regular but note those which have extensions, and that in two cases it is omitted altogether. The presence of the two C phrases in the place of the usual D’s for beginning verse 1 pt. 3. and verse 3. pt. 3. is also noteworthy. The song begins on the seventh degree of the minor on the last half-beat of the measure. It ends on the third degree. Another peculiarity is that each verse ends with a little coda just before the refrain. Songs of the Copper Eskimos 139 N30, son, _ Daniee(Song (pisthi. Tvyayotailag,aPuiviig man. — Cf. ee 184 A ; a a eeeaaed d i-yai' ya - U yai yalit- ga- yarcay: ta-yin nu-nay-yu - tL th kit paktit- ka am-o-ti-cat-i Verse. 0 Cc m= : " 7oD ’ oe e ae y+ Y—-+ aa a! a gat-qag-ci-cuy-nag-a i ya ya-iyai ya ob yal ya-i ya- Lyaiya-L ya- Lya-L ya Refrain Comm. D d! a> vo! at "e1 . i ce Lya- ot ya kuy-yu-a-y-lu pig-ul-eu.t-ma uk-pi-hy-tu ga kic: t-yay-lu unt-un exe 2, * ? = t uc-ury-nag-ci-sy- vik 1 cog-foy-lu i-cogtuk-u- a ma-qug-cay-vik mam: scitoy- vy - Yu ¢ Ad . bee 1s 1* bia AT - Kw RK AY tH f tt i ai ie bie . rd = . wv . , , i yal ya-t yal ya- tb yal ya-t he’ he No. 30. Recorp IV. C. 594 No tonality established Phrases Measures Beats A a alt b 3 94 V.1 1 2 3 8 B e de 3 93 3.3 34 Refrain Cc f g a! a? 4 12 3 3 3 8 Conn d' a3 2 34 2 1 D ci al cl Ce? 4 13 V. 2. 38.3 3 4 E h h! bh? el 4 143 4 5 342 Refrain C’- fi gh - - - - - = 3 2 The plan of the song is the same as usual. The tune begins on the last half of the next to the last beat in the measure. If one might consider the tonality Bp major with a flat seventh then the first tone is on the third degree. In that case the end of the song, according to the end of the first refrain, would be on the second degree. Compare this song with the next. Both have the same words and are evidently meant to be the same song, and illustrate very slearly the difference between a good and bad singer. 140 Canadian Arctic Expedition, 1913-18 No.3 Remixcron Dante’ Song (aton), Kukilukag,aBathurst Inlef woman. Cf. No.30. A B =a T a c\ b ep a i ye ye ye ye it. qa-ya-cay-ta-yit nuenay-yu-th-u ti-kuf-pak-fal-ka an-0-ti-cammk e gat-gaq-ci-eum- nany- a i-ye ye i-ye ye i-ye ye i- ye i-ye ye t- ye Nefrairr py Conn. Cor. _e 4 a Alienageiyami sla [ licaijiyoq ] p* ec. (1) a uk-pi- lw i ki- li-yay () U-cu-wy-na-ag- ci-dy-viytu Iu © kau-tal- u- vbu Verse 2. by f FE N t pbs +. i. ind Nw bi { —f— iN 1 1 1s { tt Bs a tc aw +; uN te f Ve Ss hs ee “S| £ ¥ v4. n3 Z T % T T d 1 h 2 8 _g : @) uk-pt-liy-lu-qa ka Ki- yay-lu i-cog-toy-lu : Si LZ) = _* : a T ei al RAS | KSA Toe — , : rts , i-cog-tun-u- ay- lu ma-qiq-eay-vik magyaq-Sy-vy-tu we yi ye i ! 1 1 (1) There seems tobe a defect in the record here. ie = All the first part of the word icogtoylu’ is lost, *, al but with no loss of time the final syllable lu” is Lyeye i ya t ye ye ya heard. (2) Here there is talking. (ulamneyaliaxuni alignageiyami-uhugalum atuama Then there follow cana which were not given in the text. The first few syllables seemed to be those given above. The others could not be distinguished. Those given in the text are: “Kay yuayluga tma pimubku kit- riyaylu : ane then the : “icogtoylu" with which we resume the song. Songs of the Copper Eskimos 141 No. 31. Recorp IV. C. 708 Ab major tonality Phrases Measures Beats A a ab 3 10 V1. 1 3 3 8 B bt al ¢ 3 93 3 3 34 Refrain C de a a2 4 13 38.3 3 «4 Conn a® a3 2 4 2 2. The song is here interrupted by talking. Conn. at ai 14 2 (the connective is merely resumed. Its repetition is not intentional as part of the song) D a’ f f! af 4 114 V. 2. 343 3 2 E ge g@- - - - h i ? @¢ ? ? 3 3 23 2 3 Refrain Cc dea’—- - —- = 3.3 3 Almost nothing could be done in the way of an analysis of this song. After the first verse the interruption by talking caused the repetition of the connective. In the second verse a fault in the record prevented getting much of the second phrase and of the third, for according to the text there seems to have been enough for three phrases. A shift in pitch, probably due to all the difficulties encountered, causes the last of the song to be half a step higher than the first part, and the refrain is dropped at the third measure. There is enough material however, to show that the customary plan is probably followed fairly closely. The song begins on the last beat of the measure, the fifth degree of the scale, and if the first refrain is to be taken as a guide, it would end on the same tone. Compare this with No. 56. 142 Canadian Arctic Expedition, 1913-18 Sub-Group 4. Real Preludes nose Dance Song (pisif). d WC. 64. ee Duet by Qopan.a and her brother.in- grist Coppermine River Eskimos. Beh sangat the same pitch. _ a ri ae b a a a ff d- i ye t ya- i-ya caéni-le-ya-lu ne-gi-ce yt: tu-yo | aiya aynaue uytu a Versel a i ra in text ig Conn. A oe eo we ee ee ee es ne 3 Pet tah a Se 2 Se PC is A SO a d a at a a b a ‘ie ma ye yi ya ya: ye a ya i ya- i ya c&.ni-le-ya-lu né-gi- sad (via fiat Vewe 1.pt.2. 0, (ext. SSL wr Se * o 5 Li ot 5 ft oe = mayo(a) c&-ni-ley't-ma i-yi-yi-a-ya ya i yeyi ya- a ya-i ya-a ya he qa . COULIL A (ext) a a b al at al at ya-a- b ya t ya-t a gai - sa a e ee ya-i ye ne -qi-ce -yin-ma-yo a- tya ad ime mS ) (al at ae a a ay-na-u-yuy Hi ee Yicclin ne yi ya- & ya-i ya ya tya-t ya oR. i: aee Qal-yum-i-e-yu ya-t ye yi ya = n-u-ay-Yu-ya piqtu-ye-oki = -ya-i_-ye yi ya- Vewe 2. pt.2. : 1 Reftaln” - : ; b a yat ya- a yA hegaya it ya-aga i ya-a i ya-a qi'ta-unmuoku YerseS.pt.. d kidu-un-mut.u (0) tn-u-ay-yu- ya piqtuye-sk t ya-i yeyi ya- A ya- Lb ya TOAUL dy, (ext) Conn. A B jam eS es ee ee : 2 ._S =, ‘ t t a So hea a a ao a b a-iya iya-i ya gatyupi-e-yu ya-iye yi ya i> U-ay- yu- ya Songs of the Copper Eskimos 143 (ee (ext ) Conw. x 5 A | | mN ie 2. Aaa a 3" A . CO a A GE |, iy " "4 a a A 5 is 7, A Ra fA A A A AA = 2s _@_@_les4te ais...” &&-¢-1¢ ua ct d cS ge as a b kivanmuni-ma ya-i yeyi ya- a ya-i yAa- a ya bt ya-t YA In-u-ay-yurya Meftainr Youse4. pte. aim bs at a b 1 ec! d gat-yuy-i-ay- man ya ca-ni-le-ya-li am-mo-ti-tei-yoq ya-t ye yi ya- A yazi ya \ at a at b ° "ae n° B ry a a iya- it yA ca-nt-le-ya-li an-mo-trtam-man 1n- u-ay-yu-ya ey-va-ayog L ' : : Sevsedripl e _ 5S a le ieee air Comm. 144 Cc D 3 d a° a a Bi g 7 12 ya-L yeyi ya yal ya he he na-kinna-kin pre-uk-tu-ax- ya-yi-wik ad ki-lu-mut.i Stefrain Verse 6 1) ; y4 @) 3 33 pre-uk-tu-ax- ya-yi-vik (0) na-kin na-kin nakin ya na-Kin ya i ya-t ya- ai ye ‘tian Tefrain Oy ¢ D ity, 1 ie AN Lf LZ. 1S. I~ i! Sl z , |" « 64 26 2» » | 24 g* 4 e a € gs e ¢ Lya- i ya ki-lumubi preuk-tuay- mi-yama bya — qu - qig-fay- yuk Youwe T. : — = j ti-ki- fy-ya- faq-parya-a ya na-kin na - Ya foqparye-8 ya na-ken ¢ (1) According to another informant this 1s not Verse 6 but another song. (2) There seerned to bea difference of opinion here, causing two measures to overlap. Throughout the song at the beginning of each verse there is a slight accelerando,which often drops back into ‘slower tempo at the Refrain, only to.start again with greater speed. at the new verse. No. 32. Recorp IV. C. 64 Ab major tonality Phrases Measures Beats Prelude { a 1 3 144 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats V.l.pt.1 A b a? a? af 4 84 and 3 2 2 14 refrain. B bt ec da? (as) 5 13 3s 3 BF 2 2 Conn. al gl 2 4 9 2 V.1.pt.2 a a) 7 18 Oo oo. 22 8 Conn. al gl 2 4 2 2 V.2.pt.1 —s v fi ni-limay anp-0 -yaqy -tt-go-mamy-a e yan ak ee ayes gat.vim- al- yu ay-yu-mua- a A >. 2 See Bees ra) o.. eae 2 ae a ee aaa aer ae: as a® me ch a iye yarn ai ya cé- ni. li- “mam am-o - yamy- ab. -qo-may- a i ye ya-a- ma- i ee ya ya Conn, Cc? A al = x pec: b ft ad a* . yeya yam- a dp teenage ma - li-a-lu-ka ye yam-ai ya. Up- Vere 3, ; 3 ca a im Par oe oe ‘ge D Conn. ou ~@ 06 2 ee ee oe eee ae eee ce? ae at y" f? go -b-yam a-li-ma - ji-a- lu. ki-vum-a e yam.a in-u- ya-heyagfun- a - li -a-luy-ma Verse 4, ye yan-al yaty-A up~ go-Ti-yamy ali-ma . li -A- lu- Ki -vum-0 ak ya f y Dit 0—0—-0+-0-0— 5 0-0-0025 4 yievaya ye yay - ai yan-a Nu 1a cam-na pic-u-ya- CU -Ad-al yA “yi-vay-a i ye ya am 3 : ; MNefiainr = ; (ext) Eve ==SSSSe es ae oe Ts= -—}1—t e~ a’ at al . a tye ya ya ye ya 150 Canadian Arctic Expedition, 1913-18 No. 34. Recorp IV. C. 39 F# minor Phrases Measures Beats Prelude Int. A a be 3 8} + 3 2 8 Refrain B de a! a? 4 9 2 Be 2-2 Conn. { a at- 2Q-— 32 (2 Cc bi f a? af 4 8 V.1 1922 128 A’ b! cl 2 54 + 2 3 Refrain B de a} a 4 9 23 2 2 Conn { ad at- 2- 32 2 13 iC? b! f! a5 gf 4 9 V. 2. 4+ 23 2 13 A’ b! cl 2 53 + 2 3 Refrain B’ de a? x? 7 15 23 2 8 Conn a- 1- 13 (4 Cc" b f! a® at. 4 9 v3. +23 2 12 ; Au b? ¢? 3 64 1 919 2 : Refrain B de a! a? 4 9 2. 3. 2-2 Conn { a® at. 2- 33 a 12 cet b' f} a a? ai 5 11 V. 4, 2 2 3 2 2 13 mw g 48 A , a ef 2 6 Refrain B” d- e a 2 4 82 143 2 2 Conn. f{ a? at- 22 33 12 ald be f? a? ab ale 5 11 V. 5. 2.2 22 o: Be Alt tad b2 ce ex 3 64 2 919 9 Refrain BY’ die a7 git - 5 11 De 33.222 The song begins on the tonic of the minor, with the last quarter of the final beat of the measure, and ends on the same tone. The form is regular but the same minor variations in melody and rhythm occur as elsewhere. Songs of the Copper Eskimos 151 Bene gage So ig. (isi daca Composed and su Purvtig ee b iye yi ye yi ye hiye — yl rr qa i ye yi ye yi ya-t ye: Prelude Cc tt k_ kh nN iN a 4 —> at — T — a ss = Se Ss 3 tea, eee x yi ya- be ga- ais t._yal Ne ya hi ‘ye ya hi ya Ihe ha ga dp-ai ya- t mr L ip : 2 ye in- hayie vak - ae ch lay-yu-a Verse 1. pti}. J _ .: ; ee + gamma o-pin-ya-hx-yayman ai i ye yi ye yi ya-t ye yi yaa - ga- t+ — ha KN Nt Lg SS Sah es <= SG ai? i yai ye et hi ye ya hi ya ha qa L Nya. i ya dey-yunear Vewel.pt2, ys bi Ti * t 7 | = = t t a t re + te fs — | Fan —H. Wt 1 jae =» I K_A. x Aw 1 a jm | nh 1, VAS 3 iA - : ees gm od joke bi, yi- Ya quy-vek-c1 “yur - &y-Ma - al ya t ye y! ya-t ya tn-yu-mna- vale : one SS — ae ~—! eee e ae 4 ee z tye Teoh ee ee aE yal ye p' TOU ne ode ae ie "Ky ya hi ye ya. hi ya ha ha qa t yari -ya-iyai ye ya ye ya in-. Verse 2.pt.1. t +h ——— eL 'd , me ee Se ee AIO am a ct ce Ma pt. 5 e yu-mavaktu - tai ci-lay- yu- a hae ai- yal- 1x: yary-ma- an-a-ai 152 Canadian Arctic Expedition, 1913-18 —_— a a a i a OS VR a av Ci p— SB Rect tt th 9 ma-vak-tuiy-a Lye yi ye yi ya tye yl yasa ga- a Sgarai i yat Ne He ‘hi ye ya hi nea ha qa e iya-a i ye. t yai ea ye in-yumavak ee tees ea - j a 1 ya ca-ni- le-ya u-na quyvek-ci-yun- an- tran i ye yi yai ye ya In- Yu- macvakitugy-a- 3.pt.2. aa + h a-t Lyeyi ye yi ya tye yi ya-a ga- a fai i yar ye UAW. eae a: e ya hi ye ya ht ya*haha gagal No. 35. Recorp IV. C. 78a The tonality lies either in B major or G# minor. It is not clearly established. Phrases Measures’ Beats Prelude A a be 3 7 2 2-33 B def g 4 8 Refrain 2 2 2 2 Cc h ijp 4 9 2 2 9 3 1+ 34 153 Beats Measures Songs of the Copper Eskimos Phrases al) alias rier rin ~ © OO K- Oo wo 6 0 Nm ih 0 © &@ oo KF © © OD © ~ © © &@ © + | = | + + + + co + + oO oe + Oo HT mM A tot OH OH 9 o co oH oH Ro t 1 ris me re “rr mre re Sha A a Tha ea Roe ee aaa “SY — | ° q S | =| 5 nee q g 5 8 co [2] DOA ON © an 'é) Ss) ONAN O Sn Wa‘ O 8 a ~ ot wo Maw p cS) “4 oD n Then SAHA 00 MOBI NN SN ON WATEN PaO ONHaAraA Ten OAH AREA SARA ONIN KORA H O09 ‘mA ON HA Ho AQUA ONAN ARN ONAN a an bal Lal coal MA aEN_ALA Saatha onn Maa ont Maan Anan MA BN ENGIN on. ir ris eUrN Aan foo an danan 4 = 1 ~ . ~ ~ bead ~ aay ~~ ~ Pe ~ Si ~ = ~ x ~ = i _ ye ok, Se <. S Ss & oS Ry os. OS ~ © & A =a > -O BH & Mm ODO A aA mM OO A «aA mM DO Aa 4M D Ss ee a rae ne | eee lh ft eT CT" lh tO eo oa OO rien aineeeeetill enemas Comment = rox 4 ox} = 45 ) = 3 43 5, | 2, 4 a 4 a S a & . 3 : 5 : : | (a care ee . 8 _ 8 . oO . . a 3 > fac > a > (amt > iam > ia 154 Canadian Arctic Expedition, 1913-18 Measures Beats Phrases D” iad j- res j 33 38+ 8 V. 3. pt. 2 Te By 2° 33 A”? a j ¢ cf 4 8 2 2. 2. 2 ; oe i le f g 4 8 Refrain 2-2 22 ors h ij = 4 8 22 2 2 The song begins on the third degree of the major or fifth degree of the minor, on the first beat. The form is quite characteristic of the prelude type throughout. It is also unusually regular rhythmically. It ends on the same tone on which it started, which is the general level. Songs of the Copper Eskimos 155 Reoramcece, BHO Dance Hong (pisih. ae @gaitok,a Kiluctkfoq woman. | has {= Ta s6 a b 2 oe e tece oo. e iY ya-Yi ye yi ya ye yi ya hi ya ha ga-ai “i ya L ya ga- b b d vi ya & Q- si ey L cap-ko- & tmit-gu-hy-yu- 1 i Ge: ne pic-u-a-hx- yaq tu ni roel. pt FtseUF i ae See 4 ary -0~ yu- na- itpal$ tum-A yi yal i ya yi Yara hal ya- yal ha- Sefiain >» D (ext E ‘ ; pre-rk-ci-yal -i roe ca -yacyay-lu- yo li ar AE ‘aye yi yay Vewe 1.pt.2 is : Refrain ext > rama tel AA | fA hE a ee CY oe _@__|_\1 ( (11 {gl _e—_s@—_e__6_>_ 1 14h AS a7 yi ye yt ye r ya yi ide yi gi ya d s aga ga-t ya, Lia (SAE a Ja CC Gs a — ae 2 ee eee = -) _ —___s—_* In _ a ee 2 a el ee Rexall Cate WES PRA ree vlimeset Tbs Ba Vuptar, $F 8 ; } ‘ Blea th ee ACRES rag ya qa- bya ye yi yaryi ye yiyay a. li- e-shag.cin-a-lakepa Bee ne ég-ci- hK-pak- i (4) ; @ H a i F i Sn “ee P ye yi ya-yi ye yi ya-t yal Neftain IL i t it paksty- a o-Kic'us fu: a-mi-ti- fa Ein-aq. tucy - a O-pin-ya - tu-a-mi- ci - fa a 2 el | St ‘ : + ye ya ga-i ya ye ylya-yl ye yi yaa eye ie hi ya- a qaai t ya 156 Canadian Arctic Expedition, 1913-18 Comm, = (3) (ext 1 f* Veep {i Sa qa - = a am- 0- va cas 1 of a ug cu- hy- yu-i ip-kwa aa % hy- Vapti{E ya qa- § ya dmy- o-tk-cak- & Cap-ko-a eq-als u- ay-yu-t- tt pa: a- [ix c J Vor Ts i a aE | — a <, e ai e eo ¢ ee: us 2 ah oe q Bene é ye vi Ae yi yara hai yas Tye se pi ext, Tt T > T TS T wen uv e7, Ie eee 2 8 re ae U- na-ya-ya- li wena’ ca- ya-yay-lu- yo- li ee Vorre 2. pt. 2. Be pent ri se cee F ae) K ih ya- Solna ya-yt ye yi Pai ye ye ya yeyl yagi ya yi'ya- oe ya-t J 1 $ fe ya gai ya -.yi ye yi ye yi yaryi ya bya yeyi giyaa a ga-i ya fy 30? : @xt > E* Ga ® 4 q 3 gay sy. -Ca-ay- yu- oni ca-ya-yay- fu-yo-li t-qag-cuk-pak-cin-aq-tum-a ai ye yi ya- owe 3. ft. re Ne TOM IL (ext yl ye yi ya- Yi ye yi ya ai ye Rr ya -ye yi ‘ qi ya kn a gi ya- L Qy _F (ext ) : F B o mn me | . ‘ ’: S$" ya a-i ya yi ye yi ya yiya-yi ya Lyayeyi giyaa-a gazi ya x pioqhilag Bnjelurage vet 1 ; L F 4 : 3 foyndxig t ya qa ivya, yeyi ya-yi ye yi yay a- it-€-nag-cin- : Verne 3. pt. 3. : r Songs of the Copper Eskimos : a? Bs 4 E* iat Aa AAT A oR i™ LOR OS = a ia T tel T t ad +] 7° 7 . oF L n* 3 : a-luk-pa a €g-ci-lek-pak-cn-aq-tum- a ma-ni- lyumi-lu-a-ni f i $a a- i Yd ug-cu-a-cal- i cap-Ko- a ak-ca-luy-yu- yee pit.u-t-lix- Qerse -. pest. cote T Ee a >) 8 ig Pet ee 3 Oay-yu-ay-yu- ya u- na ég-ciy-tt-u- mi u-na tg-cr-ti-yi- vak-curi-ag-prk. Vat es soken:putu yauta * maito untn anyai yu nagxyaluyman. after v Vi = a. except omission of last two and a half measures. (1) The first line is what was actually sung forV.t.pt.3. The second line is that furnished by the text. The third line is for V.2. pt.3. (@.) For Verse pt.3,this measure becomes 3 with a quarter note substituted forthe eighth rest (3) The final a” of this measure becomes “e” in Verse 3. pt.1. Phrases Prelude A (A’ V. 1. pt. 1. B Refrain 1. Cc V.1.pt.2. D E F Refrain 2. [ No. 36. Rercorp IV. C. 98 D major tonality Measures a b ec c+ 4 2 2 3 4 Conn. cd! oe? 2 2 14 al bl b’ ¢3 4 2 2 2 2 d b? ec ct 4 22 2 2b e f g g 4 3 2 2 2 bees e+) 6 2 12 142 i fg g 4 ae) ae ae) j) Pk j 4 22 2 3 1 m_ f§ g8 (gt g5) 6 2 242 8 2 Conn 2 Beats 11 ow re 158 Phrases i’ V. 1. pt. 3. G H Refrain 3. BR” EB” t V. 2. pt. 1. | lext. Refrain 1. CG V.2. pt.2. D E Refrain 2. ext. F E’ V. 2. pt. 3. G H Refrain 3. E” Canadian Arctic Expedition, 1913-18 lH Ne NT WE WH. Oe Nu- NE. Ne NT NB WL. ee wo a wB pwr wo Mey wo Co pe Nr WHNO Lol a HOE Wwoqg WIP Woe Pw [<) - cy wre woe we we boos NITE pO LH. DOs a Nie ime we a ey on, tte GS] woe we. we ae — “P no NK be Nile © =~ noge Nea; woe bo Le) a ne rr, wwe Wu. ~ L ca: nw poo 4% eo woe woe WE poe may fee ee ay. + g wie ae Measures 4 4 4 5 iw] ao Fk Beats Verse 3 is along the same lines, but verse 4 uses E and an extension as in Refrain 2 for. the first part instead of A’B. This is followed by refrain 1 as in part 1 of all verses, and the second part, as in all other cases, is D and an exten- sion. The song begins on the first beat, the third degree of the scale. insertion of the refrain after the prelude is not made. part should be added after verse 4, part 2, and its refrain, and the end would be on the tonic, which is the general level. The usual Presumably the third Songs of the Copper Eskimos 159 Nort Danee Song (pisifi. ice Havyutag,a Coppermine River woman. e= 84 A. 208 Ps c N = 5 z = z hh - a. ak ak a ae al a Ye ve ve yest ya iyai ye ya i aye rye yi ya i ye ard 4 ee eee ae chs oye yi ye i ya- al ai ye yi_-ye a aal ya-ai i ya i ef yey ¥ ¥ ya-al yeyl y __(ext 9)» IZ}, + I BI =f Le I PPB KA Apt gt oo . jee CC eee Fe __ rT LU ital ya” ai ya a- 4 "yar i ya- t a: a- & ya ha has al i-ya i ya-a-i ye ye ya tr- yu-ca- Ce oe So Corel. pt.1. vy-tu-ay-yup-fig- ni th yu- ca-ya-taq-ptk ai . Ye yi ya yai (ext. ) (ext. VA SS —h—h— =< — a ae = eéjet oe Rat eae ea re al yeyi ya-t ya yi ya-t yal ai ya yi yar b . > Conn. D tee sit oes tee te see see __e b" cs a 2 ya i ye ha ha-ai ot ya i ya i ya au- yun-num- se ‘Corel. pt.2, } L - 5 +e Sue cea eS dt 2 ni-li ma-ki- ye-Y-am-a- a bya ‘ty “tu-ay-yup-tim- ni fe yu- ea-ya-taq-prk f,, € ext ) (ext ai ye yi ye vai yaa rai ye yiaed yal act Peers Refiairr 160 Canadian Arctic Expedition, 1913-18 “2; : st eye e ose Bare eee x7 . we e Teer a-t “ya-b ya-t ya-a- a ya ha hai t- yal i ya a-t ye yl Verre2. pil. 2 chee = = =e = — = | tae RC at Fo hee een ya tue.at - pt ki- lu: hip 1: n- fi tue- a yo ae a- t ya ant as a Idan 0 (ext) uncertain ? ey r Ox Kh ART ea et | ara 1g im-na-lux-yaq-tu- li tueat- yoq- pikai , ye yi ye Nefiain fy ext 3 a 3 7 yai ya-ai ya-a-i yeyi ya ti yayi ya-t yaa a Jya yl 0 ¢ uncertain ) at TES a ya ha Mie Nat yea ye ya? Vouwe 3. ptt. < ‘ zs , ae e ee gE : b Yoq- Pg ge yi ya-t yal ya-al ya-a-b ye ye ya-t yaryi ya-i ya he Gxt)” Conn. Dp Bt : 2 3.6 Cd o* weaee wrure FOF OL ta a yeha ya-i ya — u-wa-lyp-ta t-ma cat-qoy- yu-any- abe 1k oe VYowe3.pt.2. : Ce)? f & : yuag-im eq- ci -yoq-to -ya- ma-i Fefeain ai ye al ya-a-t vast wc bya Songs of the Copper Eskimos 161 t.. ext > Com. D> - ge FUTF WF Ye nee ey 708 ae ee ee al ye yi yai ye yi ya- i ye ha hai a - i”ya a-tvye yi ya tuc- a- at- Vere. pt. ), ) : ce ( ) ic spik ai i+ ma tue ab- yoq- pikai ye yi “ya-i yai (yaa er e. : Rerain i yayi ya iyai? ai Jye yi ya rg yai—s-ye ha Chai i ya- hg - » - i ya a Ve die Pal ay-lu" uy-yu- luy-yu-ay- lu - wai u-vam-nubi it - ma tue-a- croe4. plz. ee: Bi tee eae vest <7 tu-tin ni-vii-yu-tix- yaq-fqtueal- yoq-pik ai ye yi ya-i i ahat vet fash Yq “Taq yo Fecha ya-t yal yahar y i] ext? Pestlude? a hor 2 LW ag Noe CUSs Sete ye “est ya-t se iI ve t ya a& bya ne viyu hienouee ni- i cat. “gpy- -mik- -toq- Verve 5. Lt t| +] at ~~, aq Lt eee 3,0 te? tee Teer e > ee roe cum -ad puk nap- San-hi- in-a- yap-kit a- i ye yi sails ye yt ai yF hai yat (1) There is a defect in the record here. “In fact, much of the record is defective, so that the transcription is very uncertain in places. These are indicatecL. by brackets. No. 87. Rzcorp IV C. 51 Bb minor tonality Phrases Measures Beats A a b bi 3 8 Prelude 38 2 8 ec de f- 4— 8 9 2 2 2 C: g bh i alt(b b?’) 6+ 13 Refrain 12 22 2 2 2 ext. bi j b_ b* bé 5 il : 222 2 8 Conn. { bé 1 2 2 88549—11 162 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats D k k' b b? 4 4 V. 1. pt. 1. 22 2 18 B’ e de 3 6 2 2 2 C' g h if a(b b§) 6+ 13 Refrain 122 22 2 2 ext. j- k! b® b* b! b? 6 12 2 ADD Dio kD. Conn. b® b® bit 3 7 2 2 3 . J 1 1 b b? 4 8 V. 1. pt. 2. a a me B” e de fi- 3 7 a eae C g h! i al(b b’) 6+ 123 Refrain 129 2 22 ext. b? j! b_ b4 (b® x) 6— 114 2 2 2 2-2 14 Conn. [ b? 1 33 1 43 D” 1 b? b3+ 3 64 V. 2. pt. 1. ; 2 2 94 [B”’ ecode f 3+ 73 222 13 From here on until the second part of the third verse there was a fault in the record: which makes the transcription very uncertain. There are also occasional faults here and there until the end of the song. A formal analysis would necessarily be arbitrary, so that an examination of the music itself is specially recommended. The tune begins on the tonic of the minor scale, on the first beat. The second phrase of the verse is the same as that in the prelude and this form is frequently encountered. The song ends on the tonic, presumably, and this is the general level. Songs of the Copper Eskimos 163 M38 c - DaneeSong (pisif. Hupa,aPuivitg woman, rea: cee = ay = 5 JRE edie wees taal: oe 2. es os oe Lon io Ge oe oe a >A i —s sat — i a a ae oo \*"¢4 6 e6 6! oa e Ps) (o) = ce i ye ye ye ye ye yay-e i- ye i- ya eyay-eye ye ye ye y Refvain PS ie ye yam-e ye yas ¥ sya ave: € ne ye ya- am A- li - é-nag-pa i C¥at T T ee eee tT T J ] 1 i e j ei , r cy 7 , a4 —e x fai- mig: ca-qat- ya- it-aq kab- yo-hk am-o- finn avan-e ye i-ye i-yam J ] ss oe a oe SL p< 2 = ee i @ -« | 2 2 Ia 4: 5 | ) eyam-e ye ye yeye ye ae ye ye tai: aE -gal-ya-in ae kaf- QUAL Veroe 2. c& ce yo- lmam-o-tin ike ye ya ai. ye fai-mg-fu-A- yi-va-yaay- o- yu-am- tk : coda Conn. Cc- IN ix T v J _. 2 a a ee e cé a aS. -, c ¢ c* 7 ag kt-fiy-u-yay - mi avay- € ye t- yam a yam-e ye ye ye ye ye yay-e Lad K a os 7 oe oe a ras a - ee y “'__ = a «sain «© @o @o | [fr . @ » ' Riv @ eT 7 J J ye yanp ye ay-oj- un niagoy- “yuaq ae sea “yuag post yuik-cag fal- i ay: ule vaya Verse 3, fi Conw. Cc (ext pD! 4 I At Ts. Int TT T ee: j je ye Ge ns Cs SY a1 [ht } a [¥en ; eT a T = pas LTA if i eee ‘ade, 2 1 1 CI 5. \* = tesa] i i a Sin: — e ye e yayre ye. ye ye ye yay-e ye yay ye ye Rehratev Verse 1. repeated. 88540—11} 164 Canadian Arctic Expedition, 1913-18 ye yan-e t ye ye tai-nig-ca-gat- ya- in-man kat-yo- lin am - o-tin ?? Grease 2. repealed, jy cext. ) B b. Pit _] T= T I n Se SE Reerd ata k cl et f! 2 t ° a yeya ai ye ai ye fai-ntg-tu-a- yi-va- ya a No. 38. Recorp IV. C. 32 D major tonality Phrases Measures Beats A a bc ce! (e) 5 103 Prelude 23242 2 12 B a bid e ce! (c3) 6 153 21 31212 2 3 Refrain C (ct) f c& C+ 4 ll 223 322 D g h b? ch cf 4 10 V.1 223 21 B’ f ij eb @+cx 7 14 Ld 2-2-2 2 2 fT Refrain C- (c)f o& x 4 93 i 25:3 3 1 BD ce ff i k ¢c& e+ 6 13 V.2 32 2 22 2 Bry e- ft i jt je c® ce! (ce) 8 153 p22 22. B22 Refrain C- (ec!) f 8 3 8 23 3 24 ¥. 3 Bee: of gta at et eo gl x 8 173 3 2 011013 2 1 Refrain C (e’) f c8 (e2+) 4 10 23 3 23 2 4 B' Ss Ss oe Se er ety =< =| - bd x LD SS OE 1 i | fr = Ce ee j he vane ye ye t-yan a- li- €-naq-pa tai-migreagai - ya- it. oq kat - he rae if lf if ] a 13 ; : | po = Ee Se j e" cy ce f yo- hk am-o-tin-im a- vam-e — ye yay ye ye é yan-e ya ye ye ye ; Nehain BO! A t a Ee i" 4 + t im™ | aS + ». rm rm t 2 + rt oo a og ee SS Se ee es : cs. 1 3 f i ° 6k m® Songs of the Copper Eskimos 165 Phrases Measures Beats V.1. D’ gi fl f2 @8 ¢l 5 11 repeated 22 3 2 2 e f i j ed @+eco x 7 18 2 2 2 2-2 2 1 Refrain C (3) f o&} 1 3+ 10 233 3 13 V. 2. BD’ ec! ft i-k m k ch 7+ 15 repeated ! 4222222 2 B”- c- fl i - - Note that the third verse has only one phrase, a little longer than the average. All the others are constructed on the same plan as the prelude, but D phrases take the place of A. The song begins on the fifth degree, below the tonic, on the first beat of the measure, but jumps upward at once a sixth to the third degree above the tonic. Presumably the end should be on the second. Note the connectives before each verse and the little prelude before the refrain. The general level of the song is the second degree of the scale. On examining the music again as this paper goes to press it seems that perhaps what have been designated as codas may be connectives and what are marked connectives may be truly a part of the refrain phrase. The song if regarded in this manner would more nearly conform to the others in design, but the connectives would fall then between the verse part and refrain and none would appear after the refrain joining on the succeeding verse. 166 Canadian Arctic Expedition, 1913-18 N20 owen Datiee Hong (pisik). Natcin, a Bathurst Inlet youth. ecw a b eae ear ela Fede! ca ai yai yi yat —-yai yal yi yai ai ya-i yai yi yai yal yi yai = yal yal yt yal yal yl yal yal yal y y oh e g as i MS at yai yai yi yi «= ya yal yl yal ya-i ya-i ya- i ya- bya aga at as ae a h e i iya- i yai ya yal ye ya qo- vi-a- na-yi-vum’ ug-cu-lry- —yu-at-- ifucs ay-neg-mi Verse 1. pt. £. : p b Be) Cc + eT el Comm ui E T T | BVP? Oh oy Soviet Pee after half note in ‘ as ad 2 a eo middle. i ya- it ya im. way: yu-th- imeh-vik-tax- yay-ma fa na- G Vers: 1. 0i2 D ae a ake (oat. 2 i= B c* tata t FE RAE A rn a +44 —}= ie a SL A OA A. J Ax) afore fina mH ‘af hn teen. mum anu) -da- mut--ya-fam-ntay (mi) A eASNINE i ya- yal ya- i Verse 2. pt. 1. Ge i Q oe == Heras °° al. K Oe 040 o.0 @ +t? c yal ye ya go- vi-a-na- yi-vu@) — tue- Hi yaa-luk ka- u- va-a ima = Comm. Ee G: ran = = as aé& vs © a? ale k eee : : Fa ecbi . e et i ya t ya cu. na-uv-a etna Fa i-nig-ca-yah- t ki- ta-il-yu-mut.ni-ya- Verse 2. Pt. 2 ; . : B c* Comm. FA 30 5. lHeak 52 yn TS T 32 2 K T ae | aN RAS ee Bee CEE ee BE ae HN re ma N j/mmt K iN Kt 4, TA if As = Se ee A : +e 8.3 as a" ey tes a valx- yaq- ptt i ya- i ya _ Va-U vai ye ya pic-u-ya-cay-lay-a ci- nl G i 1 P ¥ z Verse 3. pt. me ’ ? , @a- B Api 2——— {—> 13 t =e vp u T_W = nh : . a we 8 a a Lee a o-yaq-tunty-mun pic. u- ya-cay-lam- a a ie yai yal yi yal Songs of the Copper Eskimos 167 bre ¢c ; . (ext ) Conn. ia > me p—t Sat T =| Ace Hs o¢ ete te ele te oe lee = f j 3 Po 2 a’ a” as 3s Yalyl ya-u yai = ya-i ya-aiya-t ya-t ya- a- i ya L ya-t ya G* G , kK? e+ a K ° ee e. M-um-ly-Fi- i-ma ta-ko-yay-nty-nay-a Ci- o- yaq:tu-néymun pic-u —ya-cay- lam (a) Verse 3. pt. 2. ; BC Com. ct Gs Ta T tk T— T =e > A 7 T “I “J 13 ‘J }—o—_e—_© as a? f - “Q4 a i ya- b ya tr-yu-aq-ci-yam-t ta-kolx-yam-mi-yap-ku ic- u roe 4pt.1. ly c Coden. cE AN K T 147, F. aa Th i ts rN ——- = CING Tanyas i Tn a | BSS OY AA DH; Wa Sy wt 7, a A | + uJ ——- VT PET LS mi a. if i @ @ o je aes ' ma-ya~ u- na if- gi-um- i(vik) i ya. (1) The final syllable was omitted. This often happens when the next word begins with a similar sound. No. 39. Recorp IV. C. 1008 Ab major tonality Phrases Measures Beats Prelude A a at bb ec 4 114 243 3 3 - de 2 3 8 Refrain 38 2 3 (C fi gh # a 5 i a 2 2 2 2 Conn. ab af 2 4 2 2 V.1.pt.1. D a’ hS i it 4 11 3.3) 2 3 B de 2 3 8 Refrain 3. 2 3 C f g h a3 at 5 11 a 22 2.2 Conn. ab 98. 2- 34 2 1% E { a? a? a? 3 64 V. 1. pt. 2. 422 2 G j P 2 6 38.3 168 Refrain V. 2. pt. Refrain V. 2. pt. Refrain V. 3. pt. Refrain V. 3. pt. Refrain Phrases B Cc Canadian Arctic Expedition, 1913-18 o7—-_-__e We WANN O Wen wa CO on 09 Da bD BH Oo a foo We WO WKH. Ww OnwAanranyn rt Co oO e — fas _ a? e2. ji 2. 2 e a 2 2 gi a 9 a2-(al2 a0) 2 2 2B Bod Conn. { we Ne hy 4 Measures 3 bdo Beats 8 12 ow Nie Songs of the Copper Eskimos 169 Phrases - Measures Beats G” a 2 ef§ a? 3 6 V. 4. pt. 1. 1221 G"” we j}? ao , 2 6 - 1-2-3 de a? 3 8 Refrain 38.2 3 Cc f g h a? at 5 11 3. 2-2-2) °2 Coda { ae 1 2 2 This song was one of the most puzzling to define as to measures, for the words continually threw the accent in unexpected places. There are many places where the placing of the measure bars may be called in question, but after repeated tests the present arrangement seemed as satisfactory as could be obtained. The song begins on the fifth degree of the scale and on the first beat of the measure. It ends on the same tone which is the general level. The phrasing appears fairly regular but in reality it is not, if one examines the actual number of beats involved. 170 Canadian Arctic Expedition, 1913-18 Paheewe Dance Song (pisif). composed and sung by Ikpakhuag,a Purviiq man. dzloo CF Nos 22 and 18. —— == — t treads t zy oe “yar e€ ya gam-a al ye yal ae 8a i yam-ai yam ii ya gat yaga t ye yan te Cov. D FET S C Vv if { 2-2 Refrain (8rd C”” f g h ht 4 9 line) DD 28 Coda f{ h?+ 1 3 L 3 The first part of the song, which is inaudible after the first few notes, begins on the third degree of the scale and the first beat of the measure. Most of the prelude is lost, then it is possible to hear part of the connective and two measures of the first verse. An odd feature is the presentation of a longer refrain embodying the first and shorter one as the last of three phrases, after the first verse is finished. In place of this, when the second verse is finished, there is a kind of postlude consisting of the last two phrases of the long refrain which appeared after the first verse, with a little coda at the end which is really the same as the connective employed between the verses. The song ends on the third degree, as it began. This is the general level. Songs of the Copper Eskimos 173 xe. —- PMDance Song qpisifi). ecordIWC. 96a. : R Kunana.a Kiluciktok man. e=lt6 A : B ' E-* I : t t &- 7 7 a b BF be ra a Lya-b ya a-t yaa qa alt yaha-i ya-ahaiya a-tya-i ya e a-tya-a qa a-i yaha-i ya- ahatya ai yal yi ya-a ha- Hef'r. iv ya-a yl yaha-t ya- a hat ya a-b ya-i ya ha-b ya-ai yi hoa g st 63 = Lé 3? gt al ya ha ya = qa-nog uve a u- nu- uf -go- Vhun-a a- bt ya-a ga a- iL ya ha- Verwe Lpta. f ae Be aes oF a-iya yi ya-a ha t yaa yi yaha-t ya- a ha-t ya a-t ya-t ya Mefain I. _ E b- bF Se ee ha-t ya ye ha-i ya ai ya- a ha ga Ait y | a- u- lau-na una a- 4 ya ga ha-i yaha-i ya 9 ma-ya-u- vA nu- na a- nu. Ton, TA. 2 Tat i { fs. T poe 1 m arg f ; to) Be u- al. a-& tuk-fa-lo-muf- - b ca-mum-a a- i ya-t ya un ye u 1] i” Sieh y ae y 174 Canadian Arctic Expedition, 1913-18 a- 1 ya ye ye ha ha-i ya iyaha- i ya ga-no tg u- nuZut-go- vtum-a a- i yaqa ha-i yaha. i ya ug-cubyih.i 1 e* ; et. er e ra ) pu-tlu-ya- am-A = & LE ya-a- Api-yuma- yA-luagtuni a-i yal yi ya-a ha Mefrain I. D* tya-a yi yaha-i ya a hat ya = a- i ya-i ya ha-i ya ye ha ga- i ya iyaahai ya adau-tei-aq a-u-lau-na u-na at ya-a qa —iha- t_ya ha- Verse 2 ae : | a: * a smh} omnis + sina: be i! ke m} n o bt tL ya goiaven'umnu-na-nucun = a- i ya- & naterlemuti camuya a i ya DMef altered E @ a a a as aes a a =a i Pp bt b? 8 alt. st bee $* yi yaa ha-i ya yi yaha-iya a- i yaa pirlu-ay-viy-M-u-na ku- ‘lacy naq-pay-mi- Verpe 3. pt.1. ext. L e- ~e~+3e oe As A RS NS OL SY RS PS OS PS SO <2 Fe a aoe a oo oe 7 b® Ss b. G r be : Gy eee ee eS Se ee ee ee yumi ayb-u-hay-mun natei-hk naclei- i -lay-yuaymanm-yu-ma-yay- yurnay-loq-pa . b* ne be = u aLya-t-ya a tyaa gaha-t ya-a i ya a- Lyal yiya- a-a yi ya Refrain Te 3 y '' Songs of the Copper Eskimos ° 175 ; ut _ $ be as pe b? 4 b'? 3 ot b8 hat yaayiya a tyatya a-iyaye eha hat ya tyaha i ya r B ae $F ; =) nn 7 ah ae Unu-ut-go- vlum-a a i -ya-a ga ha- i yaha- i ya ay- nat cap kwa erse 3. pt.2. fi ez ef et es f b3 u-wi-lu-ya- ay -a a& i ya-a pi-yu-ma- ya-lu-aq-tu-ni a-iyal yi ya-a ha- Refrain I. D 4 b> : be b>+ = 35 ze b3+ ; b1 iya-a yi yaha i ya- @ hai ya a- i yatya hat yaye ha qa- (. ext ) at = mm” we ee = Ap _ = ee ee Be (pe R + ee et Sain aT eS ee SS SP iya iyaa ha i ya-a d-fau-tei-aq a-u-lau-na u-na aL yaa qa uN Verse 4. ptt. - ticle oe f2pe & & # & us i iva v7 yi Ty TT arent EM? i'a Y ia 7 i a 7 fa i a Y v7 Ff + 2 nerd Sat { wa | EMS L fer x8 ba ll = jms I 5: BS b* J w ual’ u ha-t ya ha i ya Ta-maycu-in nu-na-a-nu-u-un = it_-ya-a- A pi-yu-ma- ext on J E te ¥ YY 7 { Ma u's 7a + f Ma "2 | n'a f Ar + "A + Ld t +4 | 8 —} Yv Ye q ue be P b> b+ g alt. 3} Ya-luag ab yaa i yaaa yi yaa-t ahai ya a-i ya pi-luay-viy- V4, ph. 2. auf = (eat PE bt. 3° ~ $ b* qi r Six ku-lagy-nag pay-mi-yu-lu ay-na-ha-mun tn-u-hoy-mun ay-na-i-lay- yu-am-man Ed poe tt a i i i re C 44 T r T tor — ab 63 at b® re be cin-ak-to-yai - yu-nay-laq-pa a- i ya-b yaa a- it ya-a ga ha-t ya ha-iya al yal yi ya Canadian Arctic Expedition, 1913-18 ai yi yayi ya- & ha-i ya hayi yaha- tya a i ya-i ya a-i ye ye PS = ha- a 1 me (he he) 1 This syllable was not pitched, although it was higher than the range of the song. It was spoken with great emphasis. Phrases A B Prelude | C Refrain 1. {(D pH’ V. 1. pt. 1. Refrain 1. V. 1. pt. 2. Refrain 2. J No. 41. Recorp IV. C. 96a G major tonality ? Measures Beats a b b! b 4 13 _ Ag a 4 113 Cc Ge ¢ 5 22323 92 : f b® b3 b? b3+ 5 103 eae al b? bt g : 4 103 a 2 365 gi b3 bs 3 53 2.3 42 g gt b 3 6} 3 2 1} : ; e'- e 52 2 2 13 : i i e 3 7 242 22 f b* b? b? be+ 5 103 7 22 9 at a be bt gt 4 13 2 gb? be 3 Bh 2 2 ik g b+ 2 62 3 33 j © 1 3 5 2 9 if mn oO 3 oh Q22 22 b- b? b7 b® b8 b? 6 14 32 2 g10 2% 177 Beats Songs of the Copper Eskimos Measures Phrases oOo 8 OO Oo © min ar © AlN a nia. RAMA AN VGH oo Cy ee es AAS mn oO wt = a at aN NOD ON O 2 2 3 103 134 rien tea »D Op ke HH em Oo Oe re baer! om NM 2 © tH oH ee) a qa an Tica one BON — a S eat mon QHOon oO wo ino nin a ~ ~ 9 we Ona ON ON WN ON oO. oO coal et zal! -} ANONMM AM AN ON LN OC Lol 1 hn hoon En BN HN ON OB rile” ries 2 g? b3 bs (b?7 b! gt b}4) 3 2 142 142 ale min uw ~~ Oo N a4 os oD oD wd oO wo rN Qe + a wo rin ON aN an i) DAL riler —_ rileaes 3 an mon OM eo OY ge i my Cy oo AIN NUN ON QNQN OPA DA HO Bneo 74 125 j w u(alt)u wv 103 382 2 8 % p! b? b3+ g (alt) 2 2 b 2 Refrain 2 (alt.) AA SB S2e eee Me OA ee 2s No aaa - ieee} Ve - os e < = oe 3) B= p= z=| oy aS) : 3S : 3 ; 3 43 of a on & H aa . o . oO . oO > fe > fe > pe 88540—12 178 Canadian Arctic Expedition, 1913-18 Phrases Measures’ Beats E g bh af (gt b%) 5 113 V. 4. pt. 2. 5 2 323 3 L q: riub_ b? 4 8 2 2 32. 2 O a2 b! 7? b3+ 4 113 3 3 38 23% Refrain 4. b® b7 b7 a bs ya-i yal ye yi ya- t tb oya t ya a-linaylukparya- ob ya i yi Vowel. 3 ) A N fh FA fe eter tf PH ot 0 — 9 — 0 | 0-009 1-0-0 ] '@ a\ A's Ps ~e a = o— pat cin a. © oy. ©. iva WZ b oF ah | AF IZ 4 t 1717 | es oi y7 it f ioe ay ah a ts nnn | Es 68 $ Ey ae ct e ya i ya if-gde-u-a wma t- Vi-u- ct-cuk-foq gan “Yiret-cuk-toy-yu-a ff. 1 ~ Cc! ry Ly Ms rN 2 a | I J A si { @ T lal a * a ar I | vad Fa "a Fa cm V2 Tucan. v Sa Stns oA «4 TY YZ va 1 i : o a 8 te ra * P avi ya a-hnayluk-pa-sina - bya yat yal yai ya-i ya-i ya ail E + NN b A—te [aa v.~ E' Non nl © ne t¥—4—+— + J e f b3 b? ; e f et t ai-yai yal ya- i yai yat ya A bya alyaiyai ya- i yal ya- t ya if (ext Conn. ) At " eave fh fh fee 5 A ST {<7 — r+" Z 7 T 7 i T im=4 i _t Bs B rg bf bm 5 h wm-na-i yal ya- tb yal yeyiyat ya t ya a-it ya & vi-u- yu-ay- : Verwe 2. : i] A Cobh a ws T 1 Is KT we iN f< I @ >. mz 3 Bh Wa a -s o—1 2 ri [2 a. 1 iL 4. i + L - vi 7 yy 5 I 5a e 3 4 oan 3 I 7 a voy + ] mi gan-yo-yu-ay- mi a- i ya tue- a-neq-cau-h- ani ca- fa-uk-pa- (ta) aq- an. €-ya- 88549—12} 180 Canadian Arctic Expedition, 1913-18 wart A ay es LS ae a aa ww «2raawet Lipp — Sate on an ann Vane Poe Vo ow on SY YOY ae AY AE PAA AID’ A k ct ee d b} b? at ¥ ma u- fa-ge-vig-mi- lu a- i yay a- lin-ay-luk-pa- in a- iya yaiyai ya h—h—fr—r bs bY ] : b’? m 3 LS L'* a yal ya-i ya a- bya nau- yay-yuk-tuk- 6 1.-U-man-al-yu ay- yuk ne - alps ) x $s ps bt be b” b" Yia-la-ag-cin -a- i-yuk-Toq —gi-nu- ya-luaq- cin-ai- yuk-toq a-i ya a- ; : Pref. cexf ) Sl 9 Ep hf oa | the Uy @—_-_¢ 6—94+_+-_| | -« -4 -¢ _@_|_\_|_¢ _e_# + | ae eS 4 Laer ie Zz rd iV 12 oj ae a { luk pai ya- t yayi ya ai aya t ya- t ya yao epiualedien lel ie y Yo yt ¥ ¥' yay nN a3 Postlude. rou CATT = te h—t +—+ oe o | d B? b = a-i yal d-lin-ay-luk-pa- ina - i ya ya-i aya ai ya yai ya us - Neftain’ (First tao lines only) y ¥ ¥ y y ye No. 42. Recorp IV. C. 50a Eb minor tonality Phrases Measures Beats Prelude A a babe oe 5 14 3 3 3 3 3 14 B d b! b 3+ 63 122 2 Cc a? b® bf 3 7 Refrain 3 2 2 D e f b® bi 4 8 222 2 D’ e f e! b® (b? b) bé 7- 13 2.2 2.2 22° 1 Conn. { b? b? 2 4 z 2 13 Songs of the Copper Eskimos 181 Phrases Measures Beats AY a b® b8 3+ 8} V.1 432 8 Alle g gg co ¢& 6- 12 5 282 2 2 12 B d b! b? 3+ 64 1292 2 C a? b> b? 3 7 Refrain 2 2 3 E e f b? b3 4 8 222 2 EH’ e f e b® b?(b® b7) 7— 134 i 2222 2 2 14 Conn. b® bit 2 34 x21 AY h ib? b8 A+ 83 V. 2. 22228 AEE e bj ec wk @& 8 163 12922 142 2 2 22 oe » & 2 Refrain Cc” a? be b! | 3+ 7 22 2 1 D” b’m b> b!¥(b§ bi bY b> b! bY) 10+ 21 1222222 3 22 i121 Postlude? Pf 4 4 | = yai ye yi ye ya-a tye yi ye e@ ya oo (GS Qiew Song Joined immediately to the preceding without loss of beats, but given as remainder of previous song. az 130 Conn. tnt: A B [= a. sine ji staal i f iya i Ya-a ga-nogimmnai ya he ga-ya- cay- sty yo i. lu-ciy- aq- Verse 4, pt. a J:[Ro i PNA lt aA tet = is a A a a a ae Oa a — 7 — a a a Se a a a a coi a a — g ae ro EG ae toq maclum-nay-vit- og ai ya ganoqim-nat a-i ya ai ya-i ya- i yaiai ya- : Mefrarn fd, — - At A i 1 T me, eae A i I J} ibd 4 ] At f al K ft js I | T Zz 1 ja aE. - iN ~ at fx f tc a By te eo ry | 5 at as a a BS “of a iyat ya a-aga aa- t a. t-ya it ya-a a+ ma-yo-u-na - & Qla-mi-yu- Verve &, pt. 2. Songs of the Copper Eskimos 189 B 1 extende ed e a ti ai tuk ts-yay yu: wake goi-yan-thx-yaq-toy-li tue-ay-pan-mi- yi- ya qab-yi- Tay-yu- mi Qa-nog tm-na-ai ya-i ya ai yal ya- i yai ai ya-ai ya-i ya- are ¥ Beh ee PE peek yak y De Ss camer cease aries t a-A ga gal t ya tuther ong ? ae = b B Qrk-to- yi-a- nu-i- lin’) m-kay-yi-nam-mt-yap-ct nu. Ka- di- a- nue the i Yee ? 2 B Br Qty eq-pak-ya-lu-a- gen ai- ak-fo- li a-kun-ya- ni un- i- yu-vak-cia-na- go- tn ay-nanuki ma-ni-ga- mi ganoqimnai ye ye ib yaqa gonogimmi ye e ye ee re eye lt yaaa ga (2) The change in pitch has occurred by almost imperceptible degrees. (2) This is probably a mistake. 190 Canadian Arctic Expedition, 1913-18 sit PDanee Gong (pisih). Record IWC. 88 ; by Niptanatciag,aCoppermine River woman (The original transcription) o2=!04 A rn 2 EERE Re | a) a ba 7 ee 7 iy T w 1 | oe a 4 ul a ne Z ac rm ~@- re ie yal yal yi ya fa- yi-o-mi-uk- i my. ca - nun t ma Vewe }. Be -eq-tuy-ai yal yai_ ye yi yA- a- bya qai-yum-tq-tug-a -ai ya-a ye au fl, J =100 yiya -yal_- ye yi ya-a yal ye yl ya ya-a iye yi ye t ya-aa ee Songs of the Copper Eskimos 191 Vv a ar a a on Yai ya gat-yum-eq-tuy-ai =i ye yi ya s-ya-i ye yi ya-a yal ye yi ye \ d-ll6 Gon Ft ca yaa tye yi ye t ya Lya-alya-a i: pi-yun-amun ci-u-ct-yar- nun Verve 2. pt.®. iptalu. vn u-ni- u-vlVnu-li- a-nuni-ma — a- i ya gai-yum-tq-tuya i ), : J au: a" v Hv VA AH oa | yaai ya-ai ye yi ya- a-t ya nuk-lag-ta-vhu tma nu: it-ay-yu- ay-nub. i Here, instead of singing ,the singer p. , K- spoke as srapidly. as Sbeelel the vest 4, " ai-yu-lty-ya lu-ag — (tama aguaagotim } al ya gai-yum-eéq-tum-a a a car i aa (emapttog) yal y a % ya-b ye yi ya puv-yuktubi miy-carnun t-ma gai-yuy-éqtum-a- i yal Refcak yai ye yi ya- ai ya gai yuny-ég- tua-a- ya-i ye yi ya yaei ye yi yaa Ov. 2. 2 I = ms | yai ye yi ye ya-a i ye yiye t L ya Lya-a am- o-cad— Verse 3. pt. 2. ~1- rn eS SS ES TN ee ee a ee a a a te p Re am-0-cdd-lun-lu nu-ké-tu-ka- nuk- i no-ya-i-tuk- u nu-ka -fu-kag-tun-i 192 Canadian Arctic Expedition, 1913-18 eco, mulfo Ja138 gai-yury-eq(u he) i ya- bya a may-yu-Iny-yu> ay-nubei gai-yu-ley: ya - ” (1) Odd asit may seem the word “gaiyumegtumai is accented differently here. (2) From here on the song rises in pitch by almost imperceptible degrees until it has reached the level of the Key of e; when we introduce a new signature. The transcriber does not—~ believe, however, that such rising in pitch is intentional, or necessarily habitual although. Some Sinders tend more easily fo do this than others,and are often more excitable. Songs of the Copper Eskimos 193 Reieecs Dance Pong (isi). sion y Niptanatciag,aCoppermine River woman. qai-yun-eqtum-a ya-iyai yi ya ta- yr o-mi-uk- i miy-ca- nun-t-ma Verse Lipt.l. : ; vv > T eae T_ Kh if T A AN RK 4 r+ j yaa t yaa geyneglun-un-la ca-yal -yd-lucy-mun pa-parmun-lu Cisne niamu-ii-ma enoe 1.pt.2. ; T v SA a ae a man bs SE Ee GS = a p | Se eS ee eee =< gai-yury-eqtuny-a i yaiyal ye yi yal gav-yeq-tuvh 1-ma nu: li-ay-yu-ayn- c b K Tat 7 zt IN A } . a ry 4 ae Ubi gai -yurley-ya-lu- ag-fum@)qua- nagtu-ciy-nayi-vuy-s — gai-yurp-tqrum-ai Seftain IL D : LU. . rm Lie ts RE. aa A aie Tv Li =" uJ v T uy ya-i ye yi ya di ye yal ya-a yk ye yr ya = ai yu-tq-tum-a- ¢ by T Comm T A T fh B oe fs A . iS N , ll 2 ya yai ye yi ya L ya-t yaa gal-yum-tqtum-ai ya-l ye yi ya ay-naceyugy-nun Youre 2. pte, z ) 4 : Cc : _» Kx. —t= maw 7 —_t +] an oom oy tel eer eo Fl: Ee me lh gai-yuy-tgtum-a gar yum-eg-tum-a- i yal yat ye yl yal ya — gar-yuy-tg-tudy-ai Refiain 1 88540—13 04 Canadian Arctic Expedition, 1913-18 " Conn. ¥F L uu 3 | a _r T 1 a Ta Se Br 5 ona on me Sse ee ee Ne iya-ai yaa t-pi-yun-aemun ci: u-ce-yarymun tptaluevlu ue ni- u-vtu mucli- Vewe?2. pt 2, i | I J anunima a- i ya gal-yum-tgtuc-ai yeal yaal ye yi yaa it ya — nuk-tag-ta- Here the singer spoke the remainder of the— | b viue tema nu-lr-ay-yu-ay-nut-i — gai-yu-ley-ya-lu-ag- (tuma agqimagotia) (tyrg rt. oq ) yai_ ya -Lya gal-yumtg-tuy-a ya yeyi ya ya-t ye yi ya-a yai ye yi ye yaatye yiyet bya Lya-aam-o-cad— am-o-cdd-lun-lu ay area Ll = EF Cow. nu-katu-kKanut-t no-ye vtuk-u nu-kafu-kegduni gai-yuryeq(u he) i ya- i yaa Songs of the Copper Eskimos 195 i Ie - $ex o_6_ ps o_ hah Y | La, Gall A A oA bud & Lc a" a” A 7 A AV ¥ J ve r) ya-i ye yi ya ai ye ye b ya-a ya-i ye yi ya gai- yuay-t9- tury - a- ai re | D 7 Lk at NI T95t Pw ~ Ta. ™~ } x A Real 1 XS ya yai ye yi —-ya-ai ya qai- yum-eqtuma ai ya-ai ye yi ya ya-i ye yi yaa ie ™ T f i AS NSN SN yai ye yi ye ya-a i ye yi ye e€ ya (1) Probably this was a mistake and the word was sung again fo correct™ the rhythm. No. 46 properly belongs with the first sub-group of the pisiks but it seemed arbitrary to attempt a measure analysis on account of the warring rhythms of words and music. This is the example which has already been mentioned as being peculiarly difficult of transcription because of the varying accents, and of which three different transcriptions are therefore given. The two other songs that have become associated with it are regular enough, but since in this instance at least the first and probably the second were considered as part of this song,’ they are given with it. No. 46. Recorp IV. C. 88 Ep major tonality Phrases Beats Vid. pts 1, Refrain 1. HUOWS (o/) boleh) Conn. 34 V. 1. pt. 2. 1 im Refrain 2. PP Rone 0! Conn. 31 88540—13} 196 Canadian Arctic Expedition, 1913-18 Phrases Beats V.2.pt.1. fA 6 B’ 5 C 83 Refrain 1. ;D’ 64 HE’ 12 Conn. 34 1) 68 2 Vy. 2. pt.2. jI 9 J 8 K- 3+ Interrupted by talking Conn. 3 V.3. pt.1. fA- 6 B” 6 C 9 Refrain 1. 4D 5h E 103 Conn. 4? V.3. pt.2. fA 64 L 74+? Conn. 4 J’ 12 A- 6 Refrain 3. L 143 D 63 E 11 A second song follows immediately. There are parts in it which are suffi- ciently like the previous song to render such a fusion a very easy matter. Second song of No. 46 D major tonality Phrases Measures Beats Conn. Int. f a b 2- 34 \ 2 13 A e de 3 7 V. 4. pt. 1. % 22 28 B f g g a 4+ 83 22222 Refrain Cc a h ai(h — a? at a} ad) g— 18} 122 3.2 2° 9°29: 2 Conn a b 2- 33 2 14 A’ ede e& 4+ 83 V. 4. pt. 2. a) Do 2 Ox 9 B’ ext f! a2 a? a2 a? a® abt 7 15 2 2 2 2 2 2 2 Refrain C’ a ih - @ a Ba 8 17 2 2s @ - 2-2 2 3 2 Songs of the Copper Eskimos 197 Third song of No. 46 Ab major tonality to ? Phrases Measures Beats A a bbb 4 16 vV.? 4444 B b! b? ¢ Ref.d 4 16 44 4 4 C e f g b 4 15 3 4 4 4 In the first song the plan, if any was really established, breaks down at the second verse, second part, which contains more phrases than the corresponding section in the first verse. This is interrupted by talking and the refrain is omitted. The third verse starts regularly and in structure is like the first parts of the other verses but the second half contains a phrase from the first part of verses 1 and 2 and another from the second refrain. A third refrain is a com- bination of the second and the last part of the first. The difficulties in the way of measure analysis have been discussed else- where (p. 27). It was for this reason that three versions of the song are given here, any one of which may be correct, or wrong in places. The second version is the original, the first as given here was the second to be made and the third, the last. Where all three agree, there was no uncertainty as to the accents, and the rhythm was especially marked. Such places are the series of two-four measures in the J phrases and the three-four measures in the E phrases. The first version probably comes the nearest to being right from the standpoint of the music alone, with its predominating number of two-four measures. The second is the compromise that is actually made between the three-beat swing of the words and the two-four measures, and the third is perhaps the way the words alone are accented. The tune starts on the first beat, tonic, and ends on the second, but the tonic is the general level. The second song is joined immediately to the first with the one beat of rest at the end of the first song intervening. Observe the almost perfect two-four metre. It commences where the other stopped, on the second degree of E major (the gradual rise in pitch throughout the first song is not important). In reality this starting tone is the third degree of D major, which is definitely established as the tonality in the second phrase. This second song is so like the first in its beginning that the fusion between the two is complete except for the words. The general level is the third and the song ends on this tone. The complete fusion hides the effect of the connective as the introductory prelude. Perhaps if the two were not joined this would be omitted. A connective as a prelude, it will be remembered, is a rare phenomenon in these dance tunes. The third song is doubtless a distinct tune, for the change in key and words is too abrupt for it to readily form a part of the other, and the style, too, is different. It is a fine example of almost perfect four-four metre, also rare in the dance tunes from this section of the country. In form it is a pisik without prelude. It begins with the first beat on the fifth degree below the tonic and ends on the tonic which is the general level, but through modulation becomes the third degree of the new key. The refrain, oddly enough, begins before the phrase B is finished and continues through C. 198 Canadian Arctic Expedition, 1913-18 More or less formless Nit Old Dance Gong (pisih). income Rec ord IVC. 9Ob. Niptanatciag.aCoppermine River woman = He ae aaa ee eee a a a ed @ Ki-a ki a u-na qit-a- u-tk- ca ha-i ya gat-yi-fam-i-lu —uk-fu-la- ¢- Verse 1. naq-pa ha- i ya ya-i ya hai ya-i ya ai ya i yat ye yl ya ga ga-i ya fain | B) Gy text : ) ae Gaara La CP Aa GPW GA EL a a Me ETS ee Oe ee Gee ee ee ee es 2 ee h € u es er es er _—eF es yei ya a-yi yet ya a-yi yeyi ya ya ye iyai yeqaqa-a-i yaqa fos tyaha i ya ki-pog-ag-tu-a- viu ké-nuv-ya- a-teiag yaha t ya gi- bu. fk ca Verse 2. G [ 1 La ta i ) RT Ta A EE ST Ch tte eo oe yay 7 SS A OO = < | 2a 64 6 4 <6 4) ~_” tbe 8 In c2 ct tk tu- la- i--mag-pa ha-i ya i | ya i yahai ya-i ya-ai ya-t ya i ye yt vain IL L Lal i Kf I T if 3 J a Bs A 1 A_ ACA T if Yt ne ee So GV nen wane oa es oo Yet, |e PF 2 Kye ee wd Pt 2 @— _48 «2 | « « | «2 Me ea e c yaqa e ya haai ye ya a gat ya t la-tun man-a- to-ya-cuqn-a-yo 1k- Vewe 3. H’ H? e P = pe e — ct se @ t Pp tu-la- ci “yiM- Nag-pa- ya hat ae ya-i ye yt ya ga ga-i ya yaiya- : vr 0 cext > Gon y T T T T T I T is 7 a qai Mas L ya-a y! ye yl yaa ya ye i yai ye qaqa-a- t yaqga i-ya ha- J B? nN ‘ eo 4 r ‘J a. oO e3 Vv ce O_O e + iya kia ki-a u- na ka-to- tik-ca- a ha- i ya qat-yicham i-lu af & la-i-nag-par Veroe 4. ; Songs of the Copper Eskimos 199 ee Ab eT mi aay oes ae ee ae a ae, e So. ae ee ahi ya ya t yahai yat = yaai ya-i_-ya i ye yi ya ga qa-i ya yet ya- ; Refi 1 (WH) ° ie ext. _ ae ea a ee a a e i} es e8 ef e9 ayiyet ya-a yi ye yi ya yaye i ya ye qaga- a Note. A false start of one measure was made inthis Song,which it did not~ seem useful or necessary to give here; there is buf one significant point? The singer sang the measure with" gh" which she corrected to "g#. Later, A measure with gh cecurs. Q) This section drops an eighth fatone or so. (2) Fromhere on there is another drop of about an eighth of a fone. No. 47. Rezcorp IV. C. 9038 A minor to A major tonality Phrases Measures Beats A abe 3 84 a 3 3 2h B deee& 4 9 oe 2-2 Cc fegeée 5 113 Bo 8 9 of Refrain 1. D h e i eé e 5 10 2 2 2 2 2 ext. e et e e 4 83 22 2 28 Conn el 1+ 3- 2 1- E j- e @ 4— 8 V. 2. 322 2 2- F k Ilmon 4— 9 422 2 3 G In @ ct et 4 92 Refrain 2. 122 3 2 H h' oc! ct oF ce 5— oF 222 2 13 Conn. omitted 200 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats ¥. 2, I 6p g r 1 5 113 4222 2 8 H’ ge? s t 4 8 22 2 2 Refrain 3. (H” p? I$ s' c? cé 5 10 22 2 2 2 ext. uc? ct cl 4 8 222 2 ‘Conn. p? ce 2 34 2.49 J J o & v oc 4 8 V. 4. 2 2 2 2 B’ d - e e 4 9 22 2 3 Cc f eg ec 5 11 Refrain 1. 3.2 2 2 2 D’ h e i! e(e® et e°) 7 15 2. 2 2) 2 8 2 2 There is not much form to this song which seems to be a string of ideas. Each single, undivided verse has its own refrain, although that for the fourth verse is like the first and that after the third is, in the words at least, the same as the last two lines of refrain 1. The return musically in the fourth verse to the ideas of the first is interesting from the formal standpoint. This may indicate that the song is really composed of verses which have three subdivisions and that only one complete verse and part of another have been given. Although so varied and apparently formless except for the recapitulation in the fourth verse this is one of the most musical songs yet encountered. The play between the major and the tonic minor is very interesting and pretty and there can be no doubt that the varying thirds and the changes from G# to G natural are intentional. The song begins on the tonic, whether the tonality is regarded as major or minor, and on the first beat of the measure. It ends on the same tone. Songs of the Copper Eskimos 201 com, GlODance Pong (pisif. 1 A by lic aPavtg girl. 5 : ‘yal ye yat cu-li-ya-i-lay-a- t qui. qutstg puey-na abiorea sage - ai Yeool. pti. ‘P,P, ° A \___@__* # _@ ¢@ iY 2 _s_s-s6—@-— f gS e h ~ ez e3 i vat yevi- ya-i ya = tyaryai i-yaa iya ai-yai ya- ai yal ya t ya 808 = ext. > JI -F 4 J k ] ret f? i yai ye t= -yas i ya-i yalyeyaiai = yeri yalyaai yet yal ye t- ma- lu Vowel. pt.2. kext > G i = a t-mao-qa-u-tit-ayo ug-eu-ho-nub.u ga i-la - ee ae yai 6 ye i-yat ya- i ya-i yal iyaiye ya- it yai ya- é ya-t ya- i ya ? = bee a on ne oo co SAT eT A PA Whe" SB as | A al yaai ya ya-i yal i yai ye i> yard yart yal ye yaiiai yari yal ya-ai ya-i yal B [> aaa ae La T T Ah _ A ATS _ ] n Z AT CJ e ye tya- iyaa iyai ye i ya-ai cu- li-ya-i-lay- ai pr-ctk-ci-paku-na Qave 2.ptl. D} ai ya-t ya- ai yai ya-t yal Lyal ye i> ya-t ya-i yal ye yai ai 202 Canadian Arctic Expedition, 1918-18 \, ext > ¢ )» Comm. J w i eet se 1 I : "2 ; e7 e8 e? er Yar b yal yaral ya Lyall (he he ) bya t ya i-malu 1- ma o-qau- trhay() Veroe2.pt-2. od | ied r g en i ya-tyai ye -ya- t ya-ai ya- i yaa- t ya-i ya- tya iyaiye tm Keftain } (ext ) Conw. M i p——— —F are pe et c X Maa Rot way AR ANT ul = j 2 9° ] eo ces ft 7. Rte yal ya-L yal ye yalai ya Lyai ya-ai -ya-Lyal ye t ya- iya-a-t yal ye byat Bi Versed.pt-l. i_yal ye i ya-i ya- a-tyai ya- iya-a-iya- iyatya iyalye t- ‘ f (ext. > FI Peep re t Rs $2 { ee eS ec ere Sr et So 3° ¢ k 1° Re t ee e? er ya-t Yat yal ye yatai -ya-i yai yavai_ya-i ya ye t- marlu t- ma o-qau-tit-a-yo p- Vvwe3.pt-2. f), ext > G AN | 4 tpg ge INT warn e t er ee Fe bF cry-lnutu ga i- la- yo-tiy(a)aq-toq-ct-pak:pag-ma-i yai ye i-ya ya-iye yi yal - ie ye in cext> EB. as e ee 2Se e ; ' Yaya -ya-b yad-b yaal ya- tb yaal yayat yat btyaye t- ya-al ya-i ya spoken: (numigatiyin hapkwa afogpayayalurt. he he) (1)Note change in rhythm as compared with Verse pk. The same occurs inV3. pt 2. V. 1. pt. Refrain V. 1. pt. Refrain V. 2. pt. Refrain V. 2. pt. Phrases Songs of the Copper Eskimos No. 48. Recorp IV. C. 84 wh NHN NO®NTR We Wo my <1) i<) DeNe NINO NH 22 AND BD BND rn 09 B09 we be! " 8 eo WO 9 @, No bo Nr NUL.WE' Dd swe wet Db major tonality onwmowNa ty i (<) Co) = NaNWwWa Ww rare ono 1 o n mi ra ay oe wo B bo wre wo bole any ay oo 203 Measures Beats DOs, We. W/W i) = NaANANONANANO noo _ F aie 7 HN. pM Woe Ww — od Wo bo Fb D, bo oO vie 3 8 3 8 3 6 3 74 3 6 3 64 3 6 3 6 c 5 104 o4 e’) ef 6 15 2 33 3 6 3 6 Conn. practically inseparable from following verse 3. 5 114 23 3 8 4 6 3 10 3 6 2? 43? Conn. f? ef? 2- 33 2 1% 3 6 4 12 3 64 204 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats cif p p! gi el 4 ~° 102 342 2 3 Refrain {E”! ij k 3 6 2 2 2 ext. 1 } ef 3 65 22 2 Conn. f2 q 2 4 2 2 M rs cé 3 73 V. 3. pt. 1. 222 3 B’ d? e& e 3 83 312 3 Cc h - 2 3 6 2 2 2 D’ h e& 2 6 Refrain 24 34 E a 3 6 2 2 2 ext. 1 kg + 3 63 22 2 Fe’ e® e9 e@ 3 65 222 2 V. 3. pt. 2. (ext. e e° ¢ a 53 2 2. 1% G’ ek k? bi el 5 11 22222 28 N ce eu gi 4 95 2 342 2 Refrain ext. eo ee 2 53 3 24 E- ijt 225 gS oe There is to this song merely a rough melodic plan which changes somewhat toward the end of the song. The only constant thing about it is the repetition of the E phrase in the refrain, but even this has a different extension each time. The connectives are missing almost altogether or else are practically inseparable from the verse which follows, except in two cases. They are present in the words however, as a guide, and an examination of the music will reveal them. The song begins on the sixth degree of the scale, somewhat flatted here, but probably not intentional, and on the first beat of the measure. The refrains end on the second degree, so that it is likely that the song would end there if finished. Songs of the Copper Eskimos 205 No 49 % Record WC.95a, Dance Song (pisift). deus oA Ulageag,a Kiluctktok man. = a eters se | La t+ amt Tp —— | = = : : a- yum at ye yi ya ai yu-mi-cu-fa- yi -vum ai -Yu-mi-cutayivuya kivansmuhi xanama Het, a © C990 te25 22200 VY VY [7 ey VY 7 ft ) a 1 1A om | Fy v r T - - u __ : e € 3 h a-vum-ai ye yi ya ye yahiyaai yi yal gaiya iya hai ya Refrain A fragment No. 49. Rezcorp IV. C, 95a Irregular tonality G# minor to C# major Phrases Measures Beats V.1. A abed 4 164 14 4 4 4 Refrain B e f gh 4 16 444 4 So far as it goes this is a most unusual and lovely little melody beginning in the tonality of G# minor and modulating to that of C# major. There is not much that can be determined about the form but rhythmically and metrically it is unusual. The measures are four-beat and the rhythm for the first two is balanced by the second two, while with the third pair it changes, and while each of the four of the second half of the song is different, there is a very satisfying balance. The song is too brief a fragment for variations in the rhythmic regu- larity to be numerous, but the fact that they are missing altogether indicates that the song is unusually uniform. It begins on the third degree of G# minor or the flat seventh of C# major, with the last quarter of the final beat, and ends on the tonic of the major key. 206 Canadian Arctic Expedition, 1913-18 Forms different from the pisik No. 50 Dance Song (pisif).° Record ZC. 25¢. Cinicidg. i o=10% Seer 6 aN = —— So oo —— a pel Vv. YY ¥—f 4-1 yy V—y— +4 +—-+——F a | b* b* ilat- ka ip-kwa nu-natka tp-kwa nal-tp.cag-tu - yey-tt-ka ca - va-ya- lu-ka B a r a an ae co a n/a v4 — bf & e a Ki-lu-yag-lu-ka —_kai-pi-faq-ca-a- i-foq lu-u u- li- ma-ud- tu ( 1 Cc BE _Y —t @ a: dat e ert goit-gey-lu ki-Tiq-cey- yu-ay-lu as i-vilig-nun uw pity-tt-ka-lta-nun in ace. (ext » Ct “ VE G d d? dle e ay-veg- to nun — qoag-ywmi-u-nun ¢-— ktl-ya-yiay- mi-u-nun kamit-kumiay- yu to-qo-na-i- yu-ay-yuk na-vboyney-lu tue- a- gay-ney-mi ki-vi-na-a- a E we. i ot — } ane a 7 oo oo ee ee $ 72 Vo pte Yr ame /2 t Sy I 4 + 1 a e2 es d= a? ka- i-yu-i na a.m-on fu- va- ga-Ya-mi ga no-1- log-pa pu-veék - fo - L. a + Ay wi ~~ v a a v 4} vy I f} v 1 dz d? qa- y-yu um-uay-yu tuk-tu-ci-u - yu-uk -3q (nuaut-poq). (1) The first two syllables are inaudible. Songs of the Copper Eskimos No. 50. Recorp IV. C. 25c Ab major tonality 207 Phrases Measures Beats A a- bb! b! (b? b) 6 14? 2F oe 2 DB 2 8 B e ct d di 4 11 24 343 2 C e e! f d (d? d!+) 6 154 23 3 38 2 2 Cc! e e d? (d?) d 5 11 2 2 2 2 3> D g ae? (e?) d? 5 11 2 2.3 2 2 E d* f! (f) d? d! 5 10 2 2 2 9 2 Whatever kind of a dance song this may be, it certainly is not of the type which we have been examining. The structure is totally different. All the phrases are much alike as to melody yet sufficiently different to entitle them to different lettering. There is not much evidence of form except that some of the phrases are about the same length. It seems rather to be a long string of poetic and musical ideas. There are no verses and no refrains. Probably the song be- gins on the first beat, for the music for two syllables is missing. It was audible once, for the text was taken from the record, but probably was faint even then. The third degree is the general level and the song ends on this tone. 208 Canadian Arctic Expedition, 1913-18 No. 50 b. oe Record ZC. 25 b. (pisik b 64 . ex ee eee a i | z ab ey a cava A rae 3 Ah A S + ia x v a 4 zt = ar a ~ xu-wa- It lh Ki-va.tt- hh pa-ci-oy-a-cuk-fut gauq-toy-lu — im-a- lu- L. Cc ei ne J f ef eft g °F iu-yoy-lu qaug-toy-lu tp-kwaut- ku-cry-lu ga - u- ya-hv-lu oy-vi-a- yur vlu ) cext 7D, ext), r pt Sate = eet yy i P f f fef fefy i-yaa-ca-t- tog-lu na-kan-a- lu kt-va- li-ay-lu au-ye-qa-fa — o-pin-ye-qa-fa ( (ext. >) + aa tH at x ars Ta iva | — i a-u- yaqtoy- m-agq-lun ma-kunig-a fyq-xuy-yu-ag- nry- lu. No. 508. Recorp IV. C. 2538 C major to C minor to Ab major Phrases Measures Beats A a bc al 4 93 a a a B de f(ef ef) 5- 10 igi22°3 8 Cc gfef h f! @ f) 6 14 a 3 22-2 2 D fef- (fef-) i j ( ft f”) ra 133 > 228 2 2 1 There is no form to this wandering little melody with its four phrases all different, and its three tonalities. The melodic material in the last three phrases is more or less the same, however. The song begins on the first beat of the measure on what seems to be the tonic of C major. This tone forms the general level throughout but soon becomes the tonic of the minor of the same key and then shifts to the position of third in the new key of Ab major, when, in a long series of notes, it closes the song. Songs of the Copper Eskimos 209 THE ATON}! The atons, as they have been designated by the people, are, from the stand- point of form, as mixed a group as the pisiks. There are four subdivisions, the characteristics of two being precisely those of two types of pisiks. Two songs form the first subdivision, Nos. 51 and 52. They have no preludes but start directly with an undivided verse. The first has no refrain and the song is three verses long, with the usual connective between but not at the beginning or end.. The second has four verses, each followed by a refrain and joined to the next by a connective except in the case of the last. In both songs all verses and their parts are alike with only the usual small variations. Neither of these exactly resembles the most prevalent types of pisiks. The second sub-group contains three songs which in musical structure are like the pisiks which have a verse prelude, but for which the music is the same throughout. In No. 53 there are the usual subdivided verses with refrains, the second phrase of the refrain being a partial reversion to the first phrase of the song. In this we are reminded of the second song of No. 6, and of the first verse-part in song No. 10. The refrain marked 2 is different poetically rather than musically. In No. 54 we find the same peculiar structure of the refrain that we have already seen in No. 32 and shall meet again in Nos. 57 and 72. In No. 55 there is, as far as the- words are concerned, a “‘trying-over” of the verse-part and refrain with burden syllables. The B phrases are the refrains but it is a question as to how to classify the two measures which precede them in each case, unless they are considered codas for the verse-parts. The con- nectives are obscure, and are rather like the codas. The listing of both has been ig from the tabular analysis for they are not distinct, musically or poet- ically. There is a third sub-group where the real musical prelude makes its appear- ance, in more or less regular fashion. These are songs Nos. 56 to 61 inclusive. The irregularity in No. 56 lees in the refrains and in the undivided verses. In No. 57 we have the refrain structure that has just been noted in No. 54. In both songs there is a poetic prelude and divided verses, but in this second case the musical prelude occurs as well and the parts are longer as far as the number of phrases are concerned.? _ Melodically there are some points of similarity between Nos. 57 and 58, but obviously if the latter is a variant of the former it has grown quite far away from it, and has become much less complex. No. 59 is irregular and perhaps belongs to the second subdivision. As far as it goes there are two identical parts, of three phrases each. In the first part, which is in effect, if not melodically, a prelude, the first two phrases, A and B. are separated by a connective from the third, C. This is separated from the second part by another connective, after which the modified and curtailed phrases A’ and B’ form the first verse. There is apparently no refrain, and a connective separates this from the fragmentary beginning of what appears to be C, a repetition of the third phrase of the prelude, modified to form the second verse. 1 Copper Eskimo: ato''n. 2 Reverting to No. 32 for the moment, which is the first of this type to be encountered among the pisiks, we see tha ‘it has a brief real prelude of one measure, which closely resembles the connectives, but that in other respects it more nearly resembles No. 54 than No. 57. 88540—14 * 210 Canadian Arctic Expedition, 1918-18 No. 60 is irregular, not only in particulars such as tonality, but the record is faulty which causes a loss of part of the tune. It is evident that the first phrase of the prelude is different from the first phrase of the verses, although in their succeeding parts both are alike. No. 61 has a short prelude of one measure, rather like a connective. In all other respects it belongs with the irregular group which forms the fourth subdivision of the atons. These number 61 to 68 inclusive. In No. 61 the first verse has but one phrase, followed by a two-phrased refrain and a connective, but the second verse is in length altogether disproportionate, with five phrases, while the frag- ment of the refrain which is given for it before the song is cut off, introduces an entirely new phrase. In No. 62 there are no verse-parts well defined and no refrains, but there are sections which are separated from one another by con- nectives. The first is the single phrase A, the second consists in two phrases, B and C, the third in one long phrase BC, which combines the material of the two previous, and a fourth, A’, which is very like the first. With No. 63 we come to a type of song of which there are several representa- tives, not only among the Copper Eskimo but in the regions from which songs have been collected which are to be discussed at the end of this article. There is more form to No. 63 and others which are called atons than to those from Point Hope, Alaska and elsewhere. There are no refrains and no connectives, but a succession of several phrases, each different, which may be repeated entirely or in part. No. 63 has fewer of these different phrases than most. After A, B, C and D, there is a return to A’, B and part of C before the song ends. Another slightly different design is exemplified by No. 64. The order of phrases in this song is, A, B, B’, A’, C, D, and part of A’. Another peculiar pattern, if it may be so termed, is that in No. 65. Here the phrases are, A, B, C, B’, C’, B” C”, B”’, B’”, B’”’, B’”". This is an almost perfect specimen of metric regularity, and has some well-defined rhythms. These are discussed in their place with the song. A still different pattern is found in No. 66. Phrases A, B, C and D, the latter with an extension, are succeeded by an exclamatory section like the he he he that we have encountered in the pisiks, and then by an E phrase with its extension. After this there is a return to the melodic ideas of the first part, in A’, B’, C’, and D, each being systematically curtailed, the D by the omission of the extension. That the song is finished is shown by the exclamations which follow. Many other very interesting points are revealed by the analysis. The last two little songs were too short for the disclosure of any particular form. The first, No. 67, is said to be a very ancient tune. While not long enough for more than two phrases, of three measures each, there is admirable smaller form in the rhythms and the balance as well as hints at sequences. No. 68 was not analyzed. Of the eighteen songs classed as atons, seven of the seventeen which were analyzed are definitely in major tonality, four are major modulating to minor, one is minor, one shifts from minor to irregular, two are irregular, one changes from irregular into major, and one from major to irregular. Seven commence on the fifth degree of the major scale, two on the third, two on the tonic, one on the fourth, if the tonality of that song is major; one begins on the third of the minor scale and one on the minor seventh of the minor scale, while the beginning of the rest could not be determined because no tonality was established. Five songs close on the fifth of the major scale, five on the third, although in one case this is not absolutely certain, one on the second and one on the tonic; two end on the fifth of the minor, one on the tonic, and the rest are undetermined. The general levels are, seven on the third of the major scale, although two are not clear cases, three on the fifth (one of which is questionable), one on the tonic (the same which begins and ends on this tone); one ends on the fifth of the minor Songs of the Copper Eskimos 211 scale and the rest are undetermined. It is apparent that this list would be con- siderably diminished if it be considered that the major and minor tonalities are not clearly appreciated by the people and that essentially the third of the minor and tonic of the major are the same, relatively, the fifth of the minor and the third of the major, and the seventh (minor) of the minor and the fifth of the major. The fifth of the major is a favourite tone for beginning and ending, while the third seems to be the general level. Eleven of the eighteen songs begin on the first beat of the measure, three on the last half-beat, two on the last quarter-beat, one on the second quarter of the first beat and one on the second half of the first beat. Thus with atons as with pisiks the majority begin on the first beat. The metres are indiscrimin- ately mostly two-four, all with some three-four measures mixed with them. One or two have more three-four measures, and a few of the irregular forms of the last group have larger metres, two being principally four-four. In metre as well as in some other respects these songs resemble those which seem to represent the music of the other regions. The fact thus becomes emphasized, that, as groups, the pisiks and atons are not to be differentiated, for all of the types in the first three sub-groups of the latter can be duplicated more or less closely among the pisiks. As to the irregular forms, there are also some which have been called pisiks. There will, naturally, come no help in the solving of the question as to what constitutes a pisik and what an aton in the list of undifferentiated tunes, but before a final discussion of the Copper Eskimo dance tunes and a statement of what few conclusions have presented themselves concerning them are given, the various types that are among these must be assigned to groups that have already been made, or else placed in new divisions, after the atons have been considered individually. 88540—143 212 No.5]. Record WC. 45 b Canadian Arctic Expedition, 1918-18 Dance Song (aton). learned from Prince Albert Sound Eskimos, sung by Avyana,aPuivtig man. bb. 4 @ Mw mn bed ad a hal eer i rN o T ls. | id i T Ps dl HH tt ra rm Ss oe rn UY b a-tin-t- e- ye-yumam e ye ye yay-a A-tin-i-e- ye-yum-ay Cowe |. $ 3 Comm. A! ae a a oe ae Fe ee a al a er eG o-oo; © ooo o-% o—0—9 ae a ba” 7 v Mb b am Tas ee Tae vr ” e CS eye ya e ye ye ya e€ yam a a-tin-t - e- ye-yunam pic- e ye ye yam yeye y yan iuees ay b j . u-hitx-yaryi- vim - 6 nu-na-ia-nag: muy pie- u-lrtx-ya- yi- vig-i e ros yaya gey-nehoy-yu- it i nu-i - yaq tin-ma-ti- YiIN- 1 Nu-na-ty-nay- mu-lin o- be Vewe 3. — Sy at Phrases AM’ B” V. 3. This little three-verse song which is complete, bt viog tifk-ya - y! - vim-te ye yi No. 51. Naw 1 b* b7 E minor tonality b? 2} a2 p4 2 4 ou both as to form and number of beats. scale and shortly thereafter the minor The start is made on the second quarter. which is the general level. 1 seventh occurs. ec Recorp IV. C. 458 Measures Beats 4 8 5 11 1 3 4 8 4 8 2 4 4 8} 5 8 is almost perfectly regular, It begins on the third degree of the minor This is used throughout. 4 -beat. The song ends on the fifth degree Sorigs of the Copper Eskimos 213 Neots Dance Song (atow). 4-80 Niyaqtalk, Coppermine River man. A B Cc eae 2 Aaa e/a 7 YY YY Yt a ae zon 7 Y A a” bo” c. d e f e Py pi-yi - a-va na- ki-yukpak-pa pu-crk-cay- yuk na-ki-yik-pak-pa a-L ya pi. yi-a- Verse I. Refrain iis D pe: E Panik vd I To hey 719 Ts | DO ‘i red L ¥ - ~~ | aS Vote Tt b VA FA WM PS Wa Z va + ee ! i= = EE | h "pt igs pe ct J ZZ b vai ya- iya tai yai ya - ai ya pi-yi-a-va i ai ya-t ya -al ya-t ya- L Conw. A (ext. re y a = fa T T T Ts =) — tt tot te aaa t4tr YY tip Y Li yy te iZ yz Torp | SR a | b3 aro iis be at bs b> b re ct al iyaai ot yaai ta-in-wq-cabi i-va-yi-tk- fu-ag-tu-ni a-i ya Bi Vouse 2. COE ‘ > oy o—o-@ Co V A » ee aS ae ee ee eee 7, a A EF Vv yt v7 T TLGL. A A WE” a A WY. a? Ls a | v hau t a e f f b§ b° a’ bf pt-ctk-cay- yuk na-kiy- tk-pak-pa a-i ya i-ya-al — i-yaral g a ava 2 Dip oo ext 8 ~ cm = a oar | at ¥ 3 v aa c to ¥ 7 me |j ° ce b* kK = 7 £ 3s Pic-u-yu-vi = A- L yA A-u-ya- Yi-mapic.u-yu-vi a-i ya Fi ~ Yla- aim = D* EB J’ tT Ts fh AORN) r w + type a a’ 2 Os a 7 VO Zt h bt ht ea ce J b> Va iya- i ya- i aya-i yaa-b ya piyl-a-va L-a ya-Lya- ai yat ya- 1 Com. a4 b. > b. 4. d » me ». ext. 1 B > —h- re ra I er } x Bi 2a | > ~~ bt b* ae — b> b7 d* ait ya-ai i yaai fim-mi- ya- 9 y-yun na-li-u-yagy- e- yoq nanmaxpak-cu- eal one Tl ae 5 ya «yng a> D if Lhe Tz J vy. ce) t I t A A A A A V2 anv a . e f! f g h bt ia ro yo pu-u- yu-vi a- i ya pi- yi-a-yaiya-a-i ya ita ya-t ya-a-i ya ) E- (1) uw (1) Evidently the singer intended to stop here, although according fo the other versesthere ee ae om should be two more, measures. pi-yi-a-va ia ya-i ya 214 Refrain Refrain Refrain Phrases A B C D E A’ B’ Canadian Arctic Expedition, 1913-18 No. 52. Recorp IV. C. 33 Bb major tonality and irregular Wer Wo. OIE DO Uw _ - Wea. DO BT bOI, YO FO TNooene a te NOW oTW on NENTNE No Iwow on ia tw NTWANTNaANT TNmrwoe mo ce NTWo Ww b2 Nerd 2 Conn. b! bé 2 13 (b?_ c?) 2 3 f 2 Conn. b! b3 2 i (b!) 2 f 2 Conn. b! bé 2 1% (b") 2 i 2 Measures 3 bo wo Wo WO -. HN iw) Oo wo wo Bf ww «oO P B Beats w Nie =I (SX) “I [o/6) [o>] [o.<) rey eS) di- «I NIH Songs of the Copper Eskimos _ 215 Phrases Measures Beats Cc g h bi 3 6 2) 32, 2 Refrain D i- et et 3 8 23 8 E j ---- ae = 3 There is an air of finality about the last measure as it is sung on the record which leads to the belief that the song was intended to end at this point although according to the other verses there should be two more measures. The end in either case ascends to a level, above and below which the melody travels. The song begins on the tonic on the first beat and ends on the same tone. In form it is undoubtedly a pisik of the type without the prelude and with the long refrain. Each verse is five-phrased in structure, which is not very common, and on the whole the larger points of the form are very regular, the connectives absolutely so and also the refrains until the last, which ends short. The same slight changes are to be found in each verse, however, that are encountered in all of the songs. 216 Canadian Arctic Expedition, 1913-18 Noss. Bance Gong Receive 28 — from Prince Albert Sound. ie Kaneyog,aPuivhg girl. fy A B wa b ¢c h ye ye yai ye ya i ya yeya-t yaal ye bya at ye ye yeai ye Bfins y ye ey y EF Cc AC a ra f? fe b? _ g ye yart ye i yal tye ya tyaatye 6b ya-al ye ye ye L- Neftain I. f 4 MJ if T ee : A fh | h i b? b3 - 3 } ye I-ya yiyaal ya-a tye yeqai i yo hiye ye-i- ye ye yai Qewe lpt.l. . 4 ma A 4 bS bé Fe) h a a we uy-aya-lu-a-yi- ya — abeci-ag-ci-ya rma toyn-yay-t-ma ye yai ye ; Refrain I Ac: Lerten —— is : ra f2 C fy ht T be ye yeya-a i yaai ye i -yal ye ye i ye ye ya yi yaai ya-a- t ye eu i aoe i bs be ye gai ye tyaha-t ya a-u-ya- lum- na u-pab-u-ax-yahmagy- a Qerse I, pt.2- : gt n a d a e {1 f2 atci-ag-ci-yat-ma thita-yi- ya-lu-a-yi- ya yeiyai iyeya ‘ya-al ye AC? : j Je vain T Conn, $ Meee E a 3 a Lye ye-t ye-t-yat a-yiunwf- yalu-a-yi- ya cu-munnoyanu-ay ma Verve 2-nkt Songs of the Copper Eskimos 217 —_ Cc , ee ee Se ee oe oo j.c7 sores IO WY u t tt i ’ d* as e ft ft = kani-yan-u-ay- t- mae I-yal i ye ya l ya-ai ye i ya-al >) Com. A’ nau wae, mae (ame: eS - 2 re eS i+ nt i o be fF ye ye I- ye i-ya yiyaaiya-a i ye he’ he’ i ya ha- bya ls r2epte. heat st Pe BR a) =a 3 T a on NO TY D4 _ AL ot j h bs 56 3 uy d a yar li (he he) No. 53. Recorp IV. C. 58B D major to B minor tonality Phrases Measures Beats A a bb e 4 4 Prelude 3222 1 B f h d di 4 93 4 1242 2 34 Cc e fi f2 bt 4 8 Refrain 1. 2 142 23 AC g h' i b? bi 5 113 22 2 2 3h Conn. { bt I+ 3 2 1 A’ g'-h! be be 4 9 V. 1. pt. 1. 1442 3 22 BR’ fs h dad 4 8 22 2 2 C’ j hf f bt 4 84 Refrain 2. 22 2 24 AC’ fi+h! i b? (b” b’) 6 12 D2 D2 2 2B Conn. b8 1+ 3 23 3 A’ g—h! b® bé 4 84 ¥. 1. pt, 2, 4 132 3 2 B” g? h d (d) d 5 10 D2. 2B 2. 2 C e f! f? bi 4 8 Refrain 1. 2 142 24 AC’ fit+h! i b? b 5 11 2 222 8 218 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats A” g hi ells 5 10 V. 2. pt. 1 2.2 2 9 pee ft h d‘* d 4 94 242 3 2 C e fi f2 bi 4 8 Refrain 1. 2 132 2% AC’- fith! i b? ? ? ? ? 4 8 2 2 2 2 Conn. bu 1+ 3 2. 1 A’ if- h! b5 bé 4 84 V. 2. oh B 132 3 2 BY" f8 h d (d) dé 5 10 2, 2-2 2: 2 In spite of the fact that this song is called an aton it has all the character- istics of the pisik with syllabic but not musical prelude. The song proper is a melodic expansion of the ‘‘prelude”’ and there are almost innumerable variations of the measure b. The positive down-beat beginning of the refrains is note- worthy as contrasted with the weak beginnings of the verses. The syncopation at the beginning of the first refrain throughout is interesting. The song begins on the last half of the final beat of the measure and on the fifth degree of the major scale. It ends on the same tone which is quite prevalent in the song but the level is on the third degree. Songs of the Copper Eskimos: 219 Rite GSDanee Song. dtsz or d= Kexutazk,a Dolphin and Union Straits’ man. fy A ®ee on = B to — a > ob re eo ee O-Ya-qo-ya a- tye Yaa go-Ya-qo-ya ga go-ya ga - alya- an: 8 Go-ya.qo-ya-a al teflade, pt. Rehatn. 1 Brebure, pt.z. hi oo eee ~ d e ‘i v f Cc eX) ye yamy-a go-yagoyam- ai ye € yayeye go- Ya-go-yaqa —qo-ya qai ya t ‘ Steftary 4 Comm. 4 wee oy = fos a nn we eee t [V2 Vn a a" YA 7S PW YY a { t ¥ J bi i! | a ate = = Te PR | i yam-i ya yeye ya-i ye ye yar L eye eyay-a ai ye — Lyay-aganog- 3 fad 4 (ext) A por ti | 1 tet 1—.— 7 v ee e368 a y > ® 1 ie : Se ee é€ a ouw.a U-wentyu- tfpttk ai ye yi yama ganog-a uv. a in. i-le-un- fi ‘ may (ext) a —————— ———SSs= == SN Se eee Ga eae Paae t-prik = a- + ye iyam-a tt yama al Lyay-a-i ye ye ya-i Cext. yy T it T T 1 mt ree Sn ae Wee ral +e + tee ye ye yai ye ye ie i yeyeyai yeysya ai Ye iyagya ca-tut-geaq uu wa G7 2 ct @ c7 @ nii-famy-29)- Tumi tu- nutge-aq u - wi ni -lany-aq-fu-mi a- ot ye i yam-a , (ext) (ext ) * te: t 1 t tf ; thf oo th tt t Sattip ttse Pies cong aye 222 anadian Arctic Expedition, 1913-18 No. 55. Recorp IV. C. 62a ~ F# major tonality Phrases Measures Beats A a bed 4 7 Prelude ? 2 142 2 A’ ab (e bi) cd d 6 13 29 143 22 2 2 Refrain B g bh (i) j (k 1mm! o) 9— 21 322322 3 2 2 A” cc d d (d) 5 ll Verse ? 4 232 22 2 AY’ ce e! eed! d 5 114 £ O19 Bho 2 Refrain B’ g h (i!) o'(@ o! d x? d! d?’) 9? 194 ; Be DD DBDs OF DP ae ee 12 AY cc? p d 4 8 Verse ? S 2 2 2 1s |AB ce e! c&cd? q (i) p! (mo!) 9 213 192293 22 22 This song is really an example of syllabic but not musical prelude. Con- nectives are entirely obscured by the refrains or are absent, although there are similar situations in the two measures which precede the refrains and the final refrain measures. The lengthening of the refrain in each part is one of the most interesting features, for in few other songs is so large a use made of extensions and repetitions. Some of them are very interesting. The combination of the A and B phrases at the end gives a nice artistic touch and finish to the whole, that would be worthy of more advanced musicians. The song begins on the fifth degree of the major, or minor seventh of the minor, on the first beat of the measure, and ends on the same tone, but this is not the level in so persistent a fashion as in most of the songs. Songs of the Copper Eskimos 223 iwc, ‘DanceSong (ton. 80 sail a man. A-va-i-ya a iyal ya- i ya ava bya a tya tl ya vol ° aa Fi; 8 h co oar k a-va-i-ya-A a Lyai ya-i ya & bya a-va- i-ya a tyal ya-i ya (0 A a a ee ee ee ee eee J h he h3 3] - m La ai ya i ya tye iya a i ya a-va-i-ya ut- qa-ya-caq-ta-Y! Vewe I, : iayet ya a lt yaa va- i yaa tya yal ya i ya i ya () Conn > 480 E! F tye bya ha iya al-yi-ay-Fu up-kwakai- yu-isnalu —u- mmeaymagynay- 5 Verse %. q : Pq ci ° ¥ tT a ae yuk puey may nay-yuk kununag-cay-yuk ki-val-t- ay-lu ka cu- yay- yu ta-i-pay- yuy-luai L (ext T A KA AT AU UOUA . Tz, ~~ A A _A_ I ny A_K iY ri | J gt v T h? ]t B {t al-yay-yuay - tu ka a- i- ta-ug-ei-lu t-Ti-fai-yay-lu ka ma-hy- yu-ay- yu () ) E* Fe @ —s »_» ——-+ r u ia YY =I 7 ur m + oF Pp q i-latei-ag A- fet-aqava. t-ya iya ya-tya ava-i-ya t ya ya- TOL Canadian Arctic Expedition, 1913-18 i ya & va - | (Refrain ?) (1) The text is deficient here Phrases Cc Refrain ? D E V.1. G Refrain D Refrain | Fk’ G’ (Refrain ?) No. 56. Rercorp IV. C. 34 Tonality irregular to F major Ale No Wy, wiwse WRrmwwone NI bole toe Ne tol lo Calas Na NO wB vie Nie ran Nu. WORE NO WE NEw DWH rO Nie rey - an mn 2Q ONEFNF WO Nae BH rar ~ 3 3 3 1 be i) we wane nw wd wk mn OQ on ray Neo- Nw WR be bb Measures Beats 3 7 2 6 dias 9 4 10 2 4 3 gh 5 93 5 93 4 10 2 42 3 63 2 5S 6 132 6 16 2: 6 3 5} 3 7 According to the text the first part of the song as far as the point marked V. 1. is one long refrain. structure is that of the prelude and refrain. The musical analysis, however, reveals that the Probably at C the real refrain Songs of the Copper Eskimos 225 comes in, as with most prelude types of pisik, but the beginning differs somewhat from the beginning of the refrain in the verse proper. The first verse is quite regular according to the form established for the pisik with prelude. That is, the connective is the ordinary type, and the first phrase of the verse starts out with new material. That the second phrase is also new is not a great departure. One notes in the refrain a slight resemblance to the C phrase, and the D phrase is repeated exactly. The second verse also opens with the customary connective and for the first two phrases follows the first. In place of the refrain, however, there are two more phrases with long extensions for each, which only remotely resemble it, melodically, and not at all in the words. Without the customary connective we meet again the E phrase slightly modified, followed by the F, G and D phrases as in the first verse and its refrain. The text gives the refrain as covering all these phrases, and in words it must be confessed that it does resemble the opening part of the song, if not in music. It has been already stated that a singer would often sing over the tune of the song with some such syllables as these, in order to establish it clearly in mind, whereupon he started with the verse, and this is probably the explanation of many songs with preludes of burden syllables where the music is the same or nearly the same as that of the verse. But singers must also have failed to recall verses now and then after having started the song, and it is suggested to my mind that in this case that is just what happened, and the singer filled out with these syllables and stopped near the end of the refrain. The E” phrase is not quite like the others owing to the longer verse preceding the burden syllables, so that the failure to come out right for the beginning of the E phrase has changed the rhythm consider- ably and possibly accounts for the way in which the song was concluded. With the irregular tonality it is impossible to fix satisfactorily the degree of the first note, which is made on the last quarter-beat. Before the tune is stopped, F major has become established as the tonality and the final note is the third degree of the scale. The song should be compared with No. 61 which is a much more corrupted version. 88540—-15 26 Canadian Arctic Expedition, 1913-18 Rees Dance Song J tor. 3:96. Haqumyaq, ae mam fly 4 A Cf also No 58. B Ca- vyi-yu-yampmi-la-yo- 0- 0-0m- 0-0 eer u-yan-mi-layo — Unaman-am Elis " : al ya ya t oa na al ie jayoat) a ai = -ye yam ay i ie lf ce y D Conw. E r =e £ t ts tt tPF | cm eo 4 0 hoo 7 a oe @,¢@ oj k am am ai ai ye ye yee iyea © yama cavwyi-yu-yammi-la- yo- om- 0 a a ye ye y ¥ yey Gade Leyte yey F a no i +3 ne += {— 3 1 —— oe: en 3 gh epee Fe cawyi-yu-yacy-mi-la-yo Unamam-am a-i ya una gai yi i-ye yam-a Neftain a T N ik a is e yan-a cu-vii(a)- kal L-u-namam-a in-u-a-leK- a- una C-Wyl-yu-yam- aE Hany Yi-yu-yacy >, rr ta = = __t—_}--_}- — eG ee Se Se ta —_ pe mirla-yo u-na-ga-t yi tye ya e€ yaa pu-t-vi-vit-kKa-um- am- a LOU = Vowel. pt.3. 4 A AA ; aa, i 2 | 14 ai J La me 1 ART ack ~ jos p i mire 3 ee | Hae 1 - vf ad iG ms fr Re r> gh ve Oy 315 m-u-a-lek- a-u-na — Ca-wy'yu-yasy- mi-la-yo una ga-i yi tye ya © yam-a en ka-pog-pa-u-ci-a- yo-0 mo na-leg-fu-yay- mi-na- yo yey) "neatrst 4 Y tq Tu-yag Y Ca-wi-yu-yay-mi-la-yo u-na ga-i yi i-ye yam-a 2 yamy-a ci-vyi-yuryauy-mi-la- Reflain re Pe eke Songs of the Copper Eskimos 227 yo-o- mo ce vyir yur yas mi-la- Yo unag-an-ay a- L ye u-na oi yi Nefrain F Conn. E* Fue ig i= LQ T l=. I rx [a ae | ht Ou @ ch —* 3 i 2 = S Ca-vyiryu-yay-mi-la-yo — u-na ga t yi i ye yam-as a ka-poa-pa-u- ci- a- wyryeryany-mi-la-y get 'y ye yas yoy: “ gaily Yyo-o-mo nia-lek-tu-yam-mi-na-yo Phrases A B Prelude Cc D V.1.pt.1. (HE and Refrain. F V.I. pt. 2. (E’ and Refrain. i’ 88540—~153 ca-vyi-yuyam-mi-la- No. 57. Recorp IV. C. 75 rm Nrwgnaws Nu WANDAWe B major tonality Srl NH dO Pe WO hele ra Measures Beats 3 104 3— 84 : 3 84 3 6 1 3 4 10 5 11 1 3 4 10 5 103 1 3 228 Canadian Arctic Expedition, 1918-18 Phrases Measures Beats ” 7 kt Em! 4 10 ype TS eae Refrain F’ hi high i i5 5 103 2 143 2 2 Conn ? 1 3 3 wt jy i? k Em! 5 12 V1. pd [E hase o Refrain. F’ h! h'gh iB i (x ?) 5 103? 2143221 Conn it 1 3 3 wee ? k Pm? 4 10 V. 2. pt { $523 Refrain. F- h! hkFgh i ? 5? 9+ 2 2 3 2 10 Conn. P 1 3 3 V. 2. pt.2. (H"’’’ 2k Em! 4 10 and 38 3 2 2 Refrain. F h' h?gh # i 5 11 22-38-22 Conn ? 1 2 2 Ez” we 7? k Lm 4 10 V. 2. pt. 3. 3 38 2 2 F- h! bh? gh - - - - 3+ 7+ 22 3 The prelude is unusually long and does not contain the true refrain, which in the verse-part is inseparably connected with the second phrase. Compare this with Nos. 32, 54 and 72. This is the first song in which the verse has had four parts and four refrains. The rest at the end of the fourth part is for breath and probably not intended as an integral part of the song. Although in measures the song is very regular, in actual number of beats per phrase there are the usual minor deviations. It is interesting to observe the small melodic plays on the same theme, and with them, the rhythmic changes. The first part of verse 2 corresponds to the first part of verse 1, making the division between the verses after the completion of all the component parts quite distinct. The song begins on the last quarter-beat on the fifth degree of the scale. The refrains end on the third, so it is probable that if completed, the last note would be the same. This tune affords very interesting contrast with the next. They are the same song, but No. 58 is probably the truer to original lines. In No. 57 the seventh degree is substituted for the octave, thus following a prevalent scale fashion. Songs of the Copper Eskimos 229 Nose Dance Song (aton. Record IVC. ATb. Suna Qaiyoyana,aCoppermine River woman. (4) she B i if it AA I rN if un Am Lv 1 iw i ws 1 if A am a ~ weu-a-le- ka-u- na — ca-vyi- yuryay-mi-la-yo una qa- t ye | i Gee ae h—h—T kitucuna bid og f $ a b ce gpvtuna numauysg i yay - a kam ‘W-yu~ vit -u na- am - a iar as le- ka u- na ca-vyt yu-yay-mi-la-yo una ga-i i yiyeya-a i yarany-2 pi-erk-pa-u-ci-a- U-na aa i (laughter) i iyay-a {laughter} cu-vti(u) ga - li-u- na oF one -a-lek- ka-u- na cavyi-yuryary-mila-yo u-na ga - iyi ye yaya Lt ya ga pu-i-Vi-vi-kau- na tn-u- aclek- kaeu-na ——¢a-vyi-yu-yaay-mi-la-yo fide I iT - ee ee a iz Witty: e Loe r @ ds u-na ga- t numutnag.oq Kapaminuman.rk tainin.uantk ~ila. numutpog. (1) There is a fault in the record here, so that the note “f#’is prolonged, It should be only an eighth in length and form a triplet with the Two'bs' 230 Canadian Arctic Expedition, 1913-18 No. 58. Recorp IV. C. 473 B major tonality Phrases Measures Beats A a b 2 54 43 2 B c edd 3 7 22 8 Here the song is interrupted by laughter and talking. Conn. e 1 3 3 CA f g ab 4 9 3.2 2 2 B’ e dd —- 4 8 a ae Conn ee 2 6 3.3 CA’ f g! al(h) i 5 11 3 2 2 2 2 B” edd —- 4 8 2 2-2 2, . Conn. el 1 3 3 Laughter here before and after the connective destroys the continuity. CA” fl g? a? b 4 9 38322 2 BY? edd —- @& 5 11 2 2 2 8 2 Conn. el 1 3 3 CA’ { g? a b 4 10 3 3 2 2 B” ec d — 4 7 22 2-1 As to measure content and the number of measures in a phrase the song is quite regular, but in the actual number of beats there is considerable laxity. In the first phrase the two measures that appear at the beginning of the other CA phrases are missing and the second phrase is also cut short so that this part is similar to a prelude. A flaw in the record at this point may be accountable for the differences in this part of the song. In some respects the structure resembles that of the pisik but there are no refrains. Presumably after the connectives new verses are introduced but they are not marked in the text. The song begins on the last half-beat, third degree, and ends on that tone. Songs of the Copper Eskimos 231 Record IWC. 45.3. Dance Song (ator). ds Av Pui = 12 ne Uiv ne mar. text 5 = rN a a a A 2 a b c d e e eyam-e yas-€ yam aman eye yaryrasy-a yay amy € yamy-e : Pufude a @ == f $ 3 h i J a yam-e ye yay yar-e€ yan al yan am am)- eye ya yan)-€ ye yan) am) e my é yan): “e yam)-e yan - e yan -ame ye ye yary- re € yaya . - tog -caq-tum-a faj- va € yas e yay - aman € ye yaman.a a- tog-hummmay a-le” pan-tm-ma-le yam- aian € ye yay-a an-e ye yam-a 2 ? au-le -yu-ma-vhun- tm: i yam a- i yan) am Vewe 2, No. 59. Recorp IV. C. 45a F major or D minor tonality Phrases Measures Beats a bc dcCe e) 6 133 A 22 213 2 2 2 f g @h ii 5 104 B 1 1 91 = Prelude BONG oe Pe Conn j jy 2 4 22 AC al bt it 72 x 5 10 2 22 11 bo eS) loo 232 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats A’ a? bt # ef e 5 114 Vil + 222 2 2 28 B’ fi go? ot ht 78 5 114 4 2 2 2 23 25 Conn. jy j 2 3 13 13 V. 2. A’'C- a bi jt 2? - = - - 22 2 2 Unless the singer was “trying over’’ in the prelude all that he would sing in the song proper, the presence of the connective in the middle is very hard to account for. There seems to be no refrain except a little finish to the B phrase in the first verse. The second AC becomes the first part of the second verse according to the text. The end of it rather suggests that it is not the beginning of the second verse but a balancing and finishing phrase for the first and that the song ends at this point, on the third degree of the major scale or the fifth of the minor, whichever tonality it is considered to be. The beginning is on the fifth degree of the major, on the first beat of the measure. Songs of the Copper Eskimos 233 No.0. Dance Song (aton). Record IWC. 54. Tyuaq aNoahoynig woman. dsioo A , 8B LEVYS 3 ia Ta T= TUhi a i ms | Epp js p® 1h AT L, i » i al if fa A AK P ae : ; t. 1 yam-e yamar ye yarm-e yam-a © yame yam- ai ye yam-a hai yary- Mefrairr Cc T nae st if L im 2 Jj ape ST, ia it T if | era Tv 1 ra | { ST SS TY SS Sl Sa | 5 |i + ri —N ae { eas it Fal ae — 1 ae r ry - 1 f ew J } ake + Oe p+ Feit HF Ft + eke a am-a eM € ya-amM-A eC Yaam-a € t-ya- aya Ee Ya-A yay a D Comm. E Cc am T I T T } { {3 To ] 7 — bee OE ie te ny KL (a. > as rs = Se See a 1 a oe a a ee ie ple je tT 1~AJ a i se ce oo @@y4 jt $ beg tr we il 4 ve m n©® eyay-a yal ye yam-a ye t- ye eyam-a e yam-e i yan-a nain-yi-cuy-tig-i A Verse I. c.? Qo sieameananics Tot if iz} 14 T ii) TE | 2 ie SS ah ctr ——| — Z 1 a — tt 4e ha} Oe eek q eee HE) ee ores to-yi-ya-hay- im-t ndy-yurhy ti ma-ko-a dn- i-yu> yana e@ € ya ; ? (yap-kt et) Btehain ( ) Con (Bi? ) T T 1 T T J ==) ore { a vos t Roo tL il + ] ee 1 bd I i - a) inl ; ah ‘Saee: ~ { z + . 3 I 7 ee | * + ais rer te Sw oy eer am-a an-a (qanoq) t-ya ye t-yam-a e yamy-a ye yame yam.a UAL B Cc 2 ay i I T= 4 T a 2 =z —|+— 1 — fs ts 7 t —t mx A © = ~—t wpa e Sole as te CSRS ee j : 3 € yam-e yan- al ye yam-a hat yam) am a ene ya-a- am-a /) D t T ] T T = T TA 1 [ eal 1 | a as } Ty A 1a | + t,* FS + e+ *) ate “Sis % + find pate € ya-am-a e bt ya~am-aA e yaa yam. a e yaya y-ai ye yam-a ( Conw. E* 7 LY. T ++ i ead ot he bee noes 2 oe eee be ye yam-e eyam-a e€ yam-e i-yam-a go- ve-a-cuy- hy i & - to-yi-ya-hay - wy-t t Vewe ®, ? B c ) T4 T Ts 15 T T J Ce fF A = Th {\ eS im = } { | aaae asset Saal Sas SSeS qt 64+ + oo ++ + 7 e 7+ * ~ 34+ cay-ya-hy-tay - bo mau-hk-eal. lu. aydp ku He eye eya-am-a_ i ya-am-a TOML. 234 Canadian Arctic Expedition, 1913-18 cD f t3 {2— t t = t =a ES ee oe Ce we ae ee Ne Ge lo eo Se ve + ¢ + “ie $= et oo al a 2 ad the © ere ra a he ‘iv ya a-am-a u- tu ga-um gamy- a gam an - 19-1 t-ya ye ya -am-a-a ye Qewe 37 i I : ] ET J T ——| va t I i i z eee | * *is* e +e + 4 + ¢ * + be be °,¢ ooo? be OTs yar -a- a € yam-a e€ yay-e b yam-a ki- a-co-yi-ma-a-am-d 1- Ke-yoy- liay- Vewe 4.2? © p B Cc pea > MI Tz ———| es T= - A + }_ K TJ pareeed | J ‘? e e ee er eo + tees 7 + + am-am-A —ay-nag-an-ma- am = A Gatua- lu. uk pn: 269-2 am- & yay anea tmna + ea" * ++ ce ore S eer eo jm . .- wae ha i re a he ya-a -av ou tu -qa ta-leyig-mi > yu- yas) ya- any Vewe 5.2 FSS see Chet eee Cees My J J a-ane yam-e i yai ye ya-am-a i ye yam-e-e-e taima {he he he] No. 60. Recorp IV. C. 54 Irregular tonality mostly A minor The following song is too irregular in pitch and the record was too full of faults for a transcription to have been made that might in any way be called accurate. The following rough analysis picks out the structure in more or less. broken fashion. The apparent prelude may be due to a faulty beginning. Com- pare the A phrase with C. ; Phrases Measures Beats A abed 4 94 3 142 3 B e f g 3 6 Refrain 2 2 2 C hf i j jie jp 7 15 2222 2 2 3 D yPpk yp jf 5 10 2 2 2 2-29 Conn 1 jy 2 4 2 2 Verse ? E m no p q (x?) 5? 10? 132 a Oe 12 Songs of the Copper Eskimos 235 Here the song is so interrupted that an analysis is impossible as traces of the phrases appear only here and there. An inspection of the music will serve better than descriptions. Phrases E’ Refrain BR” Verse 2? B Refrain 38rd C line. Verse 3 ? CD E Verse 4 ? B Refrain ? C Verse 5? CD Rie NoNENarHsB ale ennwreowsB Nie bolle Reo NON O nw B ~~ ee Oe Oe ee) Ni Nie oO No. NeNHNS a i<) a oe ee es I eg - e 2 Conn. di 3 1 B 2 . . ij j' e Bi 2 2. 2 Ey 2 2 2 Conn o p' qi 2 3 34 2 Ft 2 i je f? 2 2-28 port je je 2 2 2 -2 Conn m3 Pp q = 2 232 24 yt ye 12 2 2 2 js rl 78 38? 38.2 2 2 mH woo T- 3 1Z Measures Beats 2 4 3 7 3 54 7 14 5 9 2 32 5 121 3 53 5 103 7 143 2 33 6 133 2 44 ? ? 6? 121? _It is impossible to say on what tone in relation to the scale the song begin but it is on the first beat. The last tone is equally uncertain but is only a step higher than the beginning and these two tones are the general level of the song. 236 Canadian Arctic Expedition, 1913-18 Record WC. Toa Dance Song : d=108 Kukilukag ,aBathurst Inlet woman. (for variant cf No 56) Int. (ext. J a ah Se ae Se ee ee er “ e ,¢: pet Ft e foe freee ya-a- t ya fa- Ko-tatka — up- kwa tt- ga-ya-cagtayin a vatipstig-ni- Yee. : im p i 2 Me if KA IT A. T= Ts te f Care | var if r'¢ } v t Lar Se eos | it it nae 4 { i i EY A “Ye tee tes! + f g A lu ta-ko-ya - gi-va(vut) a- va- bya i yal yat = ya- & Lb ya = &va- L-ya- > . ; LOW Gor. D T T T ra oa TZ C_Ss T i N T AA ATR AR AT if Tf {2 it AS iT t s i. ‘ fs i ° 5 cy e 3 § ee eae & Lyalya-i yaal ya- b yaa-i yega agai t ya-t yaa at-yi-ay-lu tp- L yal ya-t yaal ya- b ya t yega gai Ly y Ziokee p kwa kai- yurin-a- lu u- mig¢mamnay - yuk pug-niy-nayyuk — ku- nu- i : €> ext > D) i iY WA a RR kn Re Ae AAC = d ry #3 f ‘3 ed gs =a naccuytu ga ki-marli-ay- lu ga a-ku- yay- yuy-ha fe i- pay- yuy-tu iE > e | > ey AN | oH i im 1 bad [A AAU AA KAR OAT A es ye (are mn L_- { = ee ee at-yay-yuay- la ga a- t- ta-ug-ci-lu — marli-yuyay- yu i- ti- Tai{yay) 04 G ‘ames Nn AAC ATOR 1 tS » nA IN re iN t | a tt : — : f r ts 1 t lu ga i-lat- ci -aq at- ¢i-aq a-vo-t-ya —t_ya yal whu’ (no definite pitch Refrain (fragenent) for thi s) ; No. 61. Recorp IV. C. 70a Irregular tonality Phrases ~ Measures Beats V. 1. Introductory a- 1 28 24 A b cd (ee e) 6-— 113 aD De 2 13 B f fig 3 73 Refrain 1. $32 2 8 Cc h ij g @ g 6 12 22222 2 2- 33 Songs of the Copper Eskimos 237 Phrases Measures Beats D lm n- 3 74 $2 2 28 A’? kb c 2 6 42 33 V. 2, ;B’ o f8 £% gt(g® p) 6 134 222 2 3 23 E ffq r pi 4 9 22 2 22 \F rors 3 64 14221 es Refrain 2. G - lt--- - - - 5 ie ae) This is a most irregular song. In addition to shifts in pitch which are probably accountable for the change in key and possibly in tonality, there is very little of a formal character. The song begins with a brief introduction which is exactly like a connective. As far as the end of the first refrain it appears to be fairly regular. An ordinary connective introduces the second verse. It is not uncommon among pisiks to find new material for the first phrase of the second verse or the second part of the first verse, but the return is seldom made to the A phrase for the second phrase of the part or verse in question. B’ should, according to the usual form, be the refrain, but the verse continues through this and its extension as well as through E and F phrases, making this verse out of all proportion in length and content to the first. The G brings in a refrain as far as the words are concerned, and from all that is given, quite like the first, but the music is different, therefore it has been called refrain 2. It is not possible to make much out of a song like this, except that in the first part it bears rough resemblance to certain pisiks. The beginning is on the first beat of the measure, although with the varying pitch and key conditions it is im- possible to say what degree. Owing to the unfinished state of the tune and the fact that musically the second refrain appears to be totally unlike the first, it is equally impossible to say on what degree it ends. 238 Canadian Arctic Expedition, 1913-18 ce Dtinee Abert Sound Dance Song ator). Record IVC. 584. Kaneyoq.a Puta girl ryekamame ye kKamay-a i-ya Kan-ay ye-t yai ya € yasy-a cu- va-u-na fok- toytin-wm-i ya Kama gai- leq-crr-ag-tumi ya kam-A-& ye t-yai ye e€ yam.atok- foy- I ga- t-leq-crmag-fo- ma eit-qun- mik ki-uk- cmn-ag-pupi ye 1 f\, (ext, . Com. A. a a se ee a a a a a oo oe a 2 eo de bt b> b&b a bs be kam-a i ye-iyal ya eyam-a L-yakamameye kama yan- a ~ <5 teat t2 8 O24 | 14H#—_@—_@—_e—_ 4 L-ya gam: 2 yeiya hehehe he’ he’ No. 62. Rezcorp IV. C. 58a Eb major tonality Phrases Measures Beats A a b ec b! b? 5 13 3-28) 32 2 Conn d 1 23 23 B ed el 3 7 42 3 14 Cc ade b! bi 4 10 is 2 2-2 Conn. 1 23 Songs of the Copper Eskimos 239 Phrases Measures Beats BC e bide d! e(de b! b?) 8 18 372 3 2 2 232 2 2 Conn. b 1 3 3 A’ f a bb b& ec b ? ? 5 12 3 2 133 25 Although it seems as if the measure divisions as marked here must be wrong in places, repeated tests with the record leave room in the transcriber’s opinion for no other arrangement. The difficulty lies chiefly with the measures d and e and their variants. While there are points about the song that are reminiscent of the pisik the arrangement of the phrases and the connectives is different. Possibly the BC phrase might be split into two, but there appears to be no natural division except at the point where the extension begins and the extension has hardly enough individual character to stand alone as a phrase. Note how nearly the A’ phrase approaches the A in the number of beats although the measures of which the two are composed are different. The song begins on the first beat on the fifth degree and ends on the third. 2 240 Canadian Arctic Expedition, 1913-18 No 65 PHance Goug (aton). Record WC. 4%, 4:88 Qatyoyana aCoppermine River woman. p A. i bi I +3, ma : a 7 = ~ rm f - ty a b 6 bt ¢ d tL ye ye iyeye iyeye yaya iyeyeya i ye ye i ye ye Vue. Cc D 7 i t ran are 7 z a + Ss SSS SSS Se ee — 76 : eo (+ Se x “4 a be 43 x x yaay-a cummu-na mauyi'may Lye i yeya- ay-a [laughter] i 1 L ) I i A —h I 2 ] Ja3 " n~ » r’ A. A A . f vs T bar J i] ao Sn eh al be be fo yan-a tye ye ya tyeyeya iyeyi ya iyeyaa iyeya-t ya 8 : <... at ie 1m} rR ] T =e ri - Tos ty tet tot —o oo as oven oe eee) Geo et sett ar J zi F @ + a= 2 om nes rm Ps ae g ge be : Lyeyeya tiyeye tye ye ya ye cmm é. na nau-yi'mag t (rurpuiniag.og) No. 68. Rercorp IV. C. 47a C major or A minor tonality Phrases Measures Beats V. 1. A a b b bi 4 84 1222 2 B ec deb 4 9 3 22 2 Cc f g b? bi x 6 123 a oe ae D b? h hi 3 gt $3 3 3 A’ al bt bt bd 4 83 392 B e de bi 4 9 3 2 2 2 C- f g bé 3 42 4.92 The measure at the beginning of the D phrase indicates laughter, and was probably not intended to be a part of the song. The singers often showed pleasure and interest in their singing by laughing, sometimes even with obvious embarrassment at singing into the phonograph. The form of the song speaks for itself. It is certainly not a pisik. It starts on the last half of the final beat, on the third degree of the major scale and ends on the same tone, but after a passage which makes it sound more like the fifth of the relative minor. This tone is the level of the song around which everything pivots. The ascending end is by no means uncommon. Compare with melodies 57, 58. Songs of the Copper Eskimos 241 Re wcse, Dette Hong (ator) 4=84 ae a Uloqceag (Shaman, Coppermine River. (1) (i li vat ki) 2 a je ae yiyua yayaiya a a ab ce e at f 21m a a-togcamat- - oq i-li- cay- i-ya eyeyi ya iya iya 1 ri 7m ) A e NA ; lat $ 1 T I Sa a BA 2 T T mee 189 1 ¢- ¥ To a ce c cs cs e} a? b? ce Aha ti ya ha-t ~ ya ai ya ga ya ty-varka- viu anay.viy-yuy-tu u augtoy-yuviu qa Cc i Ea, m: — ork P? cod <3 g h es ce cs ce a-tag-a-i)-le-ki u-ku-a-li nageyiy-mi-yuyuni u-ku A-li i-li-coy- i-vie ai e- . D a ‘ : if ead Cc E 4 : lb — et et c8. yaib ya ya ha- t ya @- foy-lu t-lit-pat-ku &- tu-a-fay-ai-ya-ya A’, (> | S5iassaisae:a= a oe at cz c- ney-u-gay-lu-vlu — ney-u-gay-cey- yu (hu-u-u) (1) The first words are inaudible. No. 64. Recorp IV. C. 30 B major tonality Phrases Measures Beats A a b ec (ct ce ce! e8) 7 14 22222 2 2 B dab ce 4 9 22 2 8 B’ d} f ee (e os e!) 7 14 22222 2 2 A’ at bt c®& cl ¢3 5 11} 2 2 332 2 88540—16 242 Canadian Arctic Expedition, 1918-18 Phrases Measures Beats Cc g h c(c! c® ec?) 6 12 2-2 2 2-2-2 D ic h! b (ce? ce c¢8) 7 14 22 29 2 2 2 2 Al. a b @ c- ? 4— 7? 222 4 24 This song is rather interesting from the standpoint of form and the artistic way in which the A phrase is introduced at the beginning, in the middle and at the end. There is nothing about it in common with the pisik type, for there are no verses, refrains or connectives, and the formal order of the phrases is not the same. It begins on the strong beat on the tonic and ends on the fifth degree, below. It is very unusual in this music to find a song which has a descending trend. Most of the songs start on or near the general level and in the course of the melody rise sometimes as much as an octave and return to the level to close or even ascend. In this respect they are very different from many Indian songs which tend to descend in melody and often start on rather high tones. The general level of this song is the tone upon which it ends. Songs of the Copper Eskimos 243 Noes PDanee Sorrg (Caton). Recordive.48. by Haiyakuk,aCoppermine River woman. dette The chromatic sidns hold fora measure asin European usade ia ‘ a) pares +3 re = es a be aR aae F Rtiaé oe + yany-e yan ya yan-i yaya & een a yar a- &- YE yaya Lt T T T st \ran I |S ST eX T mf Tiss. es tee oie ee ries tee tre Ya a-yary-e YAN-A Aamam-amanan-a ya-ad yamy-e Yao-A ya- ay yane yam-a () ext B Petttve tieteece vedsese ite ahaa in i ee ya e yam-e yay.aa ha hahahahahaha ya-a yam-e yam-a c \o4 Li T —— ——to8s — Tia eae ===, = TIyAse cee fee were e c ye oe fe eae ra ya-a yam-e yar.a a hahaamanamayn-a yae yay-e yan-a yan -€ yame yan-a HY m™ ia _— i 2 TA + rn = To S a Ah, ———F le +e ee ee ryt ee + ee cdc tt + Ahahaha tye ya ya-a yam-e yaya A aMamayn-A YyAa- a yam-e YaN-d Cc? T T=; | + f ] | Fa FH + 3 here jr reece e = we Hd ee Yara yar-€ yan: a & AN -aq-aAm)-anay-a Yar& yam-€ yan-a yaran-e yasy-€ yar-a H— ext: gp ss f ———— = ——— reeere 4 Sus } 4 ia eeeee “thew 7+ + ve c *e +e + ahahaha i yeya ya- a yam-e yan-a- a Ya-ayaay-€ yaya ya-a yag-e yamy-2 Bt tt + +o e roy + He we © i lm a aspanayaman'd Ya-Ayay-eyam-a YA-ad yay-e yaa ya-ayanayanan a BF RE cit fe © he pe Ope 0 oe a a” © -& yaa yagye yar-a yam-e yanaaha a ayayamamayaya yay-e yan-e yam-a 88540—163 244 Canadian Arctic Expedition, 1913-18 T @) (1) Record bad from here on. No. 65. Recorp IV. C. 48 No tonality is established Phrases Measures Beats A a b bi 3 11 —- 3 12 B ec de 4 4 4 : C ec f g (h g) 5 20 444 4 4 B’ ide 3 12 44 4 C’ ce f! g (hj) 5 19 444 4 8 B” ec de 3 12 4 4 4 Cc” cf g h ? ? (fault in the record) 4? 16? 44 4 4 BY” ‘d cl dt e 3 12 464 4 BY wy el di ji 3 12 4 4 4 B” VED. cl d2 el 3 12 4 4 4 B” A ee feed a3 el 3 12 4 4 4 k i The metric regularity of this song is almost perfect while there is a strong tendency in favour of the same number of measures to the phrase. There is, of course, considerable exact repetition, or repetition with small variations which do not affect the general impression of the same thing being sung over and over. The arrangement of phrases for all but the last four suggests the pisik with prelude, but there are no verses and no refrains in this song, which 1s a continuous repetition of burden syllables. The tonality is vague but the rhythms are strongly pronounced and are as follows:— Le A ol Td The song begins on the last half of the first beat of the measure, but the pitch is so wandering that it is not worth while trying to conjecture just what place the first tone takes in the general scale. The end of each phrase is about on the same tone, b or c, and presumably the song ends in this neighbourhood when finished, although some songs make astonishing modulations and departures that finish them far from where they began, another point which differentiates them clearly from American Indian songs. Songs of the Copper Eskimos No.66. ; , Ravens Danee Pong (aton. vias ‘< Kaneyog: [=a — = aso F a ae ‘. 4 - te 7 |' A ¢ 3 g ig Qarvtung a -fe-yum-an-am- am-a op.vhunim a -te-yu-keh-u-a ne -ya c if if 1 2. A, h g i J "kK 1 m ~~ Te -yam-a-nam-a o-na -ay-a- am-a-a Ci- Yama - U.) rie iva 2 te eft te fh AA KS ih a YS SL = = = = = a-te-yum-an- am.am-a A —— = wan rh an a es a |_| ; =a ey ae ea a SS bo a SX Se Ee ee ee ee ee ee ee ee ee ee $ A-Te- ya - acy-a-d R- d te.yu-kef.uan- amn-a a Ss reg ite til a-te-ya-am-a = O-na-am-a-am-a-a Ci -ya-ac-a -aqy-a qo-vhun Sho iho i (1) These measures were not really sung. They were cries. No. 66. Rezcorp IV. C. 21a Tonality shifting between D and F# majors fy nm T i j e f 3 a g 245 Measures Beats Phrases A a bed 4 8 22 2 2 B e fgg 4 8 22 2 2 C hg i j 4 9 23 2 2 246 Canadian Arctic Expedition, 1918-18 Phrases Measures Beats D k Ilmoo 4 8 2 2 2 2 ext. o p n! q- 8+ 7 DQ Ae 2 Conn.; or more likely exclamatory measures like the he he or hu hu hu 2+ 5 E r I gs 3 7 2 2 8 ext. eg gi 4 83 242 2 2 A’- al gt d! 3 7 2 2 3 B’- ef g 3 6 2 2 2 C’- hi g ij! 3 7 2. 12 3 D kt 1m n (m2) 5 10 22 9 2 2 This is an extremely interesting song. Note the fine balance of the A and B phrases and the inversions of the melodic ideas between the measures cd and fg and the sequence in the measures a and e. In the phrase D observe the sequence of mn from kl. The phrase E brings in new melodic material and also is shorter by a measure, but note the extension. On the return to A’- there is an interesting shortening of all the phrases yet there is the same melodic play between A’- and B’-. In the C’- phrase observe the combination of the measures i and j as they were in the first C phrase, so that here they are one measure and contribute to the short length of this phrase also. The phrase D is full length but its extension is cut to one measure. The song begins on the fourth degree of the scale, which is a very unusual eee tone, and on the first beat of the measure. The end is on the second egree. Songs of the Copper Eskimos 247 No G7. eal& a Dance Song Caton). “From Dolphin and Union Strait. Said to be very ancierif~ Sung by Avyana,aPuivtig man.— Record VC 45.0 nug-u-ci-u-yaxyaylayo Unamamamai ye yanan-a nug-uci-u-yaxyay-la-yo =~ Record stops here; final iz opoy Pi oF sae ht e f m words missing. U-nag-am.agya-t ye yam-am-al ye ye yar-a No. 67. Recorp IV. C. 45c Ab major or F minor tonality Phrases ; Measures Beats A abe 3 10 4 3 3 B def 3 12 44 4 This little song was unfortunately cut off before it was finished. It is said to be a very ancient dance song, and displays some very musical features which also are interesting from a formal standpoint. The rhythmic similarity of each phrase is due primarily to the words, but affords nice balance. The play in melody between the last part of the a measure and the c measure and the consistent skips of a fourth downward in the measures b, d and f, and of a third downward in a, cand e are worthy of mention. The song begins on the first beat, on the fifth degree of the major scale or the flat seventh of the minor. 1+ ends on the tonic of the minor. 248 Canadian Arctic Expedition, 1913-18 wes —- Part of aVDanee Song(aton). Record IVC, 2b. HaqumpgaPuvhg woman. au-yaryuagta-ko-yt- ya-ay-a-aq-A-a du-lam-tfoq am.in--yu.n-ik- fog su- le Not analyzed : too short Songs of the Copper Eskimos 249 UNDIFFERENTIATED DANCE SONGS The undifferentiated songs divide themselves into the same groups that we have found among the pisiks and atons, namely, those with no melodic prelude, but which, nevertheless, are sometimes sung over first to burden syl- lables, those which have a real melodic prelude, and those which are irregular ‘in form like the last group among the atons. There are six songs in the first group, which have no melodic prelude, although in the first, the song is begun with the connective. These songs are Nos. 69 to 74 inclusive. The first song is divided into two, but both are the same in structure. The second is a corrupted version of No. 70 with which it is interest- ing to compare it. The first three songs of this group have all the verses or verse-parts the same, and are alike structurally in that there are three phrases, A, B, and C, the latter the refrain. The fourth song also has all parts alike, but it is two-phrased in structure, the last part of the second being the refrain. This is inseparably connected with the second phrase of the verse, has its in- ception in the final measure of the phrase proper, and is carried to completion in the extension. It is the fourth of the songs that form the little group with this peculiar plan, Nos. 32, 54, 57 and 72. With No. 73, we encounter the rather rare type in which the verse is divided into three parts, each unlike the others and each with its own refrain. These are regularly repeated for other than the first verse, as far as the song continues, The last song of the group has a syllabic but not a musical prelude and is composed of the A, B and C phrases like the first songs, of which the C phrase is the refrain. The second group is composed of those songs which have a melodic prelude and contains seven members, Nos. 75 to 80 inclusive. No. 75 is a two-phrase structure, verse-part and refrain, and the verse-parts are separated from one another by connectives. Apparently the verses begin at once, but the first phrase of the first verse is different from that of all the other parts; the plan is A, B, conn.; C, B, conn.; C!, B, conn.; etc. The second song, No. 76, has a prelude introduction of two measures which are not the connective and which do not appear again. These are followed by the usual refrain and all are sung with burden syllables. The refrain thus becomes A, B, and the verse-parts C, D. These are regularly carried out for as much of the song as is given. There are no connectives that are clearly set off from the rest of the music or that can be discerned. In this respect the song does not quite conform to type. In No. 77 the prelude is only slightly different from the part that elsewhere is the refrain, and its structure melodically is very similar to the verse-part as well. Its phrases are A, B, while the verse-parts are C, D, joined to the prelude and in other places to the preceding refrains by connectives. The refrain is CA, B. In No. 78 the prelude is A, B, of which B later appears as the refrain, while the verse-parts are C, D. The usual connectives are present. No. 79 is irregular. The prelude, A, B is followed by what I have called the prelude refrain, C. Separated from this by a connective occurs another refrain.D, D. The first two verses then have E, B for their phrases and the prelude refrain as their refrain. The third verse is musically D, D and an extension, modelled frankly on the second refrain which followed the prelude. In the last song of the group we again have a prelude introduction of a little more than two measures, which is not a real phrase, followed by a part which later proves to be the refrain, A, B. The verses are somewhat different from one another, but apparently have the same refrain. Thus verse 1 is C, D, E, F, with refrain, the second, C, D, G, after which the refrain is begun again. 250 Canadian Arctic Expedition, 1918-18 In No. 80 there is a brief introduction preceding the refrain AB, and this constitutes the prelude. The first and second verses begin alike but the second is shorter and substitutes G for the two phrases Eand F. No. 81 stands by itself in that its prelude, A, B and an extension, is repeated in full a second time. This may be because of a fault in the record. The difference between the A phrase and the C, which is the first phrase of the verse form C, D, is not really so great as appears, while the D and B phrases are very much alike also. The differences are very subtle, but none the less, seem to be fairly well separated in the mind of the singer. The last little group contains three songs of types different from the ordinary pisiks with or without preludes. In No. 82 we have A, B, and C phrases separ- ated from a D phrase by a connective. This is repeated with a different connec- tive joining the two parts. To the C phrases a few words are sung but the remaining parts are all burden syllables. Song 83 is a two-part design, each part composed of two phrases, and the entire melody is sung three times, with intervening connectives, each time being modified somewhat. There are no refrains. The final phrase is cut off by,an exclamatory passage. The last song, No. 84, is composed of phrases A, BC, BA, B. There are no refrains although the last part of the B phrases might be called a connective. Of the sixteen songs belonging to the undifferentiated group, eight are major, six are minor and two are irregular in tonality. Two begin on the tonic of the major scale or the third of the minor, five on the third of the major or fifth of the minor, five on the fifth of the major or seventh of the minor. One begins on the seventh of the major, another on the second, and two on the tonic of the minor. Ten end on the third of the major or fifth of the minor, half and half. Two end on the fifth of the major, one on the second and one is uncertain. Two end on the tonic of the minor. The general levels are, two on the tonic of the major, three on its third and four on the fifth of the minor which is the same tone, relatively; two on the fifth of the major, one on the second and one uncertain. Two are on the tonic of the minor and one is uncertain. Nine songs commence on the first beat of the measure, four on the last, one on’ the last half, and two on the last half of the first beat. The great majority of them have mostly two-four metre, but there are several in which there are a fairly large number of three-four measures and one which is chiefly three-four and four-four. Songs of the Copper Eskimos 251 ee INC. 104 Dane ¢ Song . ale h ,aPuivhyg man. Cow, Int A e Ikpak! oan a (ext oa Pe aE | SON (2 / SR | A A __ O_O WO AR A DA A A LS RE LT TA (ee ey eo ee Ny ar b Cc 2 a a € yamy-& cau-gan-mapic-u-yu- Itx-yaq-mal-yuy-o i ye ya - mai yam: a Sewe).pt.i. : Lt, tL Cae pan (ama a B d @ f Ss guay-ta-mikfu-vtu-yo pio-u-ya- cu-ayai-ya-yi- yasa Lyeyar a-am- a- ai ye yam-a A & ye yai yam eye yai ya € yam-a ga- noqcamna pic. u- yai - ya-yi yaya ere) .pl.?. . rt Bt ; ie Se eet fC Conn, PAT A * A % as 0 i aa = - = Lye yaryai = -yay-a fei-ku-li-ay-li prc-u-ya- tu-am-ai-yaryi - yaya e yan-a cau-fan- cu- yu. l1x-yaey-mai-yum- i-ye yama-t yama ca-qu-mea‘to-vlu-vo pe: Gatti u yu 1 yay m y M0 ‘Ye yay y. vy) qu-meg 1D. U-yo pie uya tees £# Cc _ oD : 3 Ese> 2 TZ 7 tT a | as ez f oi a : h : a : t ; tuayai-ya-yi- yan € yam-a haa ham-eye yeyam-a ha-a ham-eye ye . Prelude to next verse vi ‘, —~ cm 2 eae = ae Comme ie Dt J vv t a al = = Pie TEED In Lee ee See ae 3 Verse 3. pa oo ae ee . F! Dip 090 Fe eee er ee B as a? = = ma tuc.a-leyi -vi yo actimmi-li- ma po-ivyatx- yammay-a — a- amy - . YOUU ; an pee z cok i x aaa t T Lg n ql a? a” a® € ye ye yama yeye ye ya € yam A Cu - Na-uv-d CA- qd) There are really two distincisonds in process of beg eombined -The second Sond is given in “full in No.70,Record IWC. 69, 1 2 A ¥—t y 252 Canadian Arctic Expedition, 1913-18 No. 69. Recorp IV. C. 104 F minor to Bb minor Phrases Measures Beats Conn. as introduction a 1 3 3 A bc al(a)a 5 11 V. dopt. 1. 2 2. 2, °2 3 B bid e 3 7i 23 23 2 Refrain C f a? a’+ 4 10 2 3 2 3 Conn { at 1- 23 3 3 A’ b ca a® af 4 92 V. 1. pt. 2. 19 3 222 B’ b? ef f 3 6 2 2 2 Refrain Cc f{ g a® ai+ 4 10 | 2-3 2-83 Conn. { a 1 3 3 A” b cal (a5) af 5 103 V2 pi 1. 22 2 22 B” b? e& f 3 63 922 2 Refrain Cc f g a? a’+ 4 10 2 3 2 2 D a ha 3 9 3 3 3 E ij 2 5 3 2 Refrain F k al al 3 8 8 2) 33 Conn. { a 1 3 3 h! a8 a$ 3 6 Verse 3. Dr Di 2 E’ lm a0 3 8 3 2 38 Refrain fF’ k' nal al? all 5 10 222 2 2 Conn al. 1- 23 23 Verse 4. D { h- = _ In this example it is possible to see two songs undergoing the process of fusion. The second song is given in full in No. 70, which follows. It is pre- sumably much nearer the original, or may even be the original form itself. Songs of the Copper Eskimos 253 Certainly the version that has become attached to the first song in No. 69 is less detailed and apparently more carelessly put together. The F phrase there represents the refrain, which is C in song No. 70. It is most instructive to compare these two versions, for nothing shows more clearly how a song may deteriorate and yet retain enough of its original character to be recognizable. The prelude of the second song of No. 69 furnishes the melodic material for the ensuing verses. . The first song on the record is a pisik with a brief prelude which is the same as the later connectives. The refrain is short for a verse with two phrases, but this is not uncommon. The first song begins on the tonic with the first beat of the measure and ends on the same tone. The second also begins on the tonic with the first beat, and presumably should end on the same tone. The tonal range of the second tune is larger than that of the first, but their many similar tones makes for a ready combination into a homogeneous melody. 254 Canadian Arctic Expedition, 1913-18 nove __ APrinee Abert Sound Dance Song. scalars Kuniluk,a Putra gine 3:84 A» 3 4 A 2 2 2B ve FA Ee at tet te tt tz pee an a ae bs if 1 T T I ia z— a ne a a b @ d cam-na - - a-tumni-li 1- — mapo- i-yatx - cunauy.acam-na makco-luy-yu- am vy-i mik-paiyam-ni t- ma po- t-yahx- Vewee. yayman ay-a- aiyeye yan-a ye Ye yay-e ye ye Ye YA Eyay-A d> Tum-a e ny a aha camnatutip- eco la-amy-a in-u-ya-li- man Vewe4 a : C > Conn. 9 e f a2 h ae af ab aé a i tip-ka-nami- Bain ai yeye yan-A ye yeyame yeye yeya eyana a a a as c a g ee gamma t-matey-lt-amanmadt-1i in- U-yali-man- a tu-tip-kanagy ila ede 5. Bt e yaa ay-na-u-yummu ha. -ity- i -Va-go- vium-a-amy-a — fau-gayma1-ma fuk tey-li-aganmaya a erse 6, spoken: -miyiag.oq V.1. Refrain V. 3. Refrain V. 4. Refrain V. 5. Refrain Phrases I Cc oa~-er—r— rare = aS 0S Songs of the Copper Eskimos No. 70. Recorp IV. C. 69 C# minor tonality —_ rFoNnNonys tole we NonNonwe NWHwe vo NeNS ND i Nenwwenwe ic) Ne wre we a? (at ad) 222 2 Conn. { as ao h a?(at ad+) 2 2 2 22 Conn. aé 3 a8 1 a3 (a4 a’+) 22 2h Conn. af 3 Measures 3 3 6 Beats 6 7 12 o>) Nie 7] 13 256 Canadian Arctic Expedition, 1918-18 Phrases Measures Beats Ale Ba at 3 7h V.6 3.2 24 B ct d‘ a- 3- 73 +3 41 This song is exceedingly regular in form. The phrases are fairly uniform in length although often made up differently, as far as measure lengths are con- cerned, but the analysis is not strict when it comes to splitting the triplet beats. It is a typical pisik without prelude, and the extensions of the refrain help by their added length to balance this with the two-phrased verse. The beginning is made on the last beat of the measure on the fifth degree of the minor scale, below the tonic. The end is on the same tone, which is the general level. The triplet rhythm is a characteristic feature, not a common one in these Eskimo songs although encountered occasionally. It is lost almost entirely in the version given in No. 69. Songs of the Copper Eskimos 257 No7I. @) = Record WC, 29, ane ong. Tai pin. J= 80 aipan.a, Purvtiqg BOY crreced A, per et fh ph hr K Teh BB Ree] —fh—-1 Vy 7 a b cu-munmie ye ye tr-kif - ca-la-u-pik oh cu-mun-mie ye ye a-To Vowel. ee . Verse Lipot.t corrected. 7 aes si p B Cc Le 1 A f. a ~ { A re re i pd] — A Ts i 1 Lt ied I 1 i 1 RK AI + + Si c fy? ‘d e f e fu-ay-niy-mimarkey-yu- ay-yuy-ti a: toq-tu - ay-niy-mi cumunmi e ye a ye e wif: A B |= am {o. AAA t tet J ; es ft + x —| g at b a® 5 e4 ya e ya aty-o-Tik-eat capkua qey-nig- hy. syu-th i tacko-ma- vak Suy-tf &-foq- fu- Corsel.pt.2. ough) (1.) A ie a a a a a oes Dee a me aa Tae vee ce a b ay-niy-mi cu-mun-mi e ye & ye e ya Yo Seven e ye ye ti- kif Ca-la-u-pik — uk- ti ta- hy-mun-ti th. kiftca-la- u-pikeumun-mi e ye ya e Treftair A 2” t Ta ar Varad aa ae a a (ae a. eT T le i tT | tal y re. y* ws fa be (a a 1 ay: | es Um) + ar 2 ce oe be dq. °® yaahreya uk-h-ta- hry eee a that. cay-mi-ya-ma tu- pay- yuy-mub i the Voroe 2.pt.2. (ey () A3 — . = + —= Ts f iN A {as ™ ar Ky } Sa ("Pa se Woo ea OE te ET beg iae eee a g id 7 vi 1 {_if @ 6,,6 Be ¢ i C) es 7 ae kif-ca-la-u-prk cumunmi e e yehaeya uk-htfal-ty- muti fu -pa (3) Vaptd. (a ery) : c ~ yuymubi ti kiteay-mivyama ta: us ga-tif- ka-li toq-tu- la -ti-vat-ke aad hu hu! (1) Slightly sharper from here on. @.) An error in beginning the verse. The song became a full half step higher,i.e, in C# from here on. 88540—17 258 Canadian Arctic Expedition, 1913-18 No. 71. Recorp IV. C. 29 The tonality is irregular Phrases Measures Beats A a b ¢ 3 65 V. Low 222 3 B bide 3- 6 143 14 , Refrain C f ¢g 2+ 7 ee A’ al b ¢ 3 63 V. Le pt 2. oo 2 B bi de 3- 6 23 13 Refrain C f - gl 3+ 83 ws 23 A’ al b ¢ 3 63 V. 2. pt. 1. 5 9 9 8 B bi d- f! 3 6 42 2 4 Refrain Cc’ -c g? gi 2+ 73 143 3 A” ab ec 3 7 V. 2. pt. 2. 2 2 22 B” b? d- 3- 5 Z 2 2 4 Refrain C -e gt g 2+ 6 142 3 Aut a’ b ef 3 7 V. 3. pt. 1. 2 2 3 Bl! bh fs 3 6 2. 2 2 Refrain ? Cc -€ 1 The analysis starts with the correction made by the singer. The false start is given in the music merely to show what a small melodic difference will be noticed by a singer. This particular informant was nervous, as could. be easily detected from the way in which he sang, so that his condition was prob- ably accountable for the sharping in pitch. After every error or even cough there is a rise in pitch. The cough also upset the rhythm somewhat. In the above example the connectives are lacking although the last half of the C phrase, were it not so short without it or too long for a connective with it, might be considered as serving in this capacity. In the first start the song begins on the fifth degree of C major, or so it sounded, but this was corrected to the sixth; in either case the beginning is on the first beat of the measure. The tone material used is very limited. It is not certain what degree would be the final note. Songs of the Copper Eskimos 259 ae "7. Danee Song ° dei26 Haqumyaq,a Purviig woman. a oe TS A A A = ae Ct -¢_s—_s—_o_o_|6—_8_o_0_ o_o) ae it mara ri a 6 ¢ d ai ye ya-t ya ai-yu-mi-yi-vat-ka at ye ya-- ya — in-oy- 0-ay-yu-in Vense Lpt. i. : al-yu-mt-yi-vat-ka ai 3 ya-t ya al ye yat ya ae ye b-ya-t ya f, A! " i ace. d=132 at b e i d un-il- yo-ht-ca-mk kik-caleqpaymata ai ye ya-i ya m-oy- O-ay- yu- in Corse L.pt. 2+ : : 2 f , zl (ext. > Com. At 1 — : pe eae f 3 : sj- = h ai-yu-mi-yi-val-ka ai ye ya-L ya ai ye ya it ya tye i ya- t yagai ye y ae y 2 z ep = Pak = 2 ae 3* ~h =a b ¢ i-ya- i ya a-a-u- lautikcammk ai-yoq-cagyin-am-a ai ye ya-i ya Vowe 2. pt-2. uvammk ima ai-yu-mi-yi-vum-a ai yeya-i ya ai ye ya-i ya i ye i -Ya- Mefrain coh aS a ae ee LE Jz AA AA LAC A nm rn iya iyaya- tb ya-i ya m-- €-xtnig-pik ai ye ya- t ya v pl. y afar dl aes P exe 3. fi ‘ rl (Ext. Tp eg lg HS Abbie ty et Sa eg ee ae : —_ ; nu-na-yo-ay-yu-mi Lin: Eq-xin-ig- pk ai_ye ya-t ya ai ye ya-i ya Drefrain 88540—173 260 Canadian Arctic Expedition, 1913-18 —— fh oh a ee ee ee a 4 3 a b c | EF i oe hE numayoay-yurmi 1 un ég-xin-ig-pul i ya-ai ya aiye yal ya a- u-lau-tikgag-pik ai ye ya- i ya 1-ma-yoray-yu-mi a: u-lautik-gaq-puk do144 at 3 Xh al, b+ i-yA- b ya tima-yo-ay-yumi —a- u- lau-tik- qa-yam-a ai ye ya-i ya Verse 4: pt.2. : 2 dese (Ext. -_ aaa , a. e f g s* Nh ta-u-yo-ay-yunun fh -1-kit-ga-ti-vik ai ye ya-t ya ai ye ya-t ya tye yal yaal ya a Reofain Qeieedipt.le B al ye ya 1 ya aiye ya-i ya t-ya- tya kuf- t-niymun — ki- leq -tu-a-ya-ma YOU Vere 5. pt.2: B* (a) (Ext, ae a CA T rN T T 1 —¥ tt ra aa J c v d 7 e f 3 x ai ye ya- i ya _ag-o-tikcam-mk kicenraypnig-pik ai ye ya-i ya ai yeyat ya Nefioinr tya tyagqa-t yar ya ai-yu-miyi-vat-ka ai ye ya. i ya traymi-yo-ci-ay-yuin Verse G.pt.l. i : Songs of the Copper Eskimos 261 gs i-ya- t ya U-van - ¥ y V.6. ptr. B ‘ b a pot va = a-u-lauhptali a urlautikoamymata ai ye yai ya tiy-miyo-ci ay-yuin aiyumi-yi-vat ka (1) Not heard clearly. (2) Note this regular measure. No. 72. Recorp IV. C. 77 (?) Eb major tonality Phrases Measures Beats “a be 3 9 V.t. pti [A { Te Refrain. B de ff 2) 5 16 3 4 3 8 3 Conn g g? 2 4 2 2 , a b ¢ 3 9 V. 1. pt 2 (A { ae Refrain. B’ de f ( gl) 5 15 | 38 4 Conn 2 h 1 3 2 1 uw -gl b Cc 3 9 V. 2. pt. 1 A re -_ Refrain. B’ de f (g gi) 5 15 3 4 3 3 2 Conn. g? g? 2 4 2 2 nw h -al b ¢ 4 10 V. 2. pt. 2 A { D2 aS Refrain. B” d e- f (g gt) 5 14 8:3 3 38 2 262 V. 3. pt. and Refrain. V. 3. pt. and Refrain. V. 4. pt. and Refrain. V.A4. pt. and Refrain. V. 5. pt. and Refrain. V. 5. pt. and Refrain. V. 6. pt. and Refrain. Phrases ile A” t B’ , 1. fA” ie " Canadian Arctic Expedition, 1918-18 — bole f The connective was omitted here. wa we -al 2 d 3 ro We (ox) Lo WT Wo b+e a. 3 e f (g gt) 8.3 38 2 h -a' b ¢ 2 d 3 2 23 3 e Pe Conn. Nie ep — HDS Measures Beats 4 5 10 15 10 13 14 Songs of the Copper Eskimos 263 Phrases Measures Beats V. 6. pt. 2. (A’ 2 al b+ ec 4 125 and 3 3 34 3 Refrain. B d@e <6 - - 3.3 The more one studies this melodious and well-balanced tune, the more "interesting points one discovers. The song belongs to that rare type in which the refrain is one and indivisible with the second phrase of the verse part. In most cases the refrain is very regular but there are one or two exceptions. It is designated by brackets over the letters, for it comprises not only the extension, but the last measure of the phrase proper. On the whole the structure is three- part, not only as to the number of phrases in the verse part, but as to the number of measures in the phrase and beats in the measure, although there are some outstanding exceptions. The three-measure phrases overlap in the case of the second phrase of the verse proper and the refrain, and the connectives, as usual, have at most two measures. The-melodic structure of the first and second phrases is very interesting, with the almost perfect melodic sequence that appears in the second phrase, to balance the first. The refrain closes these two phrases very effectively from the melodic standpoint, although it is occasionally rather short. The connectives vary according to whether or not the verse begins with an accented syllable. The song starts on the third degree, on the first beat of the measure, and ends on the same tone, which is the general level, that is, if we accept the end of the final verse as being like that already given. There is a gradual shift of pitch which is confusing and was disregarded entirely in the analysis, as -it certainly could not have been intentional. In the course of the song there is a drop of half a step. 264 Canadian Arctic Expedition, 1913-18 Eevee — _ Daniee Song. Takoheg-ina Coppermine River woman. 4=96 A B , aie c. Sere a a re ae aks apo a ee ee : ave "ad & Cope *S, 4 = t ye ye ya ya fu-ca-nay-1-nagq-pt- yin ~~ ki - vat- t-vutkama - Verwel pt. MS. ? 4h é C ext) D ee ey o—o—_0—_ 00 sO 0 a te ee ott $ = ar 7 ae” pelle ; Ya fu-can-tk-cat-gagq -pa tut Lye ye yay lt yAga-i ya t ye ye Refraint. 3 rt DA (ext ) Fy i cx La f ra Pit KARA IN a a as tee A SMR? EO dtd + + in se cas lia iS ye yay t yA qa-- ya tye ye Lb ya-ya ye ye yai ya &aqaa gaat 4 Z J , t-f-f-t-4 ne a | e- +—*#44 Pht o_2_0—e—« ia ae ee Se =| Cece eeee ZS Ne a + + ee yaqa i ya ha-i ya umagmalctuy bh ~ t a-fan-yan- t - mama tu-nut-tp-tin- nut u - u ni-gé-nuk. u t- ma ya Verse 2.pt-2. : fu (1) cext 2 Py a Ts {5 2 A NS a Lv J Laas 1D, a hf Py Ce Oy, aie a at A ey ay Eh | ar rm a Ba 4 ib nae bs I hs a - \ it t co - = } th it J = i Ce 4 6, (¢ @) + Sd + 7 c+ ¢ 7° ¢ katekfunay-tu gam- a cey.aqmk- ty r-ma ga-i ya t._ye ye U-yay caviynubur- ma-aut€ )- kuetknuku gaa ya i ye ye i-yay yd Comm. Saar G LAgyt 4 Yi iN UBEA re A, n a——h IN 4 rw re re | SW SS Set SS ge tye + o,¢ 4EZiF © FC Oye ere tae + iyaqa-t ya t yeye ye i ya qi yaqa- i ya ta-ma-i-ta-li iyaqa-i ya fain Versel.pt.5. D> + Aa te A—r— A f=- bff + tht » rN j ] 4 \- a A Da | 1 if g " Ae ni rN aS Ns ii iv {* i i 7 dail sien ide en er 2 a ee a ma-ku-a — -num-e-ag-tu- yth-i = ak-fu-a-ya - — inap-kin im- miy- u- ma -yin- ; H D* Las I I 1 I Nu = | j}_A Te ea ran are T K Aj rw me | eS So eS +, ¢ gi VO tT ct 2 7? ee tog XY +. 3 ny ag-un-a i ye ye ya- ya- yiye ye-i-yai ya t ye ay ya To Rehoinne * Y ae yat ¥ ye ey es Songs of the Copper Eskimos 265 4 F DA Ts Js =e » A —dh—_p—_ a= rw ih a At he — Pe — fe ats Jett 04,0 tet C44 @8 tive te” B. °4,% ed} eT oe ee ga- ya tyeye yay iya iyaigqa-t ya Lye ye Lb -ya-ya Ls (ext: ) Comm. A. - ry icy as f+ ~ 4 rN ~ » rm fi re re 4 ht fi iM iT fr tat wre) it i ia i 1 SE LE te il ko a! + ie + bl i | rt + r’ ry + iy +r * ¢ Fyre Fe € +5* ce + + a we at t yl ye yay t yaa qa aqa-a-tb yaga i ya gqa-+ ya i yea ya tu-cuk- : erptt | os : fi B Dal al Fine. 3 f. ft ‘ “J t a tc LJ re) had 4] eg a ee ee ee & + t rs a a * a Ss os e—e = a ar *, . 7S et ° . a i te f . Cl-nag-pi - yin hu- hacnun L-mum-a a-vab-tptuynu fi - t (1) These notes, and consequently,a beat were omitted on the repeat— Phrases A V. 1. pt. 1. C Refrain 1. D DA 4 E V. 1. pt. 2. D’ Refrain 2. F (G V. 1. pt. 3. ny No. 73. Recorp IV. C. 36 C # minor tonality _ a a be 3.2 2 2 def 3.3 3 f' ¢ 3.3 h a? b! b? 2. 2 Be? b? a’ a? (b4) b5 22 3 38 24 Conn. { b 43 a? gl hb? 3 2 3 i at b? b (b8) 23 22 8 Conn. b! b? 2 2 b j b! b? Be Do 24D ab b cf b? 22 2 2 i a® b? b Measures Beats 4 9 3 9 2 6 4 8 5 123 i= 33 3 8 5 12 2 4 4 8 4 8 4 8 266 Canadian Arctic Expedition, 1918-18 Phrases Measures Beats H ga’ a’ bl? 4 8 2 2 2 2 D’”’’ P aS b+ 3 7 Refrain 3. 2 2 3 F b j bi b? 4 8 De 2 22 DA b? aS a b!(b! b®) 6 123 229 2 9 2 Conn. { bé t+ 34 43 A a’ al bel 4— 82 ¥. 2p k + 2 2 4 B def 3 8t 43 3 2 Cc fl ¢ 2 6 3.3 Refrain 1. D h a? bi b? 4 8 2 2 D2 DA b? a’ al (b4) b> 5 124 2 2 3 8 2 Conn { bé 1 3k 43 E a® al b7 3 8 V. 2. pt. 2. 32 8 ‘e i at b? b (b8) 5 12 2°38 72-23 Conn { b! b? 9 4 2. 2 Refrain 2. F { bo aS eS - a 2 This is a rather unusual form, in that there are three parts to each verse and each has its own refrain. There is no prelude and no connective between the second and third parts of the verse although there are connectives between the first and second and between the verses. Refrains 1 and 2 are totally different although the second resembles a little the last phrase of the first refrain. The third is composed of the material of the two previous refrains, introduced by a new phrase H. The interesting point is that the H is substituted for C of the first refrain which is really an extension of the first verse, while H is an independent phrase. The two phrases which constitute the latter part of the first refrain are, in the case of the third, separated, and the material which constitutes the second refrain, that is, the F phrase, is placed between them so that the complete third refrain is H, D, F, DA. The song begins on the third of the minor scale, or the tonic of the major, on the first beat of the measure. It is unfinished, the last measure that can be heard being the first of Refrain 2. We should suppose, however, that the end is on the first degree of the minor as it is in the third refrain of the first verse. Songs of the Copper Eskimos 267 Nord Pance Song. Record IEC. 44. Qatyoyana, Coppermine River. ‘84 2p, ios c et d e e! f u-vam-a ye ye ye yaaa ta-h-yi-vanmayae ye ye ye yan-a op. yeye ee : . i eyeyeye ya e-yay-a fa-t-yi-vay-maya — ndrlu-lek-pak-tk - pu-ug-u Quel. pte. go-at -i-aq-puy-ti na-lu- Iek-pak-tk- pu-uy-u ee ye ye ye yay € yeye ye ya Reftain e-yam- a ta-u- gait. ka-li u-luy- ya-cag-ei-ma- fam-.a jo -at- i -ag- aR re aaa ae Tt, aa Co . | £2 2 Ts Se hme eS Pe V ir 7 d es eé f g e er puySina-lu- lek-pak-tk-pu - um-u e yeyeye yam e@ yeye ye ya e-yaga , j 4 ta-ti-yi-vam-man-a — th-kik-ca. liy-niy-mim-i ca wk-yu yu-nun t- kik- Vere 2. pt.1. es ca-vik-cammk tm & —-1¢- U-ma-vlum-a- lim - i ku-tu-ya.- Iuy-i c&- pi- Verse 2. pt. 2. ae . _ fa -tt- a vaaymaey: a tr-kik-ca-liy-niy-ma- i ka-nu-yay- yu-nun tr kik- Verse 3 oh Ya u- luk- convail lon: & Verse3.pt.2. —— Cc e > e ey Conw, i pt tbh tb YS ppt a! {+ a + ic it ae CY i 1K me es es f g e e2 hk: pa- ki- yan a e yeye ye yan eyeyeye ya €-yan-a caliy-niymin - e yeyeye yam eye yeye ya e-yayy-a er. Ca-liy-nry-mim t e yeye ye yay eye yeye ya @-Yan)-d 268 Canadian Arctic Expedition. 1918-18 No. 74. Recorp IV. C. 44 G # minor tonality Phrases Measures Beats A a be 3 6 Prelude 2 2 2 B ede el 4 8 222 2 : Refrain C {f ge 3 7 3 2 2 Conn. { e 1 3 3 A’ h i @& 3 74 V. 1. pt. 1. 3 212 oe B’ j d e& e+ 4 7% 22 142 Refrain Cc f ge 3 7 3 2 2 Conn. { el ef 2 4 2 2 A” h- e& ic 4 8 V. 1. pt. 2. 222 2 B” j} d @& ef 4 73 22 2 14 Refrain C f ge 3 7 3 2 2 Conn. { e 1 3 3 Ave h ite 3 7k V. 2. pt. 1. 3 232 B”’ j d e ef 4 73 29 2 12 Refrain Cc f ge 3 7 or 2 Conn. & 1 3 3 This last verse-part is the exact pattern for the remainder, through the second part of the third verse, so that it does not seem necessary to prolong the analysis. While the first part was designated a prelude in the text, it seems more like a verse. There is apparently nothing in the words, nor in the music, to set it apart. If it really is the first part of verse 1, then the song is carried through the first part of the fourth verse. The song begins on the third degree of the minor with the first beat of the measure and ends on the tonic, and with the connective. It seems to be an unusually regular pisik of the type without prelude. Songs of the Copper Eskimos No.5 Record INC, TR. 282 f A MoDanee Song. Haqumyagq,a Purvttq woman « 269 AA ba vat Pit nr v +t q B AA n 4. ofa Cha t ae a-t. ya Whewiedac pti. mews ‘mun: Ki -a- |, at - c Ci. a- ya nay-lk-tu d a-yi “Vary e a- 6 ya-at chain Conn. m WN Ly 7 f al ye ye ya gat ya a- + yal ya - i ya: yal ya- bya: a-al ye Cc aah Cl- Iay-yu-aq gé- Qu ci- ca. u-yarliy-man at - Cc ; im ah << t ; rr -a-ya nay- lik-tu- a- KT T AN tT iJ ae i Yirva-ya a. t yaral a- t yal ae eae cue ya ya iyai a ya't yai ace. a 4 > —s 8 6 fT) we ewe wee 2 ° i= dicate lu nai-ya-ya-li y-fi-ye-e- yi-varya 4 49 @ A a lyaal a ye ye ya gai ya a-iyai — ya- i yar i yal ya- i ae aye fain . al Comm. : : : aaa Bi ae we woe eee ct ad | eA A A pT AY at AR TT Son SF $ pt RAT RAR A ESky a es es Ge e Rie its, (i Sag ' i-yai i yal fa-u-yuett onmy-nu-yu-aqrmamany.a nai-ya-ya-li u-ti-ye- yi-va-ya Ss ela a : 7 e=108 - Comm. : = ra Pe } ty ~~ f 4 fc fc t te t —t «4. &. 4 e? f3 3 ce (oJ : t ie Q sf “ge ai yet a yeyeya aa-t ya a@ Lyal -yal ya-t ya- at ya-! Le ie .3.ptl. Mefraim, s Ss pt a _ ft. 3- a» tr rn LS tr ft. a aa Var re | ts Tt » atl oF RM 5. RE A at a. bh it P| A 4 af | as J A. i ae ae a—. ks A 7 Las 2 Oa a 7 6 5—6 4 = kf ae ar we Tad sed i on! wee ie iyat oa: bya — cu-mun-ki-a- lu ni-le-ya u-ti- ye €- yi- varya Canadian Arctic Expedition, 1913-18 (0-4 5 a a ey an 6 ce iyai ya- L ya-t ya ye rit. clea pe o> Gane GE GO be Ge ee ed i }{—_¢—_@—_» 1» I" «4 Thee ti-yum-ij-um tu- $ talx - yahrnam- a c&-ni- le- ya u- ti-yé-& - a yeyeya ga-t ya ai ya at ya-t ya-t ~iolh yd ( t cu-mun-ki- a- lu 4 i-ya- A- Loyal a- & ya a ye ye ya at Sa a- + yal i ya b ya-t uhu uit ya frain V.4.pb.2 wa t 7 5 the r Teg P— —— SS = ker * ke t es ci-le- he yat- aug ga- t- yain- at “man ‘tu-pam mi-luo om. “tq: -tu- (yi -vum)- -a ete. (1) Not really pitched. No. 75. Recorp IV. C. 72 D minor tonality V. 1. pt. Refrain V. 1. pt. Refrain V. 2. pt. Refrain Nye Wo NoeWwe Nmowoa — Measures Beats 4 113 fi gt 6 14 33 h ¢ 2 3 2 14 5 12 6 13 1} ¢ 2 3 2 13 Songs of the Copper Eskimos 271 Phrases Measures Béats Vv. 2h. 2. oO? ecg & g i 6 12 222 2 2 2 Refrain B e? f3 g3 cl ce? g 6 123 22 182 3 2 Conn ge g@ 2 33 9 1 V.3. pt. I. ©"? c f c& gS i+x? 6? 12 23222 21 Refrain B’ e (alt.)f g? ct c? g8 6 114 2 fifo 8.2 Conn k g 2 4 2 2 V.3. pt. 2. C"” e ff g oc g i 6 12 2222 2 2 Refrain B e(alt.)f g® ct c g? 6 12 2 2 142 2 2 Connective omitted. Vid. pid. Gur? 7 & oP) ge a 7 15 2° 2.2 3 2 2 2 Refrain B e f g3 cl fl-m ? 6? 113? 22 132 2 2 2 Conn. n g® 2 4 2 2 V.4. pt.2. C”7""” ce f{ g-ke ke 5 10 Dee AD 2 The connectives are the most variable of the larger features of this song. Musically, it is a typical pisik with prelude, for the phrase A is not again re- peated and C takes its place. The poetry, however, introduces the verse at once, so that from the standpoint of words there is no prelude. Both verse and refrain are shorter than usual, only a phrase each in length. The song is minor in tonality but there is a constant shift of general pitch due to untrue singing so that an absolute analysis was difficult to obtain. The lettering would have been far more confusing than it is had the off-pitches not been disregarded and the same letter given to measures that were obviously intended to represent similar situations, musically speaking. The c measures contain both the major and the minor third. | Whether this is due to off- pitch singing or not one cannot say positively. There is a bad shift at the end of verse 1 part 1 which could hardly be accounted for except by some irregular behaviour of the phonograph. Thus the first measure of the phrase B’ has been lettered e alt. (altered) for it was obviously intended to be e. Haqunyaq had very few distinct tunes. Nearly all that she sang are more or less the same so that this song will be found to have many variants. It commences on the final beat of the measure and if the tonality is D minor then on the third of the minor scale. According to the ending of the refrains, and, disregarding the shift in pitch, the end would occur on the first degree of the minor scale. No. 76. Record INC. 53c. d=116 Canadian Arctic Expedition, 1913-18 Oance Song. Agqxiatagq, & Noahoynig man Int. aff Sr a — _ Le i ae, 3 . , a b : C d e f &, yaya ama tye t ye € yan-a ye ya-am-a yeye ya ye J e. fain B Cc 7999-90900 <0 904 : YY ft ee, © ae Te a y 12 i ja} I 1 ioe 4 ye va Va Tt Z ivi ws +4 0 ea g 3 3 h i 33 e€yam-a ya e yeye ye eyam-a ye ya-an-.a maney-mik ka pu- tuk - 2 "i oe ? » 9 Qerse tpt. ) D : I { i Ti, I ao max | ey 7 a 7 a 7 7 A 7A YA A SY A u TEST Lamm Ya a $ 3 s* 3 J k Lana ci-Kia- a ka gi-vis- agama ye yan-ay-ay- A ye ya aya a ye 3 h Se ee and uw i 5 er u ] eyam-a ye ya am-e goi-yam-t ka qoi-ya-quayany -a ye yan-ay-am- a Cre 6. Pt.n- €yan-aA ya & ye ye ye i 3 € yam-a ye ya- am-a mancty-mik-ka pu-tuk - eo ou ¥ Yeroe 2. pt.l. P : 33 2 Lema ci:kia- a ka gi-vier - a Songs of the Copper Eskimos 273 No. 76. Recorp IV. C. 538c E major tonality Phrases Measures Beats Prelude introduction ab 2 54 2 33 A e def g 5 11 Refrain 22 2 2 3 B gi h i 4— 8 3°22 21 C of gt gt 4 9 V.1. pt. 1. 1 2 22 2 D gt oF j kgf 5 10 2 2-2 2-2 { A’ ec de fi g 5 11 Refrain 222 3 2 (B’ gi@eh i 4— 8 322 1 C- ge 2 2 5 V. 1. pt. 2. 1 2 2 D’ vl j k ¢§ 5 103 2222 98 A ec def g 5 11 Refrain 9 2 2 2 3 B gi gh i 4— 8 Sie ea V.2.pt.1. C { 8 93 98 ? 4— 8 122 2 41 The prelude proper is a very brief introduction, although as customary the refrain is also given with it. It was not indicated in the text whether or not the verses were subdivided, but the words would suggest the division that has been made here. The C phrase and the first part of the D in the second part of the first verse are altered melodically and in length from those in the first part. The song begins on the fifth degree of the major scale and on the down beat, but the tonality is not positively established for the tonic occurs only once, in the second measure of the sonz. According to the ends of the previous refrains the final note should be the fifth degree also. 274 Canadian Arctic Expedition, 1913-18 Dance Song. Antyag, Coronation ng. A : B ep i? eg gg er gg ge te p [eit sy 7 1 , a OY A A——! a = 4G D No.77. Record INC. 28. d= 92 Jig arenas ar a rw tA — 4-14 vw tA 4 (AA mz ie te) f v a bs bt c b? e a La f U-vu-- na tak- yur na at yl ya ai yi yaa A yl yy Prelde ; ‘SS ~ xt. > Comm. Cc Z Ree RT - { | A tL bE SE A «a h? ce) yi aa-d- a yi ya yi ya yayi ya i ya i ya ou-vu- na tab- Verse l. ©. = Ge = ‘* c va oo vur-na go-vi- yt la- u-yi- vu: & tuc - ay- a - tay-nty-mi ta- ye - 2° mi (ext. rn )» CA- unaynau- ta-it — ga- u-ma-yoy-yu-tt Rati Nu- na tab- vu-na = t yi a yi ya yi YA ya yi ya "bs be n bt c pT be ya l Ya, U vie na tak- vu na go-vi- Yt>la-u-yi- vum-a ’ Vere. c i __o' rr a cA. 5 T te a T insu = T he b+ be b& bot ht tuc. aya-tay- niaymi a ki-lin-ry-mi-um cav-yi-cag-toy- yu- tf u- vu- na tat- Opp et tt fhe a = oe a -—p} A ——_——_ ft ya ya L ya i ya bya u- We ma tak- vu-na Qo -vi- yt- Songs of the Copper Eskimos Lia v {7 c 66 bt be a u-yi-vum-a fue ay- a- tay-nig-mi gaiy- niy- mium ayna- u tah ay ° ALay-mik-toy - yu-tt u-vu- natat- vu-na a a TOWN (1) This song. was not finished. Phrases A Prelude B C Vv. 1. D CA Refrain B Cc Wi2 D’ CA Refrain B Cf V. 3. D’ Refrain CA Wowrnrwt No. 77. Recorp IV. C. 28 Wo wRnNe wh G b major tonality 2 2 142 2 Pe + Mowe wa Woohoo a t— 3 NEN EvVgne - eS NeNoenoenws bt ¢ b7 b8 22 2 2 Measures 5 Beats 104 The song is typical of the pisik with prelude. The refrain derives its melodic material from the prelude, and as to words they are exactly the same. The beginning is made on the last half of the next-to-the-last beat, on the third degree, Ind according to the end of the refrain for the second verse, the song should end on the fifth. This is the general level. 88540—183 276 Canadian Arctic Expedition, 1913-18 Nota WMrince Mlbert Found Vance Fong”? Tkpakhuag,a Purviig man. Record WC. TI. ai yay-e ye yaya yeyane yai yaad Aa-- yam-e ya yam-a Guehade : e a* dé d* a f; ai_-yam-e yam-e ya eyam-e ya © yam-e ya e yama kt- piqeu-cum Neftain Vere I-ptel. PRs a eT 2 a va, eee ae (EO, aa a a-ta-yir yam-a ndy-yukkyum-li — caryrmaymaya aye yay-a Comw. Ch rt p' = Lice @ 8 42) 8 8 [o'er] pt ie Z " y UP, 4 | of | ict ad i | iia: «J bs 3 J v as f} : ; ad a #3 : 3 & yama ca- mx-u- il-1y Lyi-yi-yi-yam-a gqay-yu-a-li wy Fi-leq pi-yu Verve pt.2. : = SS EL SO OR a is Po bh tt ho a [ | io co toe a4 d’ d* a+ £ a a uuuUUuUuuUuU UU aA eyayra ki-pig-cu-cum &-to-yi - yaa Vewe 2. ptt. , D? os Be = > l “Ue os] 7 1 = e i 7 u 7 ue az I ae J ney-yu-thh i cammiaman-e yan-e ai yary-e yan-eya e yam-e yany-e a ey Sefrain Conn Cc eS r-@ [4 8 FF FF Pie £14 ia an oe FED FE 75 an a a a (a ns 7 na FY ce T re is d*, as i ae a rz yampe ya e yaya tu- loy- tyak-in by yiyit-kag-a mkeunnunli Verse 2. t.2. ; # gs dit e as dé das ai-tam-ai-yag-pinyany-e ya a, Laer e@ yam-e ya eyam-e yampe eyam-a CP oR mea a we kamhiyyuaymiutanik at at, gowanag pakari tlicaijum e sey a ki- prq-cu-cua a-to- “yi - yam- 4 Verse 3. pt. 1. Songs of the Copper Eskimos 277 atid ft o T SpOKEHE eat od : VRP: 1 3? d* jercect kamhiyyuay miufamk gey-net-u-vii cammuyman-e yan- € yac-a atotnmsyivaq Conn. -Ct eat D? — 2b aaah V7 "VE a FS WP SS 9 A VY A YA TV A OW CYpp = CY Liew of T Lo to d*, 1 a> at fr 3* € yam-a cat-quk-r-liy-t Lyi yi-yit- kan-a mikewmnunti —o- kuayai-yag-pin Verse 3. pt.2. Com. Cc ~ =< be UPURetr= LA_Yy. ime | as Wy, We A «AR 2 Aa Aa “at ir’, GE 4 Lp Le . ; .. i=. rl ss = nayyuktn 8 a" # " ss F 2 caanvightes:. tes Seam be eee: aaa Yee a Refrain omitted here) Geroedwptl. aes Cerrar LAS Ti Ve pk ESOT SST NSie | if’ Cs het throudh rest avid 3 yote 1 rs B +4 8 ds. measure before 1s nol dolled. a ; ug-cxy-mi-um tain-em-maye yam-e yan-a i ea i 7 ee Ve 7 D | Wh a v d*, f! a3 a £% € yan-a num-yu-tr-l bs yteyi-yi- yaya num-yu-h-lt u- Oeeeeth pt:R. : ? B 9 ; ? 205-896 fe, & saa 7 oe a Can onan 7A ——— Pb = — ar - v ci d* e nammi-lrg-pi-yan-e yay-A ai yame ya eee Roftarr? (1) This Song is evidently a pisik No. 78. Recorp IV. C. 71 Gb major tonality Phrases Measures Beats Prelude A a b ec (dd dt 5 154 133 3.3 2 8 Refrain B e d? d® d@ 4 8 22 2 2 Conn. d3 1 23 24 C f aa 3 53 V. 1. pt. 1. % 2 132 D fi g d F 3 73 233 2 jRefrain B’ ed d® d? 3 7 3.2 2 278 Phrases Cr ( V. 1. pt. 2. | D’ Refrain omitted. C V. 2. pt. 1. D” Refrain B C’ V. 2. pt. 2. D Refrain B CG" V. 3. pt. 1. D” Refrain B -C’ V. 3. pt. 2 D” a Refrain omitted and the D C V. 4, pt. 1. D Refrain B’ Canadian Arctic Expedition, 1913-18 — BIH Al lM Td f! a3 a? 242 2 fl gid? @ 2422 2 Conn dé 3 f al a? 2 142 fl gp? qi 23 92 2 e d? d® dé+ 2 2 2 3 Conn dé 3 f! a3 a2 2 2 fl gS qi 43 2 e d> d& d#+ 2 9292 32 Talking Conn. di+ 33 € al a?+ 2 1h 3h fi g? dt 2% 24 3 e d> d®& d#+ 2 222 3} Talking Conn. { dt+ 4 fl a3 a2 2 2 2 4 8 ee os 4 4 phrase broken by talking. Conn. d’+ 33 {aa 2 1 2 f g db 2 3 2 e d® d® d#+ 2 23 12 33 Measures 3 4 Beats 68 8} oO or diIF oO vie for) iH i) bole co aI or aloo Pleo ie) bole Songs of the Copper Eskimos 279 : Phrases Measures Beats -C’ fi a3 a2 3 64 V. 4. pt. 2. 19 2 D’’’ f2 9? dé 3 8+ 23 21 3 Refrain B e ? = , @ 2 The usual minor fluctuations in rhythm, melody and metre are evident. The second degree of the major scale is prominent in this tune, which both begins and ends on it. The general level is divided between this and the tonic. The song starts on the last half of the next-to-the-last beat. In two cases the refrain is omitted, but this is very likely due to the talking which broke the last phrase of the verse in one place, and to miscalculation in the other. : 280 Canadian Arctic Expedition, 1913-18 ne Dance Song. Record WC. 53a. Agxiatag- sehen man. hy A b ma an t RK ar ot = re re o—e @--6@> o ~_ 4 4--@ he RR TF OR j—t } +, _@~)—_ 146-6 vé = Fh a Rl N LA, __g. 8 EDGES CA VV et be sa San ™ vy” a bb Cc da e f 3 ye ye ya- & ya-t ye ye ya ai yeye i yaaya tya-i ya yal ya e Cc Conn. D a - | a RR jf ba SO } yt i 2 1] At o> t a__|_». 4—_o—@- o—_4—_o @-4—6 4—¢. 4_e—_s_ : eo e {,-¢—__0—_| o_o 0_| 30 _| 0 666 _6_|_ 6 0 6 || | | eo of u oud SS | , a | , h a 2 a ar EN i 8 a ye ya-L yA ye-e ye t-ya-a ai ye iya-A ai yet ya ya Prelude tain Ln, proper- D (ext ——_ f {<7 a t ay I I at | va am 1Z ¥ | ee wd e oe bc dl iw U - as a? i g j kK at as iya ye ye ya ai ye-it ye-i ya ye ye-i ye ya ye t-ya-a ya ye ye ? Conn E Nat B ae AS ES | | 5 J if af i" b a | at es OS ~ 6 4 » > | 9» ~» | @ «6 oo |» so 2s bese 1 1} 1 ibe | a | 6—3 0% o— 0000 | 00-1 0-0 hee be © 4 ale se oe a ce d L ya-& ai ye eya-A a- fu-ya-lum-a A-tog-ti-kaw-a ai ye Vewe 1. ae e f g' h at a al a yet ya tainig-ca- U-nani ai ye ya ya ye ye t-ya- a al ye : Prelude Near os I E Bt, = lav Ctr tt to o—o—e o—— = ae a Po > % oe LZ tT = 1 = i y a if ra iw) i ya-a tai-mg-cau- li-u-nam ai-yu-li-yi- na-yi-ya ai ye e-t YA guna-a-aq- sae m alyurli-yi- ma-yi-ya ai ye yet ya quna-aaq Cc. ; = Se oo A A SA WY , g h at ae a! poku-nan al ye ya. t-ya-t yaye ye (uhuhu huhuhuhu ai ye tya a 9 Bee thefied ya t iM van | } i } 7 q i Ye if i V Se * sn % os | Sg a a i g iT k? qe mau - “yt = oq w-&n- mun nu-vu- yau- -ty-hun al ye i ye L ya mnu- Vu 7ya- u-iv- fun - “ly Veroes. r (ext ) 3 i RSE eet I A. 4. | be 1, aa = Ad | EO | i i | ES ATE" t Te Cet tt 1 as ™— ai ye ya t-ya yeye e e ye Songs of the Copper Eskimos 281 No. 79. Recorp IV. C. 58a E minor tonality Phrases Measures Beats A a b e¢ 3 13 Prelude 122 2) =. B def g 4 8 9 2 2 2 Pre. Ref. Cc h a! al al 4 8 2.2.2.2 Conn. a? al 2 4 DD D ig a? a? 4 8 Refrain 2 9. 2. DB D’ ig j k (at a al+) 7 16 22 2 3 22 3 Conn { a af 2 33 2 13 {E a? a? d! c- 4 84 ee £9 9 2 2 B def gt 4 8 Dr 2 2s D Pre. Ref. Cc h a? a3 gl 4 8 2 2D 2 Conn a® al 2 4 2 2 by’ a} al qd? el 4 8 Vi 2: 22 2 2 B defg 4 8 2 De 2 Pre. Ref. C- h a? ? ? 4? 83? 23 2 1% Conn az gl 2 4 2 2 D i g a} al 4. 8 2 2. 2 2D V. 3. D’ ig jk l 5 11 2.2.93 2.3 ext. a’ m 2 4 2 2 The interesting point about this song is that where the first verse ought to be there is a long refrain and later this identical music is used for verse 3. Hither the refrain proper is really a verse of meaningless syllables, or the singer forgot the words and substituted burden syllables (this is sometimes done), or else we have the unique case of an extra refrain which is afterward utilized musically for a verse coming fairly late in the song. In all other respects the song would surely be classed with the ordinary pisik of prelude type. Some off-pitch tones occur in A and the first part of B but become pure later in similar situations and were doubtless unintentional. The song begins on the fifth degree of the minor scale, on the last beat of the measure, and would end on the same tone, pre- sumably, if it were finished, although actually the last tone heard is a flat tonic. - It is difficult to tell whether this pitch was due to faulty recording or to the singer stopping breathless. From the structure of the refrain proper and the extension, it seems as if an end were intended near this point, and possibly as jt is actually made, it is correct. 282 Canadian Arctic Expedition, 1913-18 No 80 Dance Song. Retort I 20 Utogegq,a Coppermine River woman. dz102 = >, a It dia < | a a i es ye ye ye yeye ye ye ye ye tya hiyaiya-i yai yaya i ya ha bt ye t a i] B Conn. & Es = ———— =; TOO ee Cet bese Sse ttt Cee coer di d* S e a d yaa iya ha-i ya yaya-aha ya ya-tya —ha-i ya quyg-fry-lu-cé - Lu max: tk- foy- Yere 1.) cough D _ J | st +E xt = + SS | ore! aw | iCal ya | are 4 } i 1 8 oS oe eo 1 BS TS Oh eA GES 7 oe ex . . a be g ad ie coat ia e hid h . lu-ct fapvani al yee qa gai ya bya ga-Lya ga- nog Capkwaa-i-ye ya-a ga Ly F rr T —p ah: — cess ae oe ee oe ae oa TR — pf fot k iyeyal ya ga cap-ko - — d-wi gat-qut- cey-1- if.pat m- uw th undn-u-th u capo = 7 l aa i 1" ae Koaai ye ve b-ya Lye yeyeye i yeyehiyaahi ya-t yaa Lt ya ha-i ya FtePraur sia ™ n ++eer eFC +e + c d a4 | T T J } R ia t T a | a > chs > = ~ +7 +e ; - ¢+ Fre e +e ¢ a aie +e © * ++ yaya aha yaya-i yA ha. ¢ ya geygstoy-lu-ct - lu max-rk-fy- lu-ct —taj-va-nt at Yeroe 2. ‘ D! a acs To. n T >A —~—_A_1—_ a VS. W a—T iwat Te 1a t a a SO OA AE CA D2 | A a ca + + +> i al os oor — = ry is dt yee gd qa-a i yaa iydaga-t yanat- yat- kanty- t-yuk-‘tun-eq- t ye Ta mt TEES ima ts + + N- SA _ aa t iM : a TE A A =e 1d T a uJ + + 1 + 2 be i gaa err FEL ere pret e +e r il ~ iN +. uw i ay t | al TP e—e eo oe ++ a t-yee tye ye b-ye yeyehi yaa tain? o Coda? Songs of the Copper Eskimos 283 No. 80. Recorp IV. C. 49 Uncertain tonality, F minor ? e Phrases Measures Beats Intro. a b 2 6 12 3 Prelude A al ec d di 4 10 3.2 2 8 B d2 e e§ 3 7 2-2. 3 Conn. a 1 2 2 Cc fd Bg dad ad 6? 12? 2.2 2 2 292-9 D eS f§ h ji 4 9 V.i1 22 3 2 E j k 2? 1 4 82 22 2 23 F Zt it 2m 4 73 129 2 Wb? A’ n ed dt 4 10 Refrain 3.3 2 2 B @e e§ 3 7 2 2 3 Conn d2 1 2 2 he f d dg d di 6 13 2.2 2 2 2-3 V.2 D’ do p ? 5 94 222 2 13 G q r d’ g? @ 5 133 432 3 3 2 ¢ Refrain A” ba a 3 8 3.2 3 According to the words the prelude is three phrases long, but later the A and B music form the refrain so that it seems probable that the prelude should be marked to include the refrain, but in words the refrain to the verses is different. The change in the melody from D on may in part be due to the off- pitch singing of the informant. It is interesting to observe that the second verse is only three phrases long but that in actual number of beats it nearly equals the first. The final A” section may be a refrain, or a coda. The syllables are slightly different from those in the refrain proper. The song begins on the tonic of the minor, with the last beat of the measure and as the refrain closes on the fifth, below this, it is probable that if the song were finished it would stop on that tone anyway, as it does in its actual state, which, after all, may be complete. 284 Canadian Arctic Expedition, 1913-18 wt gg Hrited Mer! Sound Dance Hong. Miluk.atak,aDolphin and Union Btrait woman. yeye i-ya-am-a-a-a a- a-am- a Kanana-aqai ye ye i-ya-am-a a a-any- a «3 dt er b a a € yeye ya € yany-A mam-t-lay-a man-i- lay- agaya man-t-laa-a man-i- A -am- & yeye yA = € yam- tei-kay-yuk - prc-uk- Verret. oh vi ~ lusa-yi-yam-a — tei-kay-yuk camna war ya- lu-a-yi-yay-a tei-ku-cay-ni- Bal ) Conn. . co as =e a a3 ae 3 la-yi-i qa-t ye ye yaya ye +t yam-a a- a-am-e-e yeye ya = E yaya iby A iS as (hat lL 8 _ eee rt StS a a A hn? gt + ; hn? Ss ce} marni-aa-ama-ni- lan - a gaya ma-ni-lay-a mani-lag-aqay-a t ye ye t yeye ye t yam-a a-a-dam- © Kana-na-a gai ya = LyA a a-aM- Songs of the Copper Eskimos 285 aca carvecls herself 1 a ae a a Se | # FL, lg lg i te FRE A EE PD es ba nd d a aa 7 az Verse 2. la-yiia qa-i ye t ye ye ye ¢ yaya palate ha hehehe jy cea CS ad : , ba 6? = o ht eyam-a td. ciy-yukcamnaupak-ya - lu -a-yi -yam-a fa-ciqcamna u- Ss Vere 3. : ’ Ya lu-a-yi-yam-a ta-crq-cam-ni- la-yi' e gai ye ye & yeye yei ya da-am-e yeye i yae yaa ma-ni-lag-amani- lay "a qay-a ; RMefraurr cae oes ma-ni- — lag - a gan-a yai ye i ye yeye i ya-amaa a : gos ' a-a:am a kKanana-agat ye yet ya Q-a-ay eyeyet ya i. Comw. C3 +> € yaen-a gaj-yiy-yuk camna u-pak. ya-- lu-a-yi — yam-a Vere 4. , 286 Canadian Arciiec Expedition, 1918-18 f D3 tbr a T SS OP =a nf : as d’ t* ; J a YY: yuk camna upak- ya - lu-a-yi- yan-a qaj- yig-cay-ni- la-yi a gai ye p |, (ext ) Conn. cB im Lee aoe d a a. a nf = : he ayeyet ya e yan-a aynayyukcamnau-pak ya - lu-a- Yirya — ay-nag cam-na u-pak- Vee 5. f, Dt (ext > 2 Vaal Ca ve, es a Ss Ss a ee SAS Ppa a oe oo te Ce Me wee eee a S, p d Nae : J Ya-lu-a-yi-ya aynaqeam-ni- la-yia gai ye ye i ye ye ye i yam a-a-am.e ye ye i. (1) Observe how the shift in words causes a complete change in the metre. (2) This drop in pitch foreshadows the definite change of key soon to occur. No. 81. Recorp IV. C. 55 Mostly Dp major tonality Phrases Measures Beats A a b al b 4 10 2 3 2 3 Refrain 1 B ec d ee fd di 7 14 DD DF De Dee) ext. g d@ d 3 6 2 °2 2 Conn dt 1 3 3 A’ al b a bi 4 10 2 3° 2 3 Refrain 1 B’ ed d® ge f! gt 5 12 repeated 38.22 2 3 ext. g¢ @ d 3 6 2 2° 2 Songs of the Copper Eskimos Phrases C h g V. 41. 24 2 D ij 9 2 h2 gt Refrain 2. 23 B” ge dé 1-22) A” a? b? Ve? 2 2 D’ 4 2 2 Here there is a long pause. The refrain was omitted. C h g V.3. 21 9 DY Pj 2 2 CH hl g 2.3. Refrain 1. B ed 2 2 ext. gd 2 2 Cc" , h4 b2 V.4 3 2 D” r rd j o 2 CB h? g5 Refrain 4 2 2 (ext. gd 2 2 d’ ht g? ds 2 212 2 fg>d'(g d d') 8.22) 222 Conn. dé 3 h? g ol 22 1 ge f' gt(g d d') 7 ey ae ae ee Conn. dt 3 d5 h! b? dé 2 222 2 fet d? (gt a) 3.2 3 13 Conn. dt 3 dé hi g dé Dri 2: 2 k @(g d) 2 2-2 -2 Conn. d® dé 2° 2, h gt 2 3 coe f h® b? d? 2. 3 2-2 k @(g d di) 2 2) 2 72 2 Conn. d! 3 c gi d® ge fi gt De 2 2 2 3 da 2 Conn. f{ dt Measures 6 7 4? 2? 287 Beats 13 15 288 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats Ge h* g® h® gé 4 114 V.5 3 3 243 pew Bb j}}k dg d) 6 124 This song is more regular than at first appears for the C and A phrases are chiefly to be differentiated for their use of the b and a notes, that is, in A the b’s and a’s are natural and in C they are flat. There seems to be little doubt but that the change from one to the other was intentional, although there are some transitional tones used occasionally which are neither natural nor flat. The effect is of a play upon seventh degrees, in the first case, the seventh and sixth of C major. These, lowered one half a step become the sixth and fifth of D* major, while the c’s which were the tonics in the first case now become the seventh of the new key. There is also great similarity between the D and B phrases, so that it would be very easy to confuse them. Observe also the duplex structure of the A and most of the C phrases. The h measures are practically the same as the a’s. The repeated refrain at the beginning of the song is unique, but may have occurred because of a faulty rendition the first time. The extension at the end of both refrain and verse is uniform in almost every case, and is an unusual feature. It cannot be said to really form part of the connective. The refrain is omitted between the second and third verses while in the fourth it is telescoped. The song ends with the fifth verse without the final refrain. It begins with the first beat on the lower seventh degree, if we con- sider it as being in the key of D’ where it is soon established after the song commences, and this is unusual as a first tone. It ends on the third degree. Songs of the Copper Eskimos 289 Noe a Dance Song. Ulogcag (Coppermine River) i ya- tya yi yaya i ya yai ya yi yarra i yam-e it: SLES EES FA A A La ~ it I S c ct d if dt" e° f a iya i yaiyayiya ai ya yaa yai ya yi = yan-a au-la-u- yay - a%y- a g CaNi-va-um-ay-A — Lame iyam-a ¢ ya alya yi ya yi ya i ya (hoarse cry ) ace. 1 ian rn Peet tee HT ay A bal |. TL SER» teal TTY ft ‘Fi os i | cane 4 3 : allt it if I eo Te! o»61.—_— - j 1 a je 1 if a a ce ae ee ee -_| > 6. -_1++-e-3-4— — | A TTA (A A } : AP 7 A VR 2 aT t = 1 i ui if 1 + | a ae 1a AVE Vi) yo ca fe? e} e2 d a aon yi ya u- ha-ha-hu u-hu-hu huhuhu i yan-e i ya ya i ya iya yi ya yl bot SB iva ane «i at LE, is. t jue. i L a b! b b ¢ ce? d ya ya yiyaya yiyay-e tyan-a i ya al yayi ya al ya ya 4 Cc Conw. 2 _ 2 oe #4» 4 + { | a es Frat ML a 2a >» nN 4 | Es % tf v_e_f_F 4k a ses! se | ld 1 Se | bw bi : ae Se R_ RAR a nt = r < j ee | i [> 2 VR V2” A OO, A ase 2 1—# eae ie . rn LA a ry 2. 1 rl ype | o—e_|e o_o |i 6600 _ o_o [4 } a e fo — eG 3 g ai ya yi yay aula -urya- yan-a CAI - va-u-yan-a i yam-e ly D rx De » Pr (+ \ b-o-4,-e—e—e Yay Yor oot et o CT T V7 — ra h a d* fe fet 'e- Lyay-a i ya ai ya yi YA yl ya iya yi ya u- ha (u hu hu hui) (ery.) (1) There was a blank space on the record here and the needle seems to have made a skip, losing a measure. Cha similar place in the fifth score. 88540—19 290 Canadian Arctic Expedition, 1913-18 No. 82. Recorp IV. C. 31 G major tonality Phrases Measures Beat@ A a ala b b 5 11 42 222 2 2 1 B ec eddie 5 95 2222 2 Cc { g gi 3 7 22 3 Conn. g h 2 4 2:52 D a d? fe febe! ? ? 5? 104? 232 2 2. 2 2 2 2 Conn e d 2 34 2 12 A’ a aa bi b b 6 13 12922 22 2 B e ed de 5 9 142 2 142 Cc f g gi 3 7 22 3 Conn. g h 2 4 2 2 D a d? fe fele- ? 5- 94 42222 1 8 This is a form which has no counterpart in the entire collection. Were it not for the repetition of the A phrase, that might be regarded as the prelude, the B and C as the refrain and the D as the verse, but in that case the verse would have no refrain.. Or the B alone might be the refrain, the C the first part and the D the second part of the verse, but in that case also the verses would lack refrains. The verse undoubtedly occurs at C and what precedes and follows are refrains, and probably the verse is subdivided into two parts for the words are almost, but not quite, the same for each part. i The song begins on the last half-beat, on the fifth degree and ends on the third. Songs of the Copper Eskimos 291 No 83. Record WC. 85 b. ‘i Ka&neyoq, Slo.v. ong. cw B Sansa SS sear ee aee reas re aule-yi-yan — au- le - yi-yan-acy-a% du-le- yi-yany-an- a au-le-yi-yan au-le-yi-yaryarye Pant 1A co 1 {3 +. —_|_5—_»——h T J Lod QA TS | EEE) 2S 1 RS 1 A to | UD A J J 4 n 1, @—o@——4 1 2 | 4 _| A _ 2 a _4—_4—_|_-4 4—| o he \be_~¢ ry? Se eee Oe pn IRS. g ve eT a i Vv 7 ri durle- yi-yacy- am)-a ay hae) aurle-yi-Yaq-a%"& — au-le- yi- yay-ay- a aule Borel jo = ae de100 “be ok J J f e a xa-ge-nai-tciamun nuitau-yag-fog au- le-yi-yan-an-a i yacp-amy. _au-le- yi- Yay Barnet. At = ~~ ; BS b ce ++,¢ a = +e r du. le-yi-yam-am au-le “yi-Yam - am-ay — au-le-yi-yar au-le-yi-yamaqam au-le-yi-yary- fl CD Conw. A® B A larl W | we pF i aK ae n ei a a b @ a-t yal ye yai ye t-yasa aly-ye a- i ya-t ye yal 3rd time: tat-prk-a (Conemeeee Cc aseat a——t bei baad T 1 4. be ea a ae 1 if Bil o—\ > @ 2 7 V ~—_@_4—_@—8 ia @- @ | _¢g a4—— , tA _O-* [7s eo? [An SE ET i A KY ys 1” FA fie ia \ yey y a oH io _ a ; G 7 7 ye yi yaY ai ye e ft ye i yal ye t yay al ye and Opening ~ Dal! 3rd opening Dal & als " Ber een piggies Pt aad onding al 4 ar fr a-t ya: i ye yal Cé-gi-nig pik-a al This Song is a little theme repeated two Times,each with a different opening measure but otherwise the same even to the sharp 'C" until the final measure which contains Two beats ?inetead of three. No. 89. Recorp IV. C. 898 Eb minor tonality Phrases Measures Beats A a be 3 8 38 2 8 B def 3 8 3 2 3 Cc g f! f 3 8 38 2 3 A’ al b ¢ 3 8 3 2 3 B def 3 8 3 2 38 Cc g ff 3 8 38 2 3 A” ab e¢ 3 8 3 2 8 B def 3 8 3 2 8 C’ g f f 3 6? 8 2 1? This is one of the most perfectly regular songs that was collected. It is, in addition, very beautiful melodically, in fact is a little song gem. There is a very effective partial sequence between the A and B phrases and interesting variants mark the opening measure of each repetition. There is also clear evidence of play between the natural and melodic minors. The song begins on the fifth degree with the first beat of the measure and ends on the same tone. The general level is divided between this and the tonic above. 304 Canadian Arctic Expedition, 1913-18 ees Weather Scantation. ecord IWC. Sib. és : : * Kaneyog,aPuivhig girl. e= 8B qq A oe B Fu 3 a, —| [ 2 ee Fa A OS ; i er Cae ee Ge o_o ~~ 2 irae 2 > Sh. 4 TZ LE FS FR GP om Had | | A A A CE ¥- 172 Yo: EN ¢ d e ov ¢ paman- 1 gim-ay-lu-leq-tum-d = paman-t al yal ya-i Lyal ya- i yai ya-1 ya gim-ay-lu-leq- tum- a aim-ay-lu-leq- Tun- a — .pa-‘man-i quyay-lu-leg- yonginey lies ee a pa eo act 1 4 » B c a Sj Ok RR z La | iC Eb) Yb i azey EES § L Th f @ . | ae o F ON Jv £ z = } 36 iM 9 { f os r r NM tS { ay Sa a o-— Ot @ LA fe a Ww o—6. bd VP ae ¢ .__*_6_ oe J c d er VP J sy ht tus-a paman- ¢ aiyaiya- yal ya- tb yal ya ya qia-ay- lu- leq ~ Ded (ext) 4) AR 7 t — {o } AI 4 014 5 8 0h 00 iy j ,) vie oer at k “A iE tum - & — Qimy-ay-lu-leq- lun - a a pa-man-t qioyay- lu- leq- Tum-a — -paman- ¢ ai yai ya i yal ya-¢ yaya: t ya guey-ay- lu-leq- 14, 1 hi, as Gy 2 = cae oy i= LS 3 ~o_s nf +. A ,_¢@ ln 'o ¢ 1 4a oe tt aye = a eh A <-¥—_ +7» 9 8 _0—_—— it + Lory o—e-— 5 -@ 1 1 h tum - a gin-ay-lu- ltq- tum- a-a-a- a (1) Here are spoken the words : qilej.um dtuayalua numiytj.amin.t (8) The singer's giggles here broke the rhythm. She seemed embarrassed. No. 90. Recorp IV. C. 813 C# minor tonality Phrases Measures Beats A a bed 4 8 22 2 2 B e f g 3 6 22 2 Cc h ih it 4 8 2 2 2 2 Songs of the Copper Eskimos 305 Phrases Measures Beats A a bed 4 8 Di 22 DD B’ e! jg? 3 63 1482 3 C’ h! i ht i (k) 5 10 2 232 2 i4 A abed 4 8 22 2 2 B” ji ft gl 3 64 14 24 24 ce h? 3? h? it] 4 93 2 22 3 The song begins on the fifth degree with the first beat of the measure and ends on the third. It is not nearly as regular as the previous song but has the same large three part structure. The minor is natural. The melodies of songs Nos. 100 and 110 are very similar to this. 88540—20 306 Canadian Arctic Expedition, 1918-18 Nosh” Weather Sneantation. Record INC. 81 c. Kaneyog,aPuwtg girl. gt w B, J a v 4 b c d in-yu-it c&-na-néq-pam in- yu-It? cd-na-néq-pay-an-a in-yu ut cA-na-neg-par iH Cc | “ip J z 4 i a 7 oy - in I = J 5 sy r $ ~ h nd-tei-yu-um-0 — nl- Aq- 0 -cl-yum-om-0 al yan-a in-yu-tt cA. na-nég-pan in- yu-if c&-na-ntq-pam- = aN- ) BS c- d J e! si £ i) in-yu-tf c&-naneq-pay in-yutt cd-na-negpan- an-a na Tei-yu-um- 0 ! sa = = T r { t tt nd iy Lu | ee A {. Fels it h? ni-aq- o- ci-yuyom-0 §=6—@ he he e he he (1) The effect was something like this. Such eries are seldom really sung or definitely pitched. No. 91. Rercorp IV. C. 81c F major tonality Phrases A a be 38 3 2 B def o io 2 Cc g hi 3 3 3 A’ al bl ¢ Br ao. ae B’ j ef Be ao. C- ooh? 2 2 3 3 3 2 This song is nearly as regular as No. 89. It also is constructed along the plan of three divisions. The beginning is on the first beat and the fifth degre but the end is on the raised tonic. Possibly this is due to off-pitch singin, There is an interesting descent from the major to the minor third which may be due to this sime tendency. Measures 3 3 3 3 3 2 Beats 8 8 9 8 8 6 a Songs of the Copper Eskimos 307. meee we eather Sucantation. Cf.No.94 and No 93 Tkpakhuagq,a Puivtig man d-ss A A’ o—@e o—e >_> ra va fb. Fa Cc bite a bei 1 oy Y j Dae a Lé | Here od i va YZ a I Ls z J a b ¢ a b” ac &i-yum-a a- cin u-van- a a-cin gai-yury-a a- cin u-van-a & Fine. B ; ; [3413-0-0—e— 2-00-00 00 | 9000 Tos ; repent fice anlively, mmr ofa 728 7a Pott ro ht rt SH} and the third time as pet ey va me ~— Ft e o oi e <3 far as Fine. naclu-vit Qa- byum-a a-cin U-Vvay-a a> cin No. 92. Rucorp IV. C. 438 D major tonality Phrases Measures Beats A a be 3 7 2 2 3 A’ a b(ac) ¢ 4 9 2D OF 8 B ce! c? cl 4 8 2 2 29 A a be 3 7 2 2 3 A’ a b/(ac) ¢ 4 9 2 2 2-3 B ce! ¢? ¢! ¢ 4 8 2.2 2 2 A a be 3 7 22 3 A’ a b(ac) ¢ 4 9 2 2 2 3 The song definitely ends with the A’ phrase so that as given here this must be regarded as an entity. Although there are eight phrases in the composition, the three part structure cannot be wholly overlooked as it is presented in the first two sections. The B is a fitting close to the A and A’. It is very instructive to compare this with the other versions which follow, Nos. 93 and 94. This version begins on the first beat of the measure, on the fifth degree. It ends on the third. 88540—c0} 308 Canadian Arctic Expedition, 1918-18 e @ ° Nos Weather Sneantation. Record Ee saat asaie with No94 and Noo. 2172 ss acl womans. ‘ d b ga'-yum-d a- cin u-van & Aa-cin qal-yum-a a- cin u-vaym- A a ec na-lu-vit gal-yury-a No. 93. Recorp IV. C. 63c Bb major tonality Phrases Measures Beats A a bo 3 7 2 2 8 A’ a b(ae) ¢ 4 9 2 2 2 3 B ce! ¢? ¢ 3 7 3 2 2 Ae a b/(ac) e (ce?) 5 11 222 8 2 Compared with the first version this form is an interesting curtailment. In the last phrase the final measure may be regarded as a brief coda. The rmaeee vicuae on the first beat of the measure and the fifth degree, and ends on the third. It is interesting to compare the word phrases with those of the other versions for number and order and to note that they do not altogether correspond with the order of music phrases. Songs of the Copper Eskimos 309 Hen Weather Sneantation. ATL C, 24 b. “ ; ' Recor Natcin Coppermine River man. | | A ‘ — a JSS rrTs Vv hav 2 a a . 7 E/E 7 nt Pesce te + a | A 7 it t d Qa-i-yum-a a-cin (hu hu) No. 94. Recorp IV. C. 248 Eb major tonality Phrases Measures Beats A a b 2- 54 3 2k A’ aed? 3 12 13 44 2 Still further curtailed is this third version, which nevertheless, was evidently intended to be complete as it is. The words which accompany it are divided into three sections, an A phrase, a B and an A-. Part of the first word is missing and presumably the song should begin on the last beat of the preceding measure rather than on the first as it does audibly. It should be compared with Nos. 88 and 103 for similar melodic ideas. The first tone heard is the fifth, and if the missing syllables were added probably they would be on the fifth degree also, as they are in the second phrase. The final tones are on the third degree. 310 Canadian Arctic Expedition. 1918-18 as Weather Syeantation. Record INC. 43. Cf.No 96 and Notol. Joie A Ikpakhuag,a Purvitg man. ooo 6 © +e 0 0 ry 5 — a gain- yo ki-cu-ma gain - yog ki-cu-ma gain- yoq kt-curmary-a gain - yoq ki-cu-mam e a a oe ae a) ye — t- voamnag-in-yoq qait- go-ya-tim u- viz df-go-vbu-tin gain- yoq ki-cu-mag e Se pe — a aaa 7 = = = ye ¢l- voacpnagan-yoq gait- go-yatin u-vi St-go-vtutin gain - yoq kt-cu-mam e e ye No. 95. Recorp IV. C. 43c Eb major tonality Phrases Measures Beats A a bed e 5 37 179 8 7 5 A a b ed eu 5 37 189 8 7 4 B f g@d)e 5 31 16767 4 A a bed eu 5 37 18 98 7 4 B f g (g! di) e 5 30 167 67 8 Note the change to triplet rhythms in the B phrases. This is one of three versions of the same song, Nos. 95, 96 and 101. A close comparison of the music and the analyses is recommended. Observe in this example how the different A phrases each contain 37 beats although the order of beats in their measures is different. The song begins on the final beat of the measure, on the third degree and closes on the second, which plays a prominent part throughout, and which seems to be the resting place or general level of the tune. Songs of the Copper Eskimos 311 No.96 Weather Incantation. bia HIS. 65a by Haqumyag,aPuivtrg woman. =IT2 > b bs ee T = t 1 | A, car i a a ’éfeu Jt 1h a ee Be & DZD b ZS Mh] | haat 2 TE 6 1 a eo —0 +e oo eet m _| gt = > T : EN rad ce a e fe + oo, gain- yog, ki-cu- ma gain -yoq kt-cu- ma gaim-yoq Kt-cu- ma gagaim-yoq ki-cu- — - Cc (ext > (ext | aan T } aa: , / ma e yarn ci - Vvoamna-ain- Yyoq gait-qo-ya - tin u-vi- at- go- vtu- () > A ras —— t t a at { tt—f <—t { ft t— ae FT moe as Ie ad a Ce; c tin gaim- yoq Ki-cu- ma e© yam — qain-yog kt-cu- ma gain-Yoq kt- cu- B Cc La j ‘- T A f 1 T T T ~ + = f -4 y = eo a et 7 d oe ‘oe ae + <° o_ ee! i ma-gqain-yoq Kki-cu- ma gagain-yoq ki-cu- ma e€ yam ci voad-na-gin- ext ) ext 2 i T i T4 T a Tz ie i if il Dr i =. Tw i ne avs KR TA [a a a R ATO RT TT AA AL ae Bh = i ut ee tee COS Oy f COCs Tb Oe eo, eat + k beh al aa i ail ~~" os Yoq gait-qo-ya- tin u-vi- at-ao-vhu - tin qain- yoq Ki-cu- ma e yam No. 96. Recorp IV. C. 63a C major tonality Phrases Measures Beats A a be d 4 16 14 4 4 8 B e f g (g) h- 5 20 1444 4 8 Cc ijk ?~} kK j 1g¢g ht 9 30 13 38 8 8 3 38 4 4 8 A a bec d 4 16 144 4 8 B e f g (g) h- 5 20 144 4 4 8 C ijk ~k 1 ¢g hb 9 30 13 38 3 83 44 4 8 Another song follows this immediately, but it is not clear whether it is considered to be part of the above or really a separate song. There are some points of similarity between the two so that it was thought best to class them together. 312 Canadian Arctic Expedition, 1918-18 nwo97 | Weather Sucantation. Record IWC. 635 b bine by Haquayaq,aPuvtig woman. 0 A Ges At A i - BG A, jA_t——, { re Tr T | yy J a ts Ga | i ~. NY i i 1 1 bam } 1 J AN 40 + is a | IBS ¢ r\ } - + + mY _ f Rt is + f. G Sy t -¢ - + [one | La Kt i } ae ta Fe Of ee 8, OZ ye ete a 83 * gal-yi- na-in gat- = yl-main gai- yi- nain gal yi- nain (ext: ) & === a | o> 030 ~C«e = : : Pr $e fo § g SS 8 $ oie: i - ca-ya-cifka-a tmai- tununi gai-yi-nain gai-yi- nain — gat-yi-nain i A i 4 Ts 13> ram T TA T3 T ae f TA ans B ete tt a a ae Ee Et te BE — cl gal - Y! - nain gal-yt- nain qai- Y!- nan b= ca-ya- e1t- ka - 5 cext > The singer let out the breath it t + {- i t + om the last note. Itisa very ffective mannerism—_— 7 ee 2 3° © S. Os S$ x. $ with her. tmat- tu-nu-ni = gai-yi-nain = gai- yi nan. No. 97. Rercorp IV. C. 633 C major or G major with the flat seventh. The tonality is not entirely clear. Phrases Measures Beats A a bed 4 12 3.3 38 3 A’ al b cd 4 12 3.3 38 3 x 1 3 3 B e f g gi 13 3 3 3 4 ext. g g? o3 gf 13 3.3 3 4 A” { a bc dt 4 13 | 8 8 3 4 ie a bc d! 4 13 3 3 38 4 B e f g g! 4 13 3.3 3 4 ext. g pg? g8 g? 4 12 8 3 3 3 Comparing the first song with No. 95, we see that in this, the second version, the first A and B phrases appear to be missing. The measures are smaller, although it might be argued that those in the previous song could be split into Songs of the Copper Eskimos 313 lesser units. As the song was sung, however, the larger ones seemed to fit the case better. The metre is more regular in this version. The melody is made smoother and more plastic by the introduction of the sixth degree, below the tonic. The tune begins, as in the previous case, on the third degree of the major scale on the final beat of the measure and ends on the second. The second song is especially interesting for its metre. In the first two phrases it is perfectly regular and then settles into an order of 3, 3, 3, 4 from which it does not deviate until the last measure, which although only actually three beats long, theoretically should be four, to include the first note of the song, which is a final beat. There is one exception in the presence of the rest, which is probably not an integral part of the song, and which perhaps might not be taken at the same point again, if at all. It is interesting to observe how the extension of the B phrases is sufficiently long to exactly compensate for the lack of a fourth individual phrase to balance the second A phrase. The song should be compared with the B phrase of No. 104 which has the same general metric swing. The song begins on the first beat of the measure, on the fifth of the major scale and ends on the second degree. 314 Canadian Arctic Expedition, 1918-18 88 Weather Sneantation. Record IWC, 82 b. eee ere Amivyana a Coppermine River man. rs _A . a v o o ae L ry A re4-+—7—7+-++ A a A I | Gas CY (aE OR ES “i "8 au "a a aaa a b a ia au. la-quay-yoq qa - ya-yi-ag-mi-un au-la-quay-yoq ga- ya: Yi-acy-mi-un ga nu-na-li ma-ko-a ci-va- lima-ko-a a: in- i- u-ta-in ne-yin-L -u-ta-in 7 =—t tT ‘A j ti it L he 3 vo Y Vv oe i i J gat vab-it cap-ko- a cay-ya-i cay yai No. 98. Recorp IV. C. 828 A minor tonality Phrases Measures Beats A a ba bi 4 13 3 333 33 B ec dee if 5 183 43 3 444 32 Cc g¢ h i 2 4 12 3 3 3 3 Coda j 2- 3} 24 1 Observe in the measures i and i! the sequence of the second and fourth measure of the A phrase. The coda is an unusual feature. The tune should be compared with that of No. 99. It begins on the fifth degree of the minor scale on the first beat of the measure and ends on the same tone. Songs of the Copper Eskimos 315 Se Sncantation. i164 Qoymiq. Coppermine River man. 4 Oo au - la-qua-yoq qa-ya-yi-am - mi-un au- — la.quay-yoq ga-ya-yi-aq- mi- un qa-ya-yinin- oO -in = qa-ya-yintn- 0 -in nun-a-nuna-va-Hy- nun nunanun Leukciy: D ext re) nun nun-a fi ma- Ko-a ci-va- li ma-ko-a a-t-ni-u-ta- in ne-yin-t-u- fa-1 —_—™. = e 2 ai) } dr al v L. ae | z LY a = uM i ¥ i j a ™m n > a* nt P Tu-la-lanyan-a tu-la lamy-a- a tu-la- is tu-la-lam-a- li cat-yin may a a aos ° as ae 7 *" —F : Tuv-yay-u-yo tu - la- lam-a Tu-la-lay-a- a Tula. las-any a fu-la-lan-a- a tu-la-lan-a Tu- la-lam-a- ti cat-y.in may- a a tuv-yay-tu-yo ra E* o », oe e Fe oo» L FI Fe 4 | means (am A v v v7—T | he ‘ane i272” t To if ae a8 ine My 1 n fu- la- lam-a Tu-la-lay-a- a — fu-la-lam-am - a furla-fam-a- & iit i L ¥2 ft Wa i | a LA A |v 11 as a4 o tu-la- lam-a tu- la-lany-a- li 316 Canadian Arctic Expedition, 1918-18 No. 99. Recorp IV. C. 22 B minor tonality Phrases Measures Beats A a bcab ee 6 13 422 242 2 2 B d at d a? a at 6 123 2 142 2 3 2 Cc aed i fg 5 11 322 2 2 D (ext.){ fg fg! h i a? 5 14 8 4 2 3 2 A a b cab e 6 13 222 222 2 2 B d al d a? a? at 6 124 2 9 2 8 2 C aed fg 5 11 3. 2-2 2-2 D (ext.){ fg fg! h i a? 5 14 38 42 3 2 E j} k lm 4 10 3 2 D8 F n o a at 4 10 38 3 2 2 i’ n'i(p) o a af 5 11 2 2 3 2 2 E’- j kl 3 7 Oa Bee? F n o a at 4 10 : B SOO! F’ n'(p) o a? af 5 11 2 2 3 2 2 Ez’. jt kt ] 3 7 a 2 2 F no a af 4 10 3 38 2 2 The form of this song is extremely interesting, especially from the stand- point of the subdivisions within the phrases themselves, and the repetitions. The extensions which comprise the D phrase are worthy of study, both from a melodic and a metric point of view. The new departure as set forth in the E and F phrases, while common in Eskimo music, would seldom be found in Indian songs. It probably represents the line of fusion of two songs which were once quite distinct, as this process is visible in all stages in the dance songs of the Copper Eskimos. The presence of the m measure in the first E phrase is no doubt a mistake. Probably it should not be counted in the analysis. The song begins on the last half of the final beat of the measure, on the fifth degree of the minor scale and ends on the same tone which seems to be the resting place or general level for the tune. This is a much fuller and probably more nearly original version than No. 98. Songs of the Copper Eskimos 317 Weather incantation. No 100. Record TYC. 82a Amwyana, aCoppermine River man. Cf.Nd.104, also Nos. 88,28 and 1104;== | enLlA a hinFof the same melody is also found in No.90. ‘ +ee,, @ bat a Pee @ 9 ao =. v2 i 1 ae ae EW mt cum 772 ‘Fas 7a t | A SO TO RS | i. #- - om | A | a S/o a A ~~” 4 VV te OZ L777 Ye Fes $. bf JA SAD FS FTES | U A | 4 Y Y% i7 7 Ui i Lor v kei Be ¥ —+ a b a b : Cau-yuay-ma-a in uy- Yu - ay-may = CaU-yU-am-ma-A IN- — Uy-yul - am- mam - yo e (o) @ . | ae La 62 a te Ll i a EE | c d e 7 c Cay-yu-ey-lu-nu — ma-fu-ty-lu-nu— qin-tqtu-a-imm-i- lu ya ta ha $ h @) ya cu-vluchoylu tp-kwaginymt. 1-lu ip-kwa cu. Viin-yuvhu- ty tp- ku- wa bes oA, 17-90 SE a __ BE Se AY AY GD A A V8 ya ta ha gin-tq-tu-a - mmia-t ya cauYyUramyma-a in UY-YU- ag-man Ba EJs | a] : a b ¢ Cau-yuanmaa in- uy- yU- am-man — cay-yuréy-lu- nu Fmt et d e matu-ey-lu-nu gun-ég ‘tu-a- 2 y ro co mat - lu ya ta ha ya ahenel tp- eee alu a kwa -2n5 aoe it x Vv ce i j £ cu-viin-yu-viu-fiay ep - Ku- wa gin-tqtu- a= mig clu k (og y yataha ya Ta - U-yu-cam- [4:4 —o— eo; roe r-—o—0—0-+; 0} p—o—|- OI et ¥ = 7 ao om wn yes 7m) a = a | bt ce J N/T maga Yamv-yay- yu- cam - ma ga ya d-gey-luamnun niv-yaiduam-nun {eo @ 4 — AB, ooo, | ron Pato ee ee ee wr a on Ae AY a / co va yet + rc tS a t 4 e ry ci c a be qin tqtu-a. mim-i- lu yataha ya —¢au-yu-am-maa in- uy- yu- am-man 318 Canadian Arctic Expedition, 1918-18 No. 100. Rercorp IV. C. 824 Two songs combined Song I F# to B minor tonality Phrases Measures Beats A a bab 4 13 38 343 34 B ec de f (c ¢) 6 143 3 332 2 2 2 Cc g & h 3 63 9 2 22 DB e& i j f (! &) 6 12 22 2 2 2 2 A a bab 4 13 S Bie gt B e d e f ( ¢e) 6 14 3 842 2 2 1% C g eh 3 63 2 2 22 DB e i j f(e y) 6 12 29 2 2-2 2 E k c® 1 be cf 5 113 19 2 2922 22 B’ ji d- e f (¢ c) 6 15 a 2 2 2 2 2 2 AB a b& ec d - 4 123 a2 8 2 7 This very peculiar form may in itself represent the fusion of two songs. Or we may have the alternative, which is not altogether rare in Copper Eskimo music, of the departure to a new musical conception in the latter part of the song, which so many instances of fusion would be likely to suggest sooner or later, and then the return to the orginal theme, closing with a telescoped phrase composed of the musical material of the original first two phrases. It is one-of the most interesting examples in this respect that has been encountered. While the different phrases are not uniform in regard to measures or the total number of beats in each, the parts are almost constant in themselves, in the repetitions. The B phrase with its modulation to B minor is sufficiently different from the first phrase, to suggest that it too might once have been independent. The E phrase is a foreshadowing of the melodic ideas presented in the still distinct second song No. 101 to which we now turn for analysis after remarking that the first song begins on the fifth degree of F# minor with the first beat and ends on the fifth degree of B minor, below the tonic. Nos. 90 and 110 have melodic themes similar to that found in the first part of the present song. Songs of the Copper Eskimos ~ 819 No.101. e a A @ © o a en a oe Sea eet ea oe ra ie az 1 L aT = im nT cay-yu-ey-lu-nu —ma-Tu-ty-lu-nu gain- yoq ki- eae ma gain-Yoq ki-eu- ma qain- , ) la ext. Yo. = zie (eee Gert sese , i Ct LN a ° P P q g T yoq = ki- eu- ma ya gain-yoq ki-cu- ma ye ye gege qunyarnagin- yoq qait- nati as ext ins Pro t > A LZ hiro 0-0 SS 2 ae =: ee ae a V2 va VA Vn oo ao ce ya cr rT. $s t Qo-ya- tin uv-i- &t-9o- vtu - tin gain - yoq ki-cu- ma ye x gain- pebetPfot De tet eB eh ee ee et ££ <1 ca "4 YY i Yea eet gatm-yoq kt-cu- ma gain-yoq — kt-eu- i te al | ku- cu- ext, WN 7 @ 88 e eo é Pp q sg T cs ark, a7 rt > fs ext. ) x a a T2 [a ae ee a rw TT Ml n Ed hd i se + Fe] — + if t ; y t fe omen ¥ A Sr . i - $ t eé (1) This word as given in thetest is: Y°9 knees Die ye xe (ye qn) cuvtinyuvtutintu. The final syllable was omitted in singing. Note the subsequent changes, due To this. No. 101. Recorp IV. C. 824 Song II B minor to B major tonality Phrases Measures Beats A mnom ml. 4 8} 222 2 2 B alo p (p) q 5 103 1292 9 2 2 C g r c& rl 4 6 2 12 121 ext. vrs t¢ 4 83 21232 2 22 i 320 Canadian Arctic Expedition, 1918-18 Phrases Measures Beats A mom m 4 83 42 2 2 B ato p (p) q 5 103 222 2 2 C gor c& rl 4 6 2 13141 ext. ec rs t 8 5 103 2122 2 123 It is this tune which has other versions in Nos. 95 and 96. Observe the difference in melody here and also the greater range, as executed in the B phrase. Probably this is a corruption, rather than the original. The change to triplet rhythm is carried out, however, as in the other versions. The song begins on the last half of the second beat of the measure, on the minor seventh, of the minor scale. It ends on the fifth degree of B major. Songs of the Copper Eskimos 321 Nowa Che Longspur's Sneantation. Record ITC. 89a. Naneyoag, a Coppermine River man. deté | iA = B 3 = Se v7 96 Zp? 9S oo eo + vb & a yaye yae yaAaye yaa ye eyaaa. i ya ( ga ya-na-lun-at ga? (pkuf = € yam-e ya 2722? Anenanam agamame) yaye ya & Fr a yayeya ayeyae ayeyae yaa ai aye yae ae ae iv At _, (1) These words not given. Not thesame as before although text says. so. yaye yat yayeyat yaa ye. * This song isnota weather incantation but a pisik. It was immediately preceded onthe record by the weather incantation No 1o5,hence the confusion (p.3) 88540—21} 324 Canadian Arctic Expedition, 1918-18 No. 103. Recorp IV. C. 208 Dp major or Bb minor tonality Phrases Measures Beats A aa b 3 6 2 2 2 B b! al ¢ 3 6 2 2 2 C d b? 2 4 2 2 Al a a bi 3 64 2 2 22 D f g gi 3 53 2 2 ik A” a b? b3 3 63 2 2 23 B” b! (a2) a (b® b? db?) ef 7 174 B13 ° 5 SL @ 2” 24 , C d b 2 2. 2 A’ aa bi 3 63 2 2 23 D’ f fg gi 3 53 2 2 2 (A” a b? b3 (b! b8) 5 103 22 22 2 ; lan a a jb? 3 74 & §. 3i Bee bia el 3 64 2 2 23 (Cc a 2 4 2 2 A’ aa b3 3 63 2 2 2h D fg gt 3 53 2 2 13 Ree a b! b? 3 6 2 2 2 The form of this chant is most peculiar. There are no verses or refrains, unless the words which begin in the latter part of B’’ and continue to C may be considered as a verse. The rest of the syllables are all burden syllables. Con- sidering this fact, there is a remarkable uniformity throughout in the number of beats in the measure, and the repetition of parts and their order. The song begins on the first beat, on the third degree and ends on the same tone. Songs of the Copper Eskimos 325 No 104, Weather Srcantation. Record IVC. 59 b. (Te allay a storm) aes lag.aPuivtig man nee . AY y ¢ a b e d ce b el fau-i-yu-am-ma-an in-uy— yu-am- man fau-i- yu-am-maan in-uy- yu-an- ext 8 ; : re ' d € d f dz "3 Be h man a-Qe- y-luy- am-nuk newyoy-luy - am-nuk nud- viog- i- lan in-u-ey-t- Lissa : b—p—-+- +t i j at k i dé ¢ dé voq in-uk-cam- t-lan ine u-ty- i - voq: a-ta- mi ka-naya qun-ey-tun- uk tau-yu-any-man im- uy- yu-am-man Tau-yu-am-man tn-uy- yu-an- p B (ext awa dd — ar 2 a ft d f d? 3 d3 h man a-qt-y- luy-am-nuk niv-yoy-luy- am-nuknud- vin- i- lan in-u-ey-i- ,C ‘ eo : La n Lt : $ je + YO} ia jh A | ae 4 ¥ Lu Nee jee i t | Sa, i “a ¥ i i j dt kK io J Ff? voq n-uk-cam- i-lan n-u-ety- t voq a-ta ni ka-nam- a im T ty. aft di qin-ey- lun uk . No. 104. Recorp IV. C. 593 C minor tonality Phrases Measures’ Beats A a bed 4 13 3.3 3 4 A’ ab cd 4 13 3.3 38 4 B e dif @ 4 13 3.3 38 4 ext. g dh i 4 13 {138 2 4 8 826 Canadian Arctic Expedition, 1918-18 Phrases Measures Beats Cc j d*¢#k i 4 13 3 3 4 3 GP d‘ fi dé dé 4 14 3.4 3 4 A” a b ec di 4 12 3 3 38 38 Al”? a2 bed 4 13 8.3 3 4 B’ f di f di 4 12 3 3 8 3 ext. e dh i 4 13 13 2 4 3 Cc j} dk i 4 13 38 38 4 38 GM! yj} ft dé dq? 4 13 38 4 38 3 This is the one absolutely regular song in the entire collection from the standpoint of the number of measures, or primary accents to the phrase, and almost from the standpoint of the actual number of beats to each. The extension of B provides a fourth phrase, if not independent, to complete the unique six- phrase form. In its larger aspect the song is three part, each subdivided into two nearly identical phrases, and repeated once in its entirety. The song begins on the first beat of the measure, with the third degree of the minor scale and ends on the tonic, which is the general level. Compare the melody with that of No. 100 and the second phrase of No. 97. Songs of the Copper Eskimos 327 pascnee VeathierSneantation. Kaneyog, a Puivha girl. d=96 a pa U-va-u-ne t-matai-lamunpivbum-a maum-ay- yuray-a- & ua a a a a (upireeg nupavnay man) # u-vamnk = in-uk u-na t6-u-aq-eai- yu- a °q mitotane tm-min- 1k 1 B 3 wad iui iT A AX Tt j sf bal aad A AT q -t LN i, ae if —— od e ia x a t a in-uk u-na nat-qug-cu-yu- tt- aq aq tay -min-tk u-va-u-ne 1im-a-tai- lamunpr-vbu-um-a maum-a tc-u-aq-ca ag-pum-a a huahua a (1) This measure \was not really pitched, No. 105. Recorp IV. C. 20a Bb major to Bb minor tonality Phrases Measures Beats A a bed 4 8 422 142 2 B e f g h 4 9 22 2 23 C iaaaa (qj a?) 7 15 De Di Di De DD 8 D a a ai dt 4 84 2. 2 12) Os B’ e ia a? al 4 8 2 2 2 2 C i at aaa ial? 6 12 22 9 2-2 2 2 The final measure ia of the last C phrase is a coda, musically, although the words of it cannot be separated from those that precede. It appears to take the place of the extension in the other C phrase. The song is divided, but not 328 Canadian Arctic Expedition, 1918-18 very markedly, into two equal parts, the D phrase ushering in a slightly different theme. This phrase is interrupted by talking but is taken up again at the point left off, as a comparison with No. 106, which is another version of the same song, will show. The collector has told me! that this is customary when talking breaks the continuity. It is merely an expression of pleasure or interest in the song being sung, or an exclamation at a mistake. If the latter, a correction 1S made, and usually the singer begins back a little. The words of the first and second phrases are identical, thus necessarily rhyming, but there is also rhyme, between the third and fourth, where the final words are different. The song begins on the last half of the final beat of the measure, on the fifth of the major scale or the fifth of the tonic minor as the alternative, but the feeling is predom- inantly major up to the beginning of the C phrase, where the introduction of the a flat causes a modulation to minor. The song ends on the same tone on which it began, which is the general level of the tune. ' Correspondence. Songs of the Copper Eskimos 329 Neos AWeather Sneantation. Record IVC. 8I.a Kaneyoq,a Purviig girl eS cf. No 105 for alesse full version mt 4. A} A) o EE he if rt | 5 a | a 1 | if i Za - mn (a pa ot F a 5 j id nal m4 a | «2 me mt rt A rn | 5 a; a A 1 Y. ‘aaa ¥ iva a! a RE NE =. = 1 a b c al ay-nay-yu-a kan: a au-lag-cun-u- [9q- pa ay-nay-yua Kana au- lag-cum.u- aq. pa cau- a 7 ae az : ab & \- u-ag- Cag- pum-a uevam-nik in- uk una U-u-ag-cal- — yurtt- 2g tay-min.tk B* a c? | Oi eae Oe ee I Tt re - J aé amofauyuaham.a at ab? ? fue | & 1C-U-aq-caq- pum-a u-vam-nik meceyeye®—uruk una nat-qug-cuyu- vf> 9g 1mmin-tk (B c? d ci as 3 at m-uk una nakgiq-eu-yu - tf-2g t-min-tk = U-va -u-ne t-ma-tai -la-mub-i_ pt-vhuaya maum- )E* = re | | if 4 i {st The ae —! | (ab |b a J cCnoakon- it . Pe" BP. 4. oe. eo a i ae ae il SPUN T y f aé pikhuyy uk ey A 1e-U-ag- Cag: Punaa u-vam-nik bc al 330 Canadian Arctic Expedition, 1918-18 No. 106. Recorp IV. C. 81a C minor tonality Phrases . Measures Beats A a b 2 7 33 4 B e al 2 74 4 33 i Cc e e 2 95 24 5 2 D a? ab 2 84 4 43 B’ cl a’ 2 8 4 4 C’ e at 2 8 4 4 E f ae 2 7 4 3 D a? ab 2 83 4 43 B” ec a3 2 8 4.4 Cc” e at 2 8 4 4 E’ f aé 2 6 4 2 The song is here interrupted by talking although the final measure is cut only one beat. D a? ab! 2 8 4 4 B’ ce! a3 2 8 4.4 Cc” e at 2 8 4 4 E’ f af 2 6 4 2 In this form we are reminded of the pisik with prelude from which the verse section obtains the melodic material, but in this case it is the second and third phrases which are derived from the first part, which would correspond to the last phrase of the verse and the first phrase of the refrain. There are a number of minor deviations in rhythm which mar the absolute regularity. It is a most interesting specimen for comparison with the preceding, for that is the same song sung by the same person at another time, and is proof of how great the variation can be, both in melody and metre, even with a single singer. The first version was given only in fragmentary form as a comparison will at once reveal. As given here the song begins on the first beat of the measure on a oo degree of the minor scale and ends on the same tone which is the general evel. Songs of the Copper Eskimos 331 No.10% Weather Sneantation. Record IWC. 43,a. Tkpakhuag,aPuwhg man. d=96 2 Ax Fe oe ext @) Be em z At A. Ds a. | a. . 6 A OE I A £ ] ~o- 2. z m == yy ig 7 (2 Fo al A DTS | 7 Vr So std ve a 4 & v7 y ae vane Vi i a) Ve TT i a ts e d ct e tau kte-u-ma qa- i-tu-tin u-virai-yu- yan a- ta ni 3 4 text om Fine A nr ~~ om oo o—» 3-6 aa > _-_ S21 O_O_Y \ th o—& Ao a mae y Vv bs a, Fi | = ue sie t g h G i a kenan-a nu-i- yay-fu-hn cal-yil-yu- ak a-kut-yok-u-yik. — fau kieru-ma Cext 2 3 2 A ~~ o- ESgootcorcth tot tt eo + t+ ote Ft Ll 1a £4 T ie id it Ame 3) ie A uM tT 1 y ce d ct a b c qa- ttu- tn u-vi-ai-yu-yain tau kicu-ma ga- i- tu -tin u-Vi-al-yu- yain a- ta- ni kanan-a nu-t- yay-tu-tin cal - yil- yu- ee ) DC.al Fine. Sa -e— 1 17 o —7 7 | cal ~ ye yi ya i ye yi ya- i Nuta-ya gé-¥- cuag-pab-e-qa-mi ye yi yat 3 Vewel. : ) _ 5, rm 2 - or f vo d avi ye ya-t Eyeyi yar te yeyi ya t yeyiya i ye yoyaa t 3 Refrain, a Ets br g cae — B crfamanrk i. liy-yun ma-li-ka- lu ay- macti-yu-i ye ylyai heyeyi yaa-t presen. rN > i it e! f a d? Ltikacci dt ta-yi-vurma-t ye yi ya-i ye yi ya- i Verse 3. Songs of the Copper Eskimos 333 No. 108. Recorp IV. C. 25a F major tonality Phrases Measures Beats V. 1. A a bed 4 11 23 3 8 Refrain B e f bk d@ 4 9 22 2 8 V. 2. A’ a — bi(g) c! dt 6 13 2222 3 2 Refrain B’ e f b? d3 4 9 22 2 8 V. 3. B” e ft b? d3 4 10 3 2 2 3 V. 1. AY a bg cl- di 4 10 repeated. 2 3% 24 2 Refrain B”’ e* f b? di 4 9 2 2 2 3 V. 2. Aut al — bi(g) cl- d3 6 13 repeated. Oo 2 2D 233 Y V. 3. B”’ e! f b? di 4 8 22 2 2 Observe the differences in the repetitions of the various verses. There is one inconsistency, which is that the third verse is sung to refrain music. In the first case the second verse had its refrain, the tune of which was repeated for the third verse, but in the repetition the refrain of the second verse was omitted altogether. There are also the usual minor differences in the number of beats, but the number of measures in the various phrases is quite constant. ' The song begins on the tonic with the first beat of the measure and ends on the fifth above. This is the general level. Compare this song with No, 112. 334 Canadian Arctic Expedition, 1913-18 No.109 : eee WeathierSucantation. r Amwyana,aCoppermine River man. 02544 : t w : A ee res a rep et a a aa’ bt A 7 ga- i: tu-tn —uv-i- ar yu-yain tau kic-u-ma gqa- i-tu-tin fy ee Py) ct uv: t-al-yu-yain No. 109. Rezcorp IV. C. 83a Gb major with a hint of the relative minor Phrases Measures Beats A a be 3 21 7 5 9 A’ a b ce! 3 23 7 5 (il A” a b @ 3 21 7 5 9 This very simple little three-part structure is the first of five weather incantations which were given all together, following one another without a break so that they seemed like verses rather than separate songs. This first one should be compared with No. 107. It begins on the first beat on the fifth degree and ends on the third. Songs of the Copper Eskimos 335 Nome cinmeansayy _ Weathier Sneantation. sien, uvyana,a Coppermine River man. Ay t 4 A... As Y pers Y > (ext: Se ee ee ee vs + a — uy aL ae 6 A. he _— Has of dena ams J sz nA I e: e3 er ‘ab cu-a-yo-fai- fi a-dtp-ci- t- fu- ay- fu-yin a-qup-ci- i - tu-ay-mit-u- ytk No. 110. Recorp IV. C. 838 Eb minor tonality Phrases Measures Beats A a be 3 64 2 2 24 ext. de e e e ef 6 13 22 142 3 2 ext. ab e e& 3 64 22 22 The extensions in this tune are divided into two phrases, the second con- taining an echo of the original melodic idea. The music is unique in this col- lection, for its structure. It should be compared, however, with that of Nos. 90 and 100 for similar melodies. It begins on the first beat on the fifth degree of the minor and ends on the same tone, which is the general level. 336 Canadian Arctic Expedition, 1918-18 Nott. Weather Sneantation. ¢.(Follows immediately) Amwyana Coppermine River man. A 3152 or d Jee This song is better understood if counted in eighths. rN 4 &- 5 = Tas { 1 a el i va L vy zs a b ¢ Ad e f amM- Eyay-am-a agai yagai yA aMe t-yam-an-a yack ya agy- o\_6o_@ a oo T IN T | ae Ae GY 4 5 AE RE A EN +, @—® + ¢ > e+e ¥ £ Ld 7S a LO | 1 AE in oe | I I | 7) EE: al *>-6 ‘mn 7 ae yi Zor yz a= 7 ea | F a an ry d e 3 h e @ yam-am-a am-al yagal ya i (la. vi- tuny-a ci-le- u- la ni? ) agai yacn-a No. 111. Recorp IV. C. 83c Bb minor tonality Phrases Measures Beats A a bede f 6 28 L446544 . A’ a bi ct de g h e 8 36 14444444 7 A glance at the music will show that there is a section in A’ which was faulty on the record and the extra beats in this phrase may be accounted for in this way. The movement of the song is grasped better if the eighth note is made the unit. It opens on the final beat of the measure and the fifth degree of the minor and ends on the tonic. There is no general level. Songs of the Copper Eskimos 337 No 112. Weather Incantation. (follows immediately) Amivyana,a Coppermine River man. oe 82 A ci-ta- yng i- liy-yun ma-li-ka-lu-ay-ma - ti-yun ye yi yal ye yi ya el. i 1” a3 Cc rti-kde-t-at —tat-pa-yo sb - ye yi yal ye yi ya Cl-ta- ma nuk Verse |. thyyun — ma-li-Kilu-ayma- tiyun ye yi yat yey ya b-ye yi ya a * im f Ve a ye yl ya ye yt ya ye yl ya No. 112. Recorp IV. C. 83p Eb major tonality Phrases Measures Beats A a al ab ¢ 5 28 V.i1 4 5 6 8 5 B bt d a? ce 4 23 65 5 7 A’ a at ab - oe! 6 27 V. 2. 4 5 6 4 8 5 B’ e df @ 4 19 44 4 7 The first verse has two phrases, the second but one, so that the second phrase of the music is filled out with nonsense syllables. The song begins on the first beat on the fifth degree and ends on the same tone, which is the general level. Compare it with No. 108. 88540—22 338 Canadian Arctic Expedition, 1913-18 Weather Incantation. Amivyana, a Coppermine River man. Nol13. e. (follows immediately) pts ster d= 76. 1 —~ ext 4 o—o—— yin ZT -o—_o-._,_o_se—_ Lee o- 9 o_o ay Pp a Pe et ee de ee S¥ vd 7 y_Y "4 Y S y_V a y— J a yt b Z 1-4 é nu-yu-a-mum - i nu-yuamim-L Mey mia - — b Mibyur army a- tam ) Bor ext.2 js. ie oe a a ey La i ——= “ i ye yi ya et a nu-yu-a-muy - t a- t yam-a ye yi yar yay yam-a tt /e ais 4 d e Muryu-amun tt — nu-yu-a- min. Lb nuyu-a-min a-tan a- i yacn No. 118. Recorp IV. C. 83 Eb minor tonality Phrases Measures Beats A a b ec (d e) 5 16 3 4 3 3 8 B or f e e e 4 9 ext. 2. 23 2 2 A’ al bt c¢ (de) 5 14 3 3 3 38 2 Probably the end of this song was cut off when the end of the record ‘was reached although the tune may have been intended to stop in this manner. There is an interesting melodic variant of a in the measure c. The song begins on the first beat on the minor seventh of the minor scale, making the mode the natural minor. It ends on the fifth which is the general level. Songs of the Copper Eskimos 339 CHAPTER 2. DANCE SONGS FROM REGIONS SURROUNDING THE COPPER ESKIMOS MACKENZIE RIVER DANCE SONGS The Mackenzie river region lies to the west of that which the Copper Eskimos inhabit. It is not so far removed, however, that some intercourse should not occur. Twelve songs have been collected from this area, all of which are dance songs, and the first of which is designated an aton. The last is reputed to be a Russian song, and is exceedingly difficult and complicated, especially on account of the numerous chromatics, modulations and shifts in pitch due to what may be untrue singing. In the general conclusions its features have not been calculated. No. 114 is not unlike some songs from the Copper Eskimos, except that it lacks refrains and connectives. The verses are all alike, with A and B phrases. The speed is moderate—M.M. 104. There is a syncopated rhythm and a tendency toward two sixteenth notes at the ends of the measures instead of an eighth, and sometimes for the second half of the second beat. The song begins on the final half of the fourth beat in a five-four measure which perhaps should be split into a three-four and a two-four. Connectives are not lacking in all the songs from the Mackenzie, for in the next, No. 115, one is used for an introduction and again to join the two almost identical halves of the song which are composed of two phrases each. The last part of éach phrase is sung to burden syllables and between the A and B phrases of each half there are extensions of the A phrase which might very well also be called connectives. Those which introduce the first half of the song and connect it with the second are different from those used by the Copper Eskimos in that they are longer and there are two words as well as some burden syllables. This song is much more lively in tempo than the average or even the fastest Copper Eskimo tune, for it moves at 144 M.M. Its dotted eighths and sixteenths beside lending precision of movement also add to the liveliness. There is an interesting rhythmic contrast in the beginning of the B phrase where a smoother movement of paired eighths appears. Most of the Mackenzie river songs are much shorter than those of the Copper Eskimos and lack the divided verse with its refrain for each verse-part, the refrain and the connective. Many are similar to the final songs in each of the three Copper Eskimo sets, the pisik, aton and unclassified. There is a flowing quality to the melody of No. 116 which reminds us of the weather incantations, and the octave intervals would be rare in the Coron- ation gulf neighbourhood. No. 117 is another short song with rapid tempo Its double dotted quarter notes and the triplet rhythms, as well as the series of sixteenths, especially at such a speed, are features that are not at all character- istic or even common in the Copper Eskimo tunes. No. 118 is another very rapid tune which in plan is very like No. 66 among the atons of the Copper Eskimos. There is the same striving for the balance of parts which in the Mac- kenzie area seems to have been more often attained in compositions of this type. T*@large intervals and the rise of the curve of the melody in the middle of the song to exceptional heights mark No. 119, which does not display much evidence of design in its short length, but which is in its beginning very tuneful. 88549—294 340 Canadian Arctic Expedition, 1913-18 Although the tempo of No. 120 is slow, the numerous sixteenths and thirty- second notes enliven the movement and distinguish it from the majority of Copper Eskimo dance songs of this general character. Some of those which are called to mind in connection with these Mackenzie songs are No. 50 with some very interesting instances of the singing of a single syllable over three notes, No. 54 which is a very old tune, Nos. 64 and 66, No. 67 which is another old song, Nos. 69 and 84, and No. 81 which comes from Prince Albert sound. Although smaller rhythms are not very numerous in No. 121, the tego and the greater melodic range provide Mackenzie features. It shows a nice balance in an exceptionally lovely melody. The syncopation is interesting and not at all typical of the region farther east. No. 122 has the same form as No. 121 and is quite Mackenzie in feeling. The rhythmic pattern is well developed and fairly consistent, and the melodic sequences again attest appreciation of the balance of parts. No. 123 with its rapid movement and occasional triplet or eighth and six- teenth note rhythms, is only one phrase longer than the two previous examples, and like them, appears to be formless and wandering until one examines the music, when the charm of the melody is at once apparent. The pattern of No. 124 adds an extension to the final phrase and a little coda, in the shape of the exclamatory passage which appears here as well as in the Coppermine river region. A tempo of 132 M.M. and sixteenth notes and triplet rhythms as the enlivening elements in the first part of thesong, indicate its relationship with other Mackenzie tunes. The minor tonality is a pleasing and surprising contrast in a group which are largely and distinctively in the more joyful mode. Of the eleven songs analyzed seven are almost exuberantly major, one vacillates between major and the relative minor, one becomes irregular after a major beginning, one is minor and one is irregular throughout. ‘The tonic seems on the whole better established here than in the songs we have so far discussed. Four songs begin on it, two end on it, although one ending is question- able, while seven appear to have it as the general level. In three of these cases, however, this seems divided, twice with the second degree and once with the fifth. Of the other songs, two begin on the fifth, one on the third and two on the second, but one is doubtful, while one begins on the third and another on the fifth of the minor scale. Other endings than those already mentioned for the tonic are in major tonality, two on the second degree, two on the third (one above and the other below the tonic), one on the fourth, one on the fifth, and one doubtful, while in the minor, one ends on the third, the other on the fifth. General levels beside the tonic are, for the major songs, one doubtful for the fifth degree, and one not established; in the two minor songs one has the third, which served for beginning and end as well, the other is doubtfully the fifth, on which the song also opened and closed. Five songs commence on the first beat of the measure, two on the last, two on the final half-beat and two on the second half of the next-to-the-last beat. In summing up the situation for the Mackenzie river area, as far as the testimony of so small a group of songs permits, there are a number of particulars in which the music seems to be quite distinct from that of the Copper Eskimo. Melodically, in the dance tunes there is much more variety and grace, for the Copper Eskimo pisik forms give the impression of more or less monotony, with excessive play on the tonic major triad, while the form, if varied considerably in detail, is in its larger features and repetitions of parts at times rather tiresome. This does not mean that there are not a number of examples of very tunggaal melodies and impelling rhythms which remain in the memory with tantalizing effect, for the Eskimos are, on the whole, exceedingly musical, in fact more so than is common with many Indian tribes or other peoples as groups. If the Songs of the Copper Eskimos 341 dance songs of the Copper Eskimos show a larger percentage of sameness than is altogether agreeable when too many are heard at one time, the weather incanta- tions reveal the great variety of musical effects of which their composers are capable, and rival easily the dance songs from the Mackenzie in loveliness of theme. After all, one would expect much monotony in music composed for a single purpose in such large quantities as the pisik, as our own jazz has long since shown, and the pisik is of sufficiently fixed character to demand a certain uniformity, while if Mackenzie specimens were more numerous their charm L;-@bt pall somewhat. “*" The latter, however, seem never to have attained this formal structure, if the examples collected are representative; thus fancy is allowed freer play. They are short and therefore not as monotonous as would be the case if they were encumbered with numerous verse-parts, refrains and connectives. They are, nevertheless, far more melodious than necessity demands and this proves that their composers also are gifted with no mean musical imagination. The lively tempos of the majority of the tunes, the finer dotted and syncopated rhythms, are distinctively their own, or at least not shared to any extent with the Copper Eskimo songs, if they may be with those of other regions which will be examined after the Mackenzie examples .have been studied in detail. 342 Canadian Arctic Expedition, 1918-18 a Dance Song. Record WD 8b. Mamplen.a,a Herschel Island man. ov yartei-lag cd-ni-yartei- lam ae ana-a- a- a ci-lue fi- t-vit et-lu-li-yu-tt a- ae oF, PI | ome d e £ na-a-luyma ca-u- ta Tu-nu-a cé-ni- ya-tei-lag cA-ni-yatei- lay a e. a-na-a- Verwre?2. a a- mapi-ya- aq ci-lu- li-yu-tt a-na-a-luyma ciu- ta tunu-a cd-ni- 1 1 ace. atempo- A 7 B EN ee ne ee ee ao oe A ep g at : tb c a-tci-laq chni-vyacte. - lan ae. ana-a- a-a aat-pa-a - aq él-lu-h-yuht a- Y 4 Y ) anes er 4 > | eAae L \ Pause ti. | cme Yo ; F 8 a b Be: d h feiami-i a ana-a- a-a qgat-pa-a - aq ci-lu- ft -yuctt a-na-a-laymaci-u-ta tunua cant- V3. tepeated : a jt iL Poe 2a ' x. Vv YY j ae tm I \ Aime i $ aa + t Yatei-lag a-li- teia mt (‘num-ufsq’] Songs of the Copper Eskimos 343 No. 114. Recorp IV. D. 83 C major tonality Phrases Measures Beats A a be 3 10 Vil 143 3 23 B def g 4— 14 4 3 4 8 3% A a be 3 10 V. 1. 143 3 24 repeated. |B def g 4— 14 43 4 8 83 A a be 3 10 V2; 143 3 24 B defg 4— 14 4 3 4 8 84 A’ ai b ¢ 3 114 V. 3. 4 14 44 3 248 B’ d hii 4 114 % 34 2 2 This song has no refrain and no connectives, merely consisting of simple verses. No reason was given for the repetition of the first verse. Each verse is the same except for the latter part of the third, where an appropriate drop of an interval of a third comes in the melody for the closing measures. After a pause the third verse is repeated twice, the first time with the usual ending, the second time with the drop. There are also other minor variations. The tune begins on the tonic on the last half of the next-to-the-last beat in the measure. It ends on the third degree in the octave below this tonic. The intermediary verses end on the fifth degree midway between these two tones. 344 Noll5 Record WD. 1. Canadian Arctic Expedition, 1918-18 Herschel SslanoBance Song. Unalina and Cukaiyoq, Mackenzie River women.. \ o> 144 TInt. A : ma > = SS a a et as aw eT ~_ {;)->-0—| 7-000-090-1961 4 + Yt 1 9 ee > a 7 a oo Ve torr oe 2 a bo c ; gen- oqka-fa.ni ya-am-a iy-it-a-yo-li pi-lu - ti- yaman-a ta- ext f b Ak 1 Tz s TA 2. A ALS AT UR 4 ae ae + Paws Ue ed + 1 a2 T re 7 1 nw f Lm a | ha U AL if 14 bE. {— — ] { mt Ld —- d we d e d ms gee 1st mat-kal.u-yo man-a € ye ya ya ye yam- € yeya yi ya am- ad 0B. ter P) u-ta- ni- t- t yu ta-ni the kt-na- t- lu- tau yoq na-ney- ean-unman- f, (ext. >) bed To T T Ts° { yi Ty ri ’ » A ri a_A | 4 a ri a_azyl = | i a a ae Yt | 1 ED | EE 0 T i 1 ha | A a 6 it | | { i | la ZF | Ta a ) bed t T re L34 4 iN rn ame: | eke r rw : 4 re ma it 1 if t tr {i a J T i bb tT } T tL iT a a a a oe a eo ee e! es et . a € aye ya Aye yAaye YA € € © ya Songs of the Copper Eskimos 845 No. 115. Recorp IV. D. 7p Eb major tonality with a flat seventh Phrases Measures Beats Intro. a ar 2 84 14 4 A b c da d d (e) 6 22 43443 4 B f @d g e(e e et) 8 30 4444442 4 x x 2 64 4 2h 2 Conn. a) a? 2 8 4 4 A b c d d d (e) 6 22 43 44 3 4 B f @d eg e(e et) 7 27 44444 4 8 The introduction in this song and the later connective between the two halves, are almost identical, as are the phrases which constitute the two main parts. The pause of eight beats is perhaps natural between the two divisions although such a break is rarely made. It is uncertain whether it is to be re- garded as part of the song but probably it isnot. The B phrase forms an excellent answer to the A but aside from this there is not much form to be discovered in so short a piece. The use of the minor seventh is interesting and effective. The play between it and the true major seventh, as well as intermediary pitches shows, as we have also found in some other examples, appreciation for the varied effects to be obtained from the finer intervals and tone differences, although it is not proof that all pitches which deviate from those of the major and minor scales as we know them are employed intentionally. The song begins on the last half of the final beat of the measure, on the fifth degree of the scale and ends on the tonic which is the general level. The speed, as usual with songs from this region, is rapid, and the measures contain nearly double the usual number of beats. It is rare that one finds among Copper Eskimo songs metres that are unmistakably four part. 346 No. 1L6 Record WD. Sa. 4380 Canadian Arctic Expedition, 1918-18 Dance Hong. Palaiyag LMalignne River man) ) e Po a aa a a rit. pi openete Pe ee be V_V_YV vo _f¢ Vy ye a b acacia: d e a! £ © ye ye yam-e yam-a a-maaa ye yeyeyam-e ya - aA- ayamam a : 7 ext. ) Ai. ix i ext , : 2B, ] ee bd + ; ae A ] be pS bo a 6 a al T > . Ss he J a a saa © Y k = J o—e eg - {J if 7 ¥ ¥ i rs 3 g? a by ce h ame ye ya amamane ye yeyeyeyame yaa a2 aynamnayM e ye yd i? Pe ee oo T v-O—_S—_ {0 _ 00 __0_9_9__9_0—_0__9—_# T Ke 1 +4— Y YZ Y t 103 } iva im” y i uy t ivi }, i d e t i 2 ama ye ye ye yan-e yamne ye ye ye ye ya- No. 116. Reucorp IV. D. 5a ; Bb major tonality Phrases Measures Beats A a bed 4 8 2 O22 B e a! f g (g}) 5 12 222 3 8 yd a bc (hod 5 11 22 Be 2-3 Cc e ii? 72? 4 if 22 2 41 There is quite a perfect form here although the extension of the B phrase rather disturbs the balance, even though it adds emphasis. The A’ phrase with its sudden turn at the end opens the way for the C phrase which forms a novel and quite satisfying ending, although leaving with the hearer a musical question. The tune commences on the first beat of the measure with the fifth degree above the tonic and ends on the third. Songs of the Copper Eskimos 847 wot Mance Song. Rear NEG, *Unalina and Cukaiyoq. Herschel Island. Mackenzie River women dzi2o B m = iG xf, ~ LL [4 af NN is reo 41. bi r Z Vv = Ss ear Ae cu-na kan- a-a-a ta-ko-yi- yo ku-kam- li i- i E-qim-a-nt a a.au- la-tei - yuag a & th-kai-yuk-ciuktuag hu-i hu-t =he-e -€ am? i-ya- ho hu- tv hu- t a.) 3 ext. 3 * 3.) A : 4 a. f iS oe ¢ £ €-e-e am-i-ya-ho e- & am-i-ya- ho e-e am-t-ya- ho hu-i hu- t Codov. an AN » re » T it R 4 j : oan same | {at sy » ~ ™ ALE LE a J 4 rm a. T {A i } \ qT fe a oo a Se y 3 he-@- € am-i~ ya - ho - ta- i- ma (1) This peculiarity was caused by laughter. The note was undoubtedly meant to be *D' No. 117. Recorp IV. D. 6a C major and A minor tonality Phrases Measures Beats A a b- 2 8 1 4 8 B ed e- 3 12 1 5 3 8 A a! bi 2 8 14 3 B’ e f fl 3 12 15 8 3 A a pb 2 8 14 38 Coda 1 1- 1 The form, rhythm and melody are all unusually interesting. The triplet plays a quite important part. Note also the four- and five-beat measures like a and ¢, and the position of the triplet in each, also the d measure and its elabor- ation in e as both developed from c, and the melodic change that is brought about in the f and f! measures following the second c in the B’ phrase. The song begins with a triplet on the last beat of the measure, on the third degree of the major or the fifth of the minor scale, and ends on the same tone. It appears to commence in the minor mode and to shift to major at the extension of B but on the return to A it is again in minor. The change to major is made once more in the corresponding place in the B’ phrase and back to minor to close. The low beginning and the range of the melody nearly an octave above it are features that have been noted elsewhere in the music of the Copper Eskimos, but generally the range is not so great. 348 Canadian Arctic Expedition, 1913-18 Nols Dance Fong. Record WD Ba Mamilena. Herschel Island man. a 2 a b e ad ae £ € ya yi yam-e © ya yi yam- e e yaylyan-e-e eyayi yam-e 4 te ae i. I a he \ ea LISarae bt h i is Kk. I : ses eyayiyam-e eyayi- iyam-e a-t yame tyay-a am-a-a-L e yan - i > $e fe o eo ‘ = - f oF SezS SastSe ree: = a $e m mim m? a b ae j nn b? ee ai e-yan-a aynagpay- Ki aul- A-ter-ay-a_ qa-t -i yam- e B cia ee A ea@r*e 2 +e Fo FX es = — — — =e b? b b‘ bt b? a b a bt 0 € ya yi yan-e- € a i yam-e — ki-li-ca-vit- 1 qur-iag-ni-ag-pyut ak- lag- : . : Bs 3 a f ua -§ i oven La t t . J a? p q qa b? be ht i eG amac-tu-kan a na-lik-ak- a qi- via an-a-Teiau-gtq-toq L yar yi yam-e-e a-t ext ) ‘e. PN ; k m mm r mm m? (numut.rq") yam-e e yamai yam-e € ai ye ye yan-A ai ye ya. No. 118. Recorp IV. D. 8a No tonality established Phrases Measures Beats A a b al b 4 84 2 2 929 B e de f 4 8i 242 2 2 Cc bh i 3 7 B12 2 D j} k L 3 6 B39 9 ext. mmm m m? 5 11 12 2 2 2 9 Songs of the Copper Eskimos 849 Phrases Measures Beats A a ba j (a b?) 6 13 222 3 3 2 E b? b bt bt b? 5 10 222 2 2 A a ba Db! 4 8 2 2 2 2 F (B) o a p gq qi 5 10 2 2 2 2 2 C’ bi be bh! i 4 8 2 2 2 2 D’ jk m m'(r mm) 7 16 22 2 2 2B s 3 The odd feature of this song is its structure, which contains a central portion of two phrases, the first of which is like the first phrase of the first and last parts of the song, the second of which is new material. The F phrase of the last part of the song is essentially B, but with pitch variations and changes in metre which have earned for it a different lettering. Although the first and last parts of the song are roughly the same, there is considerable difference in the length of the corresponding phrases. This is most evident in the D phrases, for in D! the first part is longer than in D while the extension is shorter. The song may be compared with No. 66 which is constructed along similar lines. The tempo is more rapid than any of the Copper Eskimo dance songs but about the same as of the songs from the Inland Hudson’s Bay people, which will presently be discussed. The tune begins on the first beat of the measure on the second degree, if we may consider the tonality as being more nearly related to B major than to any other. The flat seventh is the disturbing factor. The song ends on f sharp but the impression is not that of the fifth degree of the major scale. The tone 6, or the supposed tonic, is apparently the resting tone, or the general level of the song, although f sharp and the a natural are both prominent. 350 Canadian Arctic Expedition, 1913-18 ots Dance Dong. Record IT D.5b Palaiyaq. (Macken ie River man ) ! 80 C ext e ) B,. n A y oa xe She [ 2 @_»_lz S_S A A A 1 Tot =] tsp 0 1 0 iii a | in bi Ad tt ba i i —T& — * a b c d e _# al ye ye ye ye ye ya- ama a tye ye ye 1 ye ye yama al ye ya Cc 1 x a be Dud be bee —~ v4 = Lz _JTT ft 7 fib * > J} a a\ Bie soa 4 ikon: 1 ivi 1 || a al Naa LA a (JPME aa v v it I a vo Yo ie _ = 4 ivA PEM Ber I I tL ‘a 8 Lie “a c h h} ht yame yamee ya yaAyameya yaayane ya a amM- © ye yan (ext >) uid B M4 tL t uv Bh enya ae am a ye ya-am- e€ yam e€ ye ye. No. 119. Recorp IV. D. 58 Bb major—irregular tonality Phrases Measures Beats A a b ec (d e) 5 14 23 3 3 3 B fg ¢@ 3 73 2 24 3 Cc h ht lh? i @ i) 6 17 3 38.3 38 2 3 The continual change of melody, the disparity in the phrase lengths both as regards measures and beats, show that there is very little form to this song, although the first part is very melodious. The B phrase has practically no relation to the A but the g measure reveals a sequence of the f in the order of intervals, if not their actual size. The C phrase carries us even farther afield but in the h measures there are a few little developments of the first theme as set forth in the first of that series. The song begins on the tonic with the first beat of the measure and ends on the fourth, if it is complete as given on the record. Songs of the Copper Eskimos 351 iy, Satie Soin Dane Sng Miike South Head, Siberia. * A —s a on = B A Ww = i | I u a b a Cc d ma -\aq-te- yeq-pu-ci gai Ya YA Ya ya Ya cus yu ~ yo d-Tuama a- Ta-ya-ya-ya-yayya Ya cae 4 : Y . a) 2s } if t = © e f Re} rna-ki-le-yai-teuma a Ya €q--E8-cuayum-a ya YA Yat € yeye yeye yayana uC s tris 79-0 0-0— 2 Ee _ i 2. a a a re 1 nan y ——_ ye TA ae h L ae: , J aay 8 cel i i i i Yame a-MNa ya tmaryagitey & Tua ma Yeqpucimaca a yi yaa a t yeyi yaad i yame ke ya-ma yas E s—fh—-—-* n —— Tar a ia - 4 a 1 L241 . 1 va va 44 Wa ¥ 1 4 m 3 ‘ Ce a-a ke ya-am-a Lye ye yeya yeyeya = iye a teqteqtiqtegteq teq No. 120. Recorp IV. G. 1c E major tonality Phrases Measures Beats A a baed 5 10% a ae ee ey ae B e eb f ¢ 4+ 104 1 3 242 2 Cc @h i it j 5 9+ a aoe eae: D 1m g! g? 93 5- 103 + 2 242 24 1 4 There is no form in this example and its tonality is but poorly established. The play between the second, fourth and sixth degrees is disconcerting to European ears and not often encountered in the music from this general region. The song begins on the last half-beat of the measure, on the second degree of the scale and ends on the fifth. In the exceedingly fine rhythmic values and the dotted notes we are reminded of the music from Point Hope, Alaska, which will ‘An be taken up, but the movement is comparatively slow, for the quarter note, at 80 M.M. is about the slowest tempo that we find among the Copper Eskimos, and on the whole their songs move in more leisurely fashion than do these of the Mackenzie. 352 Canadian Arctic Expedition, 1918-18 Nor Mackenzie River Dance Song. ecord WD, éd. : . a —=Unalina and Cukaiyoq.Mackenzie River women, A fext. —~ .B pj) i eA ia t 1 NT T T us f fh baad mm Mom ie mr eae” 2 GR OS UR cee Gens Wace “iii ta eS aie Tis ee el S a A S/S | b ¢ yet Aa SF a a qd @¢ tabik-- A a cak- la-u- vi- u-yag-tuk yeye e e ye aji yat- ka- 1 K k kK ke k3 om n® el ‘mumila-lag- & piy-og- ci-lan-d u-liv-la- lam. a a tatrk-a a kep-tk-ci-mayhuk J=132 f E G@yaA + i = u = J + an P g a b ec 3 mar qty-H- lau -yay-lay-a tav-tum-i-u ta-tik, aoa cak- la-u- vi- u- yag- exe oy ) B s 2 i — —+—}-¢ 4 4+ + 4 I a a} a a d e ¢ g h tuk yeye e€ e€ ye Aji-yaty ka a pa- meog-ciu-i- eu: piag-fu = ur, un cu-luk-cu-ti- yuak r-ti-ya- ha-lay-a mumi-lalan- a proy-og-ei - lay-a ue & | a Ts T T k3 ke KA. KS Iu-la- lay a e a. (1) In the firat rendition the song was cut off here. No. 121. Recorp IV. D. 6p F major (both renditions) Phrases Measures Beats A a bc a (aba a d) 8 1¢ 12222 22 2 ] B e f g h i j 6 12 LED D.. : Songs of the Copper Eskimos 353 Phrases Measures Beats Cc k 1k k (! kk) 7 144 12224 2 2 14 D min oo 4 84 422 2 2 E a le i = 2 2 The structure of this song is similar to that of the next. There is a part sequence of A in the B phrase and the C completes a three-phrase form while the D in melodic material reverts again to A. Had the song been finished the close might have been found to be as artistic in conception as the beginning, but even incomplete, it is a lovely little fragment. The repetition either corrects the C phrase as it was first given or presents a variation of it. Otherwise, as far as the second rendition goes, it is substantially the same as the first. The song begins on the third degree of the scale with the last beat of the measure and probably ends on the tonic as the C phrase does with its extension, but this is not a necessary conclusion. The tempo is as rapid as the fastest of the Copper Eskimo dance tunes but impresses the hearer as being merely lively because the divisions of the beat are not very small and many notes are tied, thus giving a slower effect. 88540—23 354 Canadian Arctic Expedition, 1913-18 ReaD te Dance Song. Jo i44 Unalina and Cukatyoq. Mackenzie River women. iN 5 } 14 1 ‘a is 1 J t Le +- 4 B 3 # f ~? — oo 7 Cc d aeye € ye yaam-e yam-e ya- € -€-€ yaeya eye yaan-e ! Cc mee | f—+— as {— t =a ’ e \ee ae ow fe Se ee ne as 2° ya ye ye yay. € yavdA-am-e€ ya ye ya-a € yame E yameyame ya D E Fi — = Saas anew aw See aa 16 ol *\- @ oe #8 e a. Oe #oZ% oo ya Ya -am- € ye ya yan: € yae ya e@ ye yaram-e ya yae yan-e ya & ya- T T — TT t rN 1 i as it } me i ] T ls es es 4 i it i eo of ad J © —§- ae ya am-E ya yeyaam-e ya e ya e € © No. 122. Recorp IV. D. 7c C major tonality Phrases Measures Beats A a b ec 3 14 144 4 44 B dea fie 5 193 14444 4 2 Cc h i 2 104 : 24 43 D al j 2 10 144 44 E k ff 1 1 4 164 1444 4 4 3 In the matter of phrases the above form seems rather vague and the melody wandering, but close examination proves this to be a very interesting little speci- men. The B phrase begins with an exact sequence of the A, a fifth higher, and then develops an answering section in measure e, and returns to the measure first given out in the A phrase, on which the sequence was modelled. This return is elaborated through the short C phrase while in D again there is a. beginning almost like that in the A phrase with a totally new turn which includes a dip far below the tonic in a striking answering phrase. E takes up in another form the melody of A and B, especially their opening half measures and the final full measures of B, and thus gives an artistic finish to the whole, but with the end on the second degree, both novel and not unpleasing. The song begins on the first beat of the measure, with the tonic. Its rhythmic pattern is decided and vigorous, for the dotted eighth and sixteenth notes with which the measurs often end, followed by the long, even, two-beat notes at the beginning of the nex measure, tend to lend positiveness to the movement. The speed is greater than for any of the dance songs from the Copper Eskimo. Songs of the Copper Eskimos 355 No 123. Newnes. Danes Hong. Jn 144 —tUnaltna and Cukaipa.MockentieRiver women. bee f a <5 a.) 2 <™S <—. “7a ~—e Tas d d e d f “3 g a-ki-cay-le-yuam. i = a-ki-cay leq - tu-ma yalu-yo a acki-cayle-yuam. ‘a C PD ryt ree ee [> Ee} + T ara) 1 LA = ij oa J a! rt j k 1 tf i ai ye ya ye yeya ai ye yamye ye yaa ci-hi E F ann m +, ¢ kl 1” kl 2 po-vi-ag- fa - nay-yuk ai ye yam lye ye ya al ye yay bye yeyaee : , 2132 C repeated. 4 fy A ee a ar es eee ea a z ty-——f a ts r C P Pp Ps p> Pp? pt ew a a e iye tyam-e yam-e ye yam- a a- ki-cay-le-yuam- oh BO kd = J ¥ vo + te t Ly ». be 7 c¢ d ce d £ 3g me a-ki-cay-leqtuay-a a- ta-ta-yarlu- Yo a a-ki-cay-le -yuam- ii 4 © if j de = if jz 4 i hh ot j at j k 1 rn i ai ye yaya yeyaaiye yam ye ya ya ci-li po-vi-ag-ta- nay-yuk ai ye yan iye ye yaal ye yam t ye {4 ce p= p? p> p3 p* ps ye ya e ye Lye ityam-e yam-e yi yam- e. (1) Cf. the same place in the repeat. 88540—23} 356 Canadian Arctic Expedition, 1913-18 No. 123. Recorp IV. D. 6c F# major tonality (both renditions) Phrases Measures Beaty A f a bedd 5 12 a a ae B e d f g hh 6 12 DD De Be DD Cc ij@ijk 6 12 222 2 2 2 D 1 Pm nw 4 9 2 3 2 2 E kl 2 ki o- 4 12 13 3 3 2 F p pp’ p* p* p* 6 15 1 2-2 2 8) 2 8 Observe the great regularity in the beat length of the phrases and how the long F compensates for the short D. While there is no particular form in the relationship of the phrases to one another, there is within the phrases, where the sections complement one another. Thus there are two such sections in the phrases A, B, C and E. The repeated version reveals some interesting differ- ences from the first, especially in rhythm, for the triplet becomes a pronounced feature of it. The corresponding measures have been lettered alike in the two versions so that the differences between them might be the more readily per- ceived. The speed, as with all the other songs from this region and from the Inland Hudson’s Bay country is greater than that which obtains among the Copper Eskimos. The song begins on the tonic on the first beat of the measure and ends on the second degree. Songs of the Copper Eskimos 357 Nott, MackensieRiverDance Song. Record WD. 6b. ; Cees poe Unalina and Cukaiyog.Mackenzie River women. B3 oarA Cc J eee od e—e as ¢ G d = : iy: ta y-yuk tu-um-ay-vam- a un iatka - li na-vhey- navle y- ma-ta-a- cext. D Set ————— 7 b> I * — Ca $ ef eve, e a oe r) io r) a tuli-ma - i -yamy - marta ty-ta-y- yuktum-at ye yaya ©€e e€ ma ni a on. 3 44 7 Ta ae be; a — ry e ta-la VI-U es ma-ni-gagqtun- a- t a pu- ci-gaq-tuay- " — ibid Sore = P e q e pr CY) r e s e ri r! r? aaa & aa wy-ta-y- yuktuma a a a ama go- vianeg-Tun-a ) (ext } (4, (1) The section in parentheses ft ; t — —t ; 7 — — ~ = 1s not really partof the song. Fae a ae am —S = The word happened to - de: am e€ ya ye (na- i- tu-aq ) finitely pitched. Inmany cases the final : word,akind of Coda,ts spoken - or pitched too indefinitely for notation No, 124. Recorp IV. D. 68 A minor tonality Phrases Measures Beats A a b b! c 4 8 22 2 2 B b de 3 63 12 2 1} C bof gh i it # i8-) 8 163 #222 2 2 2.2 2 D b4+j k 1 4 10 13 2 2 2 E mnopq pt 6 13 223 2 2 2 F rig ath al oe? 5 10 222 2 2 358 Canadian Arctic Expedition, 1918-18 Phrases Measures Beats ext. ror pS x 4 8 2. 2-2-2 Coda? {? ? 2? 4? 2 2 This song is merely a wandering on and on, both in melody and in words. There is no formal structure. The varying lengths of the phrases also con* tribute to its formlessness. The triplet rhythms are interesting as they seem to characterize many of the songs from this region. The start is made on the first beat of the measure which, like the songs from Point Hope, Alaska, is filled with sixteenth notes, but these are not continued in the remainder of the song. The first tone is the fifth of the minor scale as is the last also, for the words in parentheses are not actually part of the song proper but are definitely pitched as is indicated. Songs of the Copper Eskimos 359 No 125. : SR ° Record WG. |b. ussian Ong * sung at Herschel Islar’d(Mackénzie River) afai20 l=60. Mike. South Head. Siberia. 2 a ee ane ee Se 2 PA Se ee Ge a FT ET Oa | A 7 Ce TR an 4 ¥- . A A im yt Tz it ~, 4 Tar v—Y I : a b Sea d @ ra ra ari hu am pam hu hu aaruhua ri i n = ies - Cc ty 5 L. 1 A & wet 1 eae {4 / im?) t= i | is if . 3 $ h i Ca cara he yee e t cara ra ray ica od e—_— Ee +e, SSS Se | = =I T u { —_—_—_} t—b j c k J ut , raa aa aa ay ya ye he ta ra ya -pumpumpumpum pumpum prumpumpumpumhu t yai ya ra ; F, +be 5 G yy T an VA SV y+ e ™ n a K’seq, huiyai hutyai hua ya ra a fai yarafe ya te yaa ya vai hekina raa ya Ly H, e@ © » Vv. ve n if ut i Pail i "a "4 14 a J a tt = p q v huki pompompompompom pu ra cara ya a yacaral yaca rat ya caral ya ca ral ra a A Lt Yaa fa ULrara Ya FA pumpuMpum pumpumpum pum i 7 i rvs Ta ya ca No. 125. Recorp IV. G. 13 Eb major to great irregularity Phrases Measures Beats A a be 3 12 44 4 32 B def 3 12 44 4 34 Cc g hii 3 10 4 4 2 360 Canadian Arctic Expedition, 1918-18 Phrases Measures Beats D j ct 2 8 4 4 E k 1 bi 3 12 4 4 4 F kim n o 4 14 44 4 2 4 G kK pq r 3 154 4 4 522 H s t 2 10 24 4 I uvw 3 12 4 4 4 2 x y 2+ 7? 124 As may easily be seen, this Russian dance song is of the type which goes on and on with no attempt at form, although there are some almost bewildering pitch shifts which may or may not be intentional. In this particular tune it seems as if most of them are. There are a few interesting sequences. The chief peculiarities are the chromatics and the modulations while the upward skips are also well-marked features. From the beginning of the phrase H on, there seems to be a continual flatting which makes the determination of the real melody almost impossible, as well as its relation to earlier parts of the song, if indeed there is any. It is so complicated in many ways that its Russian derivation seems altogether likely. The rapid tempo is a feature which we have found to be characteristic of the region, as far as the songs collected are any proof. The tune begins on the last half-beat of the measure, on the tonic of Eb major, but as the changes are so kaleidoscopic and there are not many phrases which end on the same tone, it is impossible to predict what would be the final end if the song were finished, which it seems not to have been here, although after the singer stopped there is a long period of breathless laughter. Songs of the Copper Eskimos 361 INLAND HUDSON BAY DANCE SONGS The inland Hudson Bay Eskimos, as they have been called by the collector yot the songs, live in the region southeast of the Copper Eskimos in the country stretching between Coronation gulf and Hudson bay. The collection of dance songs from this area is only seven in number, but perhaps there are sufficient to show what the music of this group is like and to reveal points of difference between it and that of the other regions. The first example, No. 126, has a prelude, AB, a refrain, CC, and the usual change in verse, which here is DE throughout. The second specimen, No. 127, is a modified pisik with musical prelude. It has verses and refrains but there are no well-defined connectives. In the substitution of the E phrase for A at the beginning of the verses, which are not subdivided, and which are with this one exception modelled on the prelude and refrain, it is a typical example of the group found among the Copper Eskimos, which had the real musical prelude. In speed, however, it equals the fastest of these, for it moves at 132 M.M. No. 128 has a syllabic prelude covering the musical phrases A and B, which are joined to a four-phrased refrain by a connective. The verses are undivided, and the first is musically like the prelude. Its refrain differs from the previous only in an extension being substituted for the final phrase. The second verse introduces a new first phrase but retains the B in still more modified form for its second. The last phrase of its refrain is very like that in the refrain of the prelude. There are no connectives between the refrains and the verses which succeed them. The speed of this song is 182 M.M. also. No. 129 has no counterpart structurally in any song of the entire collection- It is so complicated that an examination of its tabular analysis in this place will serve better than a description. In its larger aspect it is a pisik with musical prelude, and the verses follow the usual plan for this type of song in introducing a new first phrase to replace the A of the prelude while retaining the B as their second. The verses are subdivided into two practically identical sections and the complications are in the appendages to the verse-parts. Thus, after each strict verse-part there is a little coda, and this is followed by a double refrain split by a connective and followed by another which in character may be described as midway between a connective and an extension. This is followed by still another connective of the usual type which joins the whole section to the suc- ceeding verse-part. The rate of speed is 152 M.M. for the quarter-note, which is the greatest that has been recorded for any song. As if to nullify the effect of the above statement, the tempo of No. 130 is 69 M.M. It begins with a refrain which is repeated after each verse, but whereas in the prelude it included an extension, in the verses this is omitted. The verses are undivided and but one phrase long. Not enough of the song is given to more than indicate the form, but evidently a connective joins each verse and its refrain to the next. No. 131 is in structure like the Mackenzie river tunes, for there are no verses, refrains or connectives and the succession of phrases is A, B, C, D, A’, B’. The tempo is 132 M.M. » The last song of the group is practically on a monotone, in which not even any rhythmic pattern can be found; it therefore could not be analyzed into phrases. It moves in eighth-notes, mostly at the rate of 188 M.M. for the quarter-note. 362 Canadian Arctic Expedition, 1913-18 From this brief sketch of the songs of the Hudson Bay Eskimos, we see that they have acquired the form of the pisik and even employ refrains and con- nectives, but in some cases in a very different fashion from the Copper Eskimos, while the rates of speed of all but one song equal or greatly exceed those of the dance songs of the latter people. There is one other outstanding contrast beside speed and that is the exceedingly poor melodic material. Not only are the songs uninteresting but they are very limited in tonal content. In several there seems to be a struggle for supremacy between two tones on adjacent, degrees, either removed a whole or a half step. The song that with the exception of two notes is all on one tone, was collected among the Copper Eskimos but was transmitted from the inland Hudson Bay region, and if it was not originally so monotonous, may easily have impressed a Copper Eskimos with that quality. Nothing could be greater than the difference melodically and artistically, be- tween these songs and those from the Mackenzie river, but the Mackenzie perhaps have not developed a complicated form like that of No. 129. Three of the six songs analyzed are major in tonality, one is minor and two are irregular. Of those which appear to start with major tonality one begins on the third degree, another on the minor sixth, two on the tonic and one on the seventh. The endings, so far as they may be gathered from other parts, in unfinished songs, are on the third, tonic, second and either second or fifth, but in all except the first and second songs are doubtful either because the songs are unfinished or irregular in tonality. The general levels in relation to the nearest major tonality for those songs that are irregular are the third, fifth, second and tonic. The minor song begins on the fifth and ends and has its general level on the upper tonic or octave. Four of the seven tunes commence on the first beat of the measure, and three on the last half-beat. In all but one case the metres are largely two-four, but one is nearly all in four-four metre. Songs of the Copper Eskimos 363 Noes DanceSong, Record IVC. 68a. Atgag,an Akilinig Eskimo man. e132 A = a. ———s aoe Sea 25a oo te eee ee —- TY iabsaen | t v_y* bee A * A" * WV v Vv. VV Vv VV a b at c d AM-naiyai yal yai ya-i ya - di Ya-al ya-dl Ya-ai yal ya-i ya- b yalamna-i ya-t Prorde : 4 Cc ” 2 S { te 7} att Z_Y_?7_Vv | aL Sa re J at e £ f a ae as f e x yai ya-i yal yal YA @ yarai yA- ai ya- ai am-nai yal yal yal ya-t yal yai am Nefrain c! Cow. 1 4 f ZL iL} \ hl oe \ Pam ¥ rn 1 mi a 1 Ll Ly 1, VY Oe I t yt VY 1 a FE i YY rr Ag 1 | then, t ya yi yai ya-t he yai ya hai yal D 3 EB Diseas! a 1 4 wi vm wi A. 1 iz re a) Jat. L| VeVY ¥Y | 2’ SYA Wi” A ' A’ AV =< * 1A FA A A Ae iY 2 AA eo | ee ar” as e2 q e3 am-o-hh-i pi-cai-yu-yut — nu-na-mi-¥i am- nai yai ya ha ya-i ya & pi-ta t-li-i c-vai- Vewel. a > 7 2 A ) Cc bd a ny T Poss te cei, eee, els 5 5 ym vi 1 n Lae 1-9-9: 1 his PE PSS 1 | 2 VA NLS A a A VA J hat ] Li ye | SS Was: : 20 } ? h ae e¢ ri e £ “fi , p= yuk-pakeyit camna-i ya (ya iyai yai yai € ya-al ya- ai Ya- al am. na-t Refiain ) ) Cc J j_ 2 j__} ae ey \ i Ye} v2 os } 1 = tt SAA 7A cA 7 A 72 a $3 a e es f? * (> a’ yal yat yal yal yai yai yai yal yai ya ai yai yai yal yal am-nat — ya t yal ya yal ye he iar ie aaa 3 E vx x e ae ae az ae f ez al yai a-vamah-t pi-fai- yu-yut nu-namib-iam- nai yai ya he ya-b ya a Vowse?. “ Cc g e3 h a? ar ie £ f3 pi-ta-i- list cu-vai-yukpate-yul? cam-na-i ya yai yast yal yai yal Ye ya-al ya ai ya- 2 C+ ] 12 A—\| + aq tet bh } } hy FT i] | i * a ai Lt 1 Lee dk |e Le i! tame. nvm wee ee GLAD ac fF fA ie Be S ef & e EGa e fu ¢* b* be 8? ai am-na-i ya —_yaiyalyal__yai yal yal yal yal yal eyal yal yalyalamnai ya-Lyaiyaiya ya-ai yehe (1) The record was faulty in here so that mfo C* the transcription is uncertam. Cf the other E phrase. (2) Doultless a faultinthe record. 364 Canadian Arctic Expedition, 1913-18 No. 126. Recorp IV. C. 68a The tonality lies between Bb and F majors Phrases Measures A a b. al 3 Prelude +3 3 33 B ec d @ e 4 3° 3: 3. 2 C f£ f1 a8 a3 f? e (x)? 7? Refrain 223 32 2 2 C’ fa e g bi a 5 2 2 2 2 2 Conn. ele 2 2 D a® af a7 af 4 V.l 2 2 213 E eg e@h a? e 7? 832 2 2 8 322 Cc” {f £ p? aS f a et 7 Refrain 2 2 38 3 38 2 2 Grr e fl g® b? al? 5 2° 2 23-2 x x 2 2. 2 These rests are doubtless due to a fault in the record. should belong with the following connective. ce 2 D ab af a? af V. 2. 2 2 233 E eg @ h ad #@ e 3222 3 8 2 ; Cc f f§ g et Be ate Refrain 223 3 3 2 2 2 Cr f f1 g b? bi g? 2223 2 2 5+ Beats 10 11 Faults in the record make places in this transcription of doubtful accuracy. They are indicated by question marks, which are usually reserved only for the he he he or hu hu hu syllables. Comparison may be made with the music, which shows the difficulties better than a discussion. The song is probably a pisik with prelude but with the undivided verse. If the tonality be considered as B major then the tune starts on the tonic with the last half-beat of the measure and ends on the same degree, although it is a question if this is the true end of the song. Songs of the Copper Eskimos 365 No 21. Dance Song . ap i Atqaq,an Akilniq Eskimo man-— | B i yat yal yal yai yai ya yal yai ya yal yai_—yal — ya- yal te e- ya- ai yal yai yal yai yal yai yai yal = yai yay yai_ yal yai i ye tai crs of? i a ar ae = CG oo iG lu-ag.-prk ye yai yai yai yi yai ya- ib yai_ yal yai yal yaiyai yal yal yal ya Refain cext JE - eC ¢ & 6 4 3 rs ye yal yal t ye yalyai yal yai ye he ye ta-ko-yurmai-yum-tt fa ko-yu-nady-nacy- Vue? bf4 a ta-ko i smaviu- Yo gin-a-ya- luag-ptk ye yai ai yai yi yai yarai ea cext _h 4 jh a a ae | . 6 of ow oe yal yai_ yai yal yai yai ai ya ye ya yat_ yar yat yai yai yai yal yai yal Tee iP of ve "ab ye u-nth-i u- macta-ko-yunay-nam a nay-yu- hy. yuay - li ne- qi-caulx - yaq-toq Vente 3. : ai yai yal yi yai yal ai yal yal yai yal yal yal yal yal yal yal yal yl yal ys Relrnt froin 366 Canadian Arctic Expedition, 1913-18 4 4 D' (ext [oe eo a ee yal yA ye yal yai yai yal yal yai yai yai yehai ye u-ntk-iu. ma u- kwam-i Veroe-4. ut j eF ab if? Gor b =. (ma)nay-yurhy- yuag mt-€-gi-caulx - yag-lq ye yai yai yi yal ya yai yai ‘ Met re!) ext =< a et 94 _@ @ ty « at db bt vf vf? 7 i : a yai yal yal yat yal yat yal ya ye yal yal sya i ye yar yat yal yal ye he i No. 127. Recorp IV. C. 688 E major tonality Phrases Measures Beats A a bed 4 83 Prelude * 2 22. 2 B eab f b! b?be 6 12 2 2 2 2-2-2 (C gab! b h 4 8 2 2 2-2 Refrain D b b? f f? 4 74 2 2 8 41 ext. bf bf b 3 7 9 Va ames? aoe E e! bf? bf 3 93 V.1 38.3 3 4 B’ e ab? bf? b! b? b 6 113 142222 3 C gab! b h 4 8 22 2 2 Refrain D b b? ft 3 7 22. 2 1. . ext. f-bf b b 4 7 I 2 2 2 E’ f e® bf? bf4 3 9 V.2 3.3 3 4 B’ e ab? bf? b! b? b 6 11 42222 2 C’ gab! b h b- bé 6 ll Refrain 22 323 2 2 ext. bf bf bf bf b 5 103% + 22 2 2 2 Songs of the Copper Eskimos 367 Phrases Measures Beats EK” eab bf? bf? 3 94 V.3 3 3 3 4 B” e ab bf? b! b? b? b® 7 134 1442222 2 2 C” gab! b h 4 9 122 2 2 @BPRefrain D’ b’ bf bft 3 64 3 2 4 ext bf b b 3 64 12 32 E’”’’ eab> bf bt j 5 11 V.4 222221 [B” e‘ab bf? bt b b 6 12 2222 2 2 Cc gab! b h 4 8 2 2 2 2 Refrain D’ b’ bf bft 3 7 3 22 ext. bf bf bf+ 12 2 8 3 8 The above example is a modified pisik with prelude. There are no con- nectives but the extension at the end of the refrain serves in this capacity. The verses are not subdivided as they are in most of the Copper Eskimo pisiks with preludes. The use of the augmented fourth in connection with the perfect fourth is rare if not unique, and the general level of the tune lies between the fifth and the augmented fourth, although the ends of the phrases and the resting points are on the fifth. The movement is as rapid as the fastest pisiks from the- Copper Eskimo region. The song begins on the last half of the final beat and on the minor sixth and ends on the second, although the record as heard gives the impression that it was not finished. Presumably the end would occur on the fifth, as at the close of the majority of phrases. Although the D phrase ends upon the augmented fourth usually its extension ends on the fifth except in the final measure of the song where. the additional pitches may be due to not lifting the needle from the record quickly enough when recording. 368 Canadian Arctic Expedition, 1918-18 Record VC. 65. Dance Song. by Qaqcavina,a Patig Eskimo man from Hudson Bay. 32132 e e ye yee e€ e€ i ye ye ye ye ye e he ei; b b h ra e e ord ec i ¥ b c er er e e2 ef c c3 e ye ye eiye eyeye yeye yeyeye ye ye ye ye © e 1 -— A — o. oN A Z 7 n 7 jE VS 7 A I 97 ae os a = i y. ar, (ae | t | el Ma iY 1 a | oe $—¥ t T T I I — ct dt dt es e 9? b e d eye eyeye e e ye e ye he ye e e ye e eher- J Ciao 3 . Qulptl 2orV.1. ee e ——) B oo ee tee eee eee = | ca ; le t tT —4— | ie t i I ed c? ry x cé e be i ci Yuema-yin-ma-yi-vug-a he =e ye: tn-yu-mayin-(uma)yin-mayi-vur ma Ont va vA f i t ce? ye yee he ye eyeye ye ye ye ye e&yeye ye ehe Reftain- Cc ye ye yeye ye ye e e etye e yeye yeye ye ye ye ~ oe , » (2) Conn : SS poke _ a oe Se ec oes oe 4 3" e e gS @ ct, ce cé& ehe ye ye ye ye ye © ye yeye ye ye & ye ye YL pt-2 or V.2. Songs of the Copper Eskimos 369 G 2 ~. B? ° ere @ ce a ae Famava 4 waist n i vA L tc i = ___| VV _ Vv Ni toy | al J} if a L I C T I I I e fs et cd® ¢ e bt re e (hau. yagan-wm uf-gin aq:pak-cigy-na-Ya-ma € he on: yu -mayindu ma) yin-ma - Conn. €' r@ en eo en “a - 1 n J. it a | a v { us ~ + } | aa +4 t a4 a eR ME | + ee - gr 3} qn es ae es b ly ytvug-a-a ye ye e he ye ha ye eyeye ye.ye ye ye : Refrain e-@ NS ec. D oe @N ~ E & ; y 1 mei 8 kine j") 1 1 i aa i bi uM ae aoe | A ay, 4 toa 4 x ] L ab (ae i et jy} if 4 ! uJ I bt i J jt Ld Lee OE Com. i. t a a mF lS =o aa ae oe oe — 1 i 5 3 a d* 3 d? x dé d*- ye heu yehe ye ye ye ye t ye ye ye heuyei ye ye yee ehe ye EB B: ee a Sa a a a ca a Sees oe ot = SS rey 94 ae a av Ci d® e(huent- is li na-Ke- yo- ton-i ~yu- uf. 9q he ye nu-kau-yuk fogma- ag- Verse 2.pt.1. (yaja) a ci Tas Fa a FR A tied i ‘72 Oe Fe | t- T bs ia 7 ae 2 : ae ve rT 4 4 ¥ ¥—y 1 ! ¥—t t t 4 u { ; coma | a va var) a € as oF A alt. fo g8 kK ina qin ; ma-u-na ye ye ye ye ye eye iye ye yeye ye ye € yeyeye miyeya AD Reftain ptt. D, ie = i A if } bs J 1 m4 z I i ds 2. if Ci a” q® d* dh dt (d Ss h h* eye eu he eu ye he e ye(hune e ye ye yeye ye ye yeye ye & Refrain proper ‘ ° j 5 (ext Cow. ) Comw. E = "i rae i | i ae * ee 4 T_T jo 1 ri Zi t2 7 | tf 7 | } 4 | en a I us | ae M i | ie a aS LTR FR i {Pitas t ; Se 5 ] | Bi i a l Lf IT 4 Ir I = i I __| 33° 8 d1 de 8 di x ae de qs eyeye yeye tyeye ye eyei ye & yee e€he ye e he a Su ai ae Py o ~ ade mu-na-mi- li ta-ku-yap-Kinu-ni-vtu - ytk he ye nu-ka-uy- ti fo-qun - am-(a a e as ae d* ol, Ft) {mi-yi-ya] . ma-u-ne yeye ye ye ye € ye i ye ye ye Oo pet topem (m-a-qm €)) SE E. BE OE Ge, ee Ev ‘A, 5 k? dt a® du de Co dt ye ye e ye ye ye e ye eu Ref, eu Pei e ye (hju-ne rc) eye ye yeye ye yeye ye yee e ye ye yeye t yeye ye L I mal ¢ 3 h i gg} 8 at at (1) The words in parentheses were those sung. The words below were given in the text. Phrases . A. Prelude B Refrain Cc pt. 1. Refrain proper D E V. 1. pt. 1. Bp’ Refrain C’ pt. 1. Refrain proper D’ E’ V. 1. pt. 2. is Songs of the Copper Eskimos 3738 No. 129. Rzucorp IV. C. 66 No tonality established Measures Beats a bead 5 12 23 2 2 8 dddde 5 94 22 2 142 Coda d? dé 2 4 2 2 d? f g g! dé 5 13 223 3 3 Conn d5- d® dé- 3 6 22 2 d f§ g h i j gf d’ d- 9 18 22! 9s Bo 2 DB 2-2 9 ext. Conn id’ x 3 6 2 2-2 Conn dé dé 2 4 2 2 h! gg d® dé 4 84 2 242 2 d' d? d' e ° 4 9 2 2 2 3 Coda dad? dé 2 4 2 2 d? ft g§k h? 5 11 222 2 8 Conn d- dé d5- 3 6 22 2 df @ h i j gid 8 16 2-2 Br D2 ID D2 ext. Conn. g? dé d® x 4 8 222 2 Conn. dé. 1 2 2 h! gg d!? di 4 93 2 243 2 d' d' d! d? e 5 94 22 2 142 Coda { d? dt 2 4 374 Canadian Arctic Expedition, 1913-18 Phrases Measures Beats Refrain Ce di fi gi gS pt h? 6 13 pt. 1. 22 2 22 2 Conn. d>- dé d5- 3 6 Refrain 22 2 proper D ad f§ g@& h i j gid? d- 9 18 2:2 2°02 2 2 2-2 2 | ext. Conn. gid’ x 3 6 22 2 Conn. dé di- 2 4 2 2 BE” h3 ge di? dé 4 93 V. 2. pt. 1. 2 23 2 5 d’ di d®@ die 5 93 22 182 2 Coda d3 d! 2 4 2 2 Refrain Gt d?° (alt.) is jg? kt d* ds 6 14 pt. 1. 3 2 3 2 2 Conn. { d? d‘* d- 3 54 1 Refrain 132 2 proper D” d} f§ g? h ht ggg! d? di- 9 18 2.9 2-2 2 2 2 2 2 ext. Conn. gi d’ x 3 6 22 2 Conn. dé dé 2 4 2 2 fE”’ g? h? g® d! dé 5 104 weno 922222 Be d's d' d die 5 9 142 132 2 Coda dad’ dt 2 4 2 2 Refrain Gre i re de " d‘ di 6 14 pt. 1. 2 2 Refrain aes { di- dé di- 3 6 proper 22 2 D” d' f§ g? h h* ggtgS d7 d5- 9 18 - 22 2 2 2 2 2 2:2 The analysis of this extremely complicated song was very difficult to obtain especially as the text was of little help. In addition to the play in pitch on the seventh degree, for the song is probably in A major or a close approximation to it, the structure added to the difficulties. The prelude is normal for-a pisik, with only one peculiarity which is the little coda, used not only here but at the end of every verse part. The refrain is the most peculiar in structure of any that have been analyze & The first part is separated from the main section by a distinct connective which, however, seems to belong more closely to the main section than the Songs of the Copper Eskimos 375 first part, and therefore has been placed accordingly in the analysis. The phrase of the main part of the refrain is much longer than any other in the song yet is not easily divisible, and this is followed by an extension which acts as a kind of connective to introduce the return to the verse part. In the first verse there is a little two-measure section at the beginning which sounds like a brief introduction, but this is curtailed in the second half of verse 1. It is given-in full again in both parts of verse 2, but has not in the analysis been separated from the verse part, not only because it leads directly into it, rae a connective does, but because the number of minor subdivisions is already o great. The two measures are d measures and resemble those which close the verses, in pitch if not in rhythm. The second phrase of each verse part is B, nearly the same as the second phrase of the prelude, and this is common enough to be called almost customary in pisiks with preludes. The use of an E rather than an A phrase at the beginning of the verse part is also customary in this type of song among the Copper Eskimos. Undoubtedly the two forms, this and the ordinary pisik, had a common origin, but this specimen from the Inland Hud- son Bay people contains a surprising and interesting lot of new features. There is so much similarity in the melody throughout the song that only very small details mark the differences in phrases, but where these occur it seemed better to designate the phrases by totally different letters as in the case of larger melodic distinctions, in order to avoid the use of numerous prime marks for each phrase letter, especially as these are generally reserved for other pur- poses, and to denote changes of another character. Considering the complexity of the pattern and the very small nature of the differences between parts, the regularity of the song is striking. The usual minor deviations occur, but one would expect many more of a structural nature, and also slips in repetitions. The tune begins on the first beat of the measure on the seventh degree, if it is conceded that the nearest tonality is A major. It ends on the tonic, 7.e., a, after the end of the second refrain phrase, but the extension connective which” in other situations has always followed this is here omitted. The speed of the song is a marked feature, for it moves at 152 M.M., a far greater tempo than any Copper Eskimo pisik has been found to attain. 376 Canadian Arctic Expedition, 1913-18 sae eee SaneeSong. Ataqaq an Akilinig Eskimo man. ye yai yai ye ye ya-t ye ya-- i ya — yai ya-i yai yal yal yai Ya-a ya-t yai yal ya Tefiaun e Gt eyeyai yai ye i yaiyai ye i yai yal yal ya ye yal yal yal yai yeral ya yai e ya-ai ye le -u-mai-ya a 1e- u-mai-ya- Yr vug-a a a tu- try-ti nu-namt ma- ni ye Vewe I. 1 ; =! ofee e e 1 z Aone T 1 i" T = ¥ T= wel 2 rs 2 ae e- e yai 1S ye ye ya-t ye ya- & ya — yal ya-t yalyatyal yal ya aa yai ya-i yai ya- i ye yal yA ye i yai yal ye-t yal yal yal ya ye yal yal ya qc ya ye ai ye ta-ko- ca- unum-n-man-a ney-yurtihki i- a. i- ta ve-u-mai-ya -le’ Verw?. (yi-vur- CroE toe ae +4 te + - ite "at es a b ec} ; a fuw- hy-ti nunamima-a-ni ye yal yal ye ye ye ye ya ai a) J BR yal ai ya-t yai yal yai yat. ya- a yar ya- ib yai yal t-ye yai ya-ai 1 Sa ae Oa a SS Pee tm 4+ mis Pe bye by Se + Ls XY. _ Crppe tar us ar g a ye yi yai yai ye yt yal yal yal yai ye ya ya. Songs of the Copper Eskimos 377 No. 130. Recorp IV. C. 67 . Bb minor tonality Phrases Measures Beats A f a bed ee 5 11 er #92223 4 Refrain B f al a g a? 5 12 4 3 2°133 2 ext. a’ h_ hi 3 8 3.2 8 V.1. Cc at ab e 3 74 3 2-24 : * abede 5 113 Refrain 3 222 8 2 {B’ e! f- al a? g a8 6 12 142 2 123 2 ~ Conn. a 1 34 3t V. 2. C’ a’- (f3 a8) a® e& 5 10 1282 22 23 A” a bede 5 113 Refrain 4 22 2 3315 B" f al a2 g a 5 10 922 123 1 We are in this song again strongly reminded of the pisik with prelude from the Copper Eskimos. In this case the refrain alone acts as a prelude, how- ever, with an extension at the end which does not appear when the refrain follows the verses. The verse is shorter than with most of the pisiks and the refrain longer in proportion. The connective is used between verses and no doubt would join each verse to the next if there were more than two. The tempo of the dance is slower than the slowest pisik or aton and is very dignified in movement. The presence of a number of small rhythmic values keeps it from becoming heavy, and in this respect we are reminded of the songs from Point Hope, Alaska, but here we have no syncopation. There is a play between the tonic and the minor sixth, which has not been observed in any other song. Usually in minor songs the sixth is conspicuous by its absence or infrequence. The song begins on the last half of the final beat on the fifth degree of the minor scale and ends on the tonic above, and this is the general level. 378 Canadian Arctic Expedition, 1913-18 Danee Song. No.131. AIVC.86a ' Record Iv ‘Tamoxuina aBathurst Inlet woman ol =132 (learned froma PatigEskimo from Rexiborntiay,) A B fo wa [ ar = ( > RT Tw = A! if i I T [os Vas © I T ft Sr T +z u j , amen! es | oC ee he ue Sd al yau-na ye ye yai ye ye yal yal ye ye yat yal yal yal ye am-e . Cc T ree I — T iN | ae A 1 =. rae | e al e ef \e @ ¢ Ca a 3 i yai yal yal € ye t yal t yai ye Ya u-na ya-i t-ya- a- a ai ya f). D wa A | ji ik 9 = rn ——Ay Ar + — — Ar a _h& —m&—_ A A A —t A n Ah Cc 3° 6 * e e en a e@ fe ° ee ya u-nai yi ya go-vi- a-nau-yi-vog yai ya hi ya ai ya puctu “hey-ni goi-ya-cule-yamy 1 e t i La Sk, an 4 ——- to sees ik J ; oa | 4 t Pa lal e gu oe rae oF wb oq-toq pay-vai yai al ya- ai ya- ai yar bya i ye ya ai ya kan- ya a- B Y T T_ T | ee =I. 4Z a _s ima al rN a, Py wae ° é z of! ee cs eer lu-ay- yuy-rmy-tu hu-yai- namty-tu 1-ma-a cr-ta-ma-nik goi- yals-yoq-parlix-yaay-0q -toq_ pay - “ tak ez 1 —saoker: <= Ss. === oe @ 0° cee e ct fb ; o Hh (naunayman) vai yai yai yai ye i ya- Lt ya-L ya-i yal yai yai ye ya Phrases A B Cc D No. 131. Recorp IV. C. 86a Bb major tonality Measures a bed 4-— 4 4 4 42 coe f bi 4— 144 4 2 b? ce ¢ 3 2 444 4 { ct ac g af bi 5 443 4 8 Songs of the Copper Eskimos 379 Phrases Measures Beats A’ ab 5 3 13 4 1 B’ { af} h 5 174 3 2 1 2 The chief point of interest in this song is the rhythmic elaboration of the pittle melodic ideas, although often a changed measure bar obscures them some- what, as for instance in the D phrase, which has several melodic affinities with B. The form, if complete, is interesting because of the return to the themes set forth in the first two phrases, a plan that we have encountered before but rarely, as in the case of the Longspur’s weather incantation from the Copper Eskimos. The song begins on the first beat of the measure, on the third degree and ends on the same tone which is the general level. 380 No 132. Record IWC. 86b. Canadian Arctic Expedition, 1913-18 Dance Song. Tamoxuina, Bathurst Inlet Serine Uesrae from Y) Patag Eskimo from Hudson d= 138. A ace, to Presto. A id J + ren | a reas a Vw A hh + —fr . h—fh— fr | ale Ses TN: aa bE AT Ac A: i es ll a J | 1 a: a L | @ @ setlece Ore: +e Foe eee +e + : a a ? ; ; ai ya pu-fut-ali- u-ma gqoy mefai na-u-ma fa fam-i la yuilena umi ; fr! £ , = — + —3 t | it i —— tt Se we oe Se Fee ee rere Cree + oe oe t+ ya qa mana go-vii-un mani gata eu-ina ti mani le ta ya yo ma ta ) ac =i Z { E t t t { { 1 & . , e+ + oe oe Sa as ecko ig gael ied did 4 = e at opyizin a in ayuatn umiya ta-t nai mata ko mi yata nain a qo- ye-ta rf T T T T T — = t t = ra +t r Se eS | f. tt iat fc 2 f. ft f. f t fe but fc ek fs ft. fe iT it a ees 5 } Ea aa is e = — i ie + a etter te €¢ +e eee CFT CCS C4 x, : © tat pa-a- li fa-ko yuna inameo etaa li au-la e ne nu-i D t t f f f ' = + ee tLe © ie il vee e to +t eere 2s oe + nu-t liu ya te Kani u liud a-tani u minuma nui u fo z bt ‘3 T J rT I it at T mI 1 | Je oe + e+e + +7 6 Oe or Se tee + dia \ ato a ti at ko nu-na-at- i vi yan-us a ut ka lua ka Zz: T T TT FE { t + m™~ Kk iN i tf eam 5. 1 I qi + os a2 be, t be tye ma a Yi ya ya yi ye ai ya-al yt (1) These syllables are a mere attempt to represent the sounds in the hope that words may be recognized through them. No text was taken for this Song, which could be used_ as a guide. No. 132. Recorp IV. C. 868 No tonality established Four very long phrases on a monotone constitute this exceptional song. It seems to be merely a series of intoned words. There is no rhythmic pattern of any regularity, although most of the measures are composed of four eighth notes. The movement is very rapid. After forty-seven measures of monotone there is at the extreme end a sudden shift to a whole tone above, then back and to a whole tone below and back, in the last three measures. This, according to the collector, is a transmitted song. It was not actually collected among the Inland Hudson bay people, but was sung by a Copper Eskimo who said that it came from them. Songs of the Copper Eskimos 381 SONGS FROM POINT HOPE, ALASKA The Point Hope songs are from two sources and at the present time are pall known as dance songs although at least one had a very different origin. The first two, numbers 133 and 134, were sung by Mackenzie River women who stated that they were from Point Hope. The other three are from a Northern Alaska native who learned them from the composer. All are very short and have none of the characteristics of the Copper Eskimo dance songs, except those few which have already been compared to the Mac- kenzie River collection. The mouth of the Mackenzie is much nearer the Point Hope region than the Coppermine river country, and judging from the way in which one of these songs travelled it is not too much to assume that songs are probably often carried from the one territory to the other. There are many particulars in which the music of the two places is alike. Mackenzie river songs are largely major, beautiful melodically, move, on the whole, rapidly, and in some cases are distinguished by small rhythmic values. They are short, without the set form of verses, refrains and connectives but with a fine balance in the five or six phrases which they do contain. : The five Point Hope songs are all major, exceedingly rich melodically, one in its short length ranging through three major keys. They have none of the features of the Copper Eskimo pisiks. Like most of the songs from this collection, they are largely two-four in metre. Two start on the first beat, one on the last quarter-beat, one on the last half of the first beat and the other is inaudible at the start. Three begin on the fifth of the major scale, two on the third. In three cases the general level is not established because there is so much movement, and in the other two it is doubtfully the tonic. Four end on the second degree in a very final fashion, although one of these is the example in which there are three key settings. The end is on the second degree of the last setting established. The fifth ends on the minor seventh of a major scale. There are only a few particulars in which the songs from the Mackenzie and Point Hope regions seem to differ and these might be dispelled on wider acquaintance. One is the apparent Point Hope preference for ending on the second degree, and the lack of a general level; another is the greater number of small rhythmic values and small syncopations and dotted notes of insignificant time value, while a third is the slower tempo which is in part, of course, offset by the subdivision of the beats into notes of very short duration. The other noteworthy points and a special discussion of the song which travelled and the origin of which is known, will be found in their place after the analyses which accompany each song. 332 Canadian Arctic Expedition, 1913-18 ren setae WD. tb. VanceDong 7 Unalina and Cukaiyog Herschel Island. Mackenaie River women. F (1) : a : a b qoviacuk afoyi- yam-a —t- Iu- a Mi na-ko-viu- yo eqres-ya mali € ya t-ki-yacy-miul p iN > rN ». de > rN oe od ay a aa i i tel Ly | * ~ i f + —. ——.—— Se. } + t } i ¢ ye #4 + t+ it - qim-q- cl- U- yacy-ma-ta au - la- yurney-mada gin-eq-to- ay- — la- yt Nl Cc —_ N t +3 t- #1445 x — iN * t Nae 1 ree AWE I IN A] 2 ew 4@— > NS | a O—@ bl ms . £ } \* KU ; iw 5 oF ia Saas ws < aes Ve: Pp nd ce e+ eZ £ & g FSF a kany-ty-aq-foam’mo ye ye ya 2 Ca-mu- ma-qa-a Kivanmunga-ya = Ca-mue D a A a: 5 A —% ~—t it \o 8 oF, e*teet* -e- wee 2 Maga-a €-ri-nun cin-ek-cu- ay-lam-a a a ki-vanmuni-ma e ye ya (1) The first word .and part of the second are inaudible on the record. J e (hu ko) No. 133. Recorp IV. D. 78 C major tonality Phrases Measures Beats A ? ? a al b- ig ? 3.4 2 B c-d e- 3 133 24 4 33 ¢ i g be 3— 93 43 4 2 D ee 2 8 24 2 Unfortunately the first few notes of this song could not be heard. There is very little of a formal character to be discovered. An elaboration of the d measure in others like e, g, h and ¢, and the roughly complementary relation of the B phrase to A and of D to C are about the only evidences of formal structure. The finer rhythmic values are noteworthy, for they are not common among the Copper Eskimos. Presumably the song begins on the fifth degree of the scale. It ends on the second although this is no more prominent a tone than the fiftha the third or even the tonic. The little cry at the end, not included in the analysis, it will be seen is a stylistic feature found in practically all four regions from which collections have been made. Songs of the Copper Eskimos 383 oe PaneeSong. Record IVD. Ta. 4276 A t Unalina and Cukatyog Herschel Island. Mackenzie River women. fol ——— a fa-i-ja-ni om t-ank — tuk-ciay.ap-ta cu-piag-ta-yapda i- mam-i-lu pa-get-pa-ya - B . a a a 5h T > T= 1 Ld Sa bl Esa Ss ree PRAISE Fix) iS | ae oo co coco ‘ re tT 2 oe 1 = # ope ~é ei ae 6 tat + bi al + @ ya u-yoy- U- yani — ma-li-qagtu-yo — cuk-lai-yaytan-ek- tog t-ki-yan-mun ye D z ; : 5 OA ; TA NR x AY z i lS SS EEE Sao — She Fie © sits "ed | ee e ye ye e€ ya € yam)-a € ye e ye ye ye ye yan-a yay ep ee ern fe yan 2 , ye yay- e yag-e yar) € e ye ye yan ye ye yar-e yan-e ya - lby-a- ta &-Toy-luk-pum-o a-tautert-un ve at u- ta No. 134. Recorp IV. D. 7a Cc major tonality Phrases Measures Beats A a bc (d) d'!(d) 6 14 2d DDB B B e eb f fi 4 9 242 2 8 C g hi j 4 7 22 2 18 D k 1 @m e& 5 13 4143 2 3 8 E n n' o p 4 11 2 3 3 3 F kl FP B I 5 10 #2322 1 384 Canadian Arctic Expedition, 1913-18 The form is merely a wandering on and on, with an interesting and rapid rhythm. The measure e in the phrase D is very effective, especially the drop after the long-continued a’s and g’s and the rapid return to the g. The change of tempo in the E phrase to slower measures is another interesting and unusual feature in the songs we have already studied, although it may not be uncommon in the Point Hope dance tunes or even along the Mackenzie River. It may mark a change of step, but not necessarily.! The song begins on the first beat of the measure on the third degree of the major scale and ends on they second. One of the marked features of the tune is the rhythm in which th sixteenths and the dotted eighths are constantly appearing, especially at the beginning of the measures, giving an effect of syncopation; another is the long series of sixteenth notes. 1 According to Mr. Jenness, much of the dancing in the Copper Eskimo country is only roughly in time to the music. $8540—25 Songs of the Copper Eskimos 385 er Dance Son Record WE 1.a. ; J * iia Amotitciag (Composed by Aceteag ) Point Hope Alaska. a “A . B aa ke Tt te = vt I L it t ws i - a b c d dt d* d3 d* a to-ya-u na pt kia-yo-li- qeoq an-1-cu-u- li-qeoq i-lamn)-bi Cc @e¢.e D { @ © 7 r= mn o~ ‘ pet + Bt ro 2 eee Zi te te —t te : e f g h i nd bt i-lam-nu-u- Ho a- to -gov. tu-u- ni Co- yo-gov-tu-u- ni a-ya- a-a-a ext EE i py eet ets te etee te ett te ee eT | a FR fea A “a A | ia at - T T r m ae Fa Ly ka = Juma. vk 1 -t j in ™ de i- ij ye-e-e-a ye-a e-e- a a-to~ yaurna Kiceimi u- trq-toy-li-u- Mieke s > = re n iN Kh — im Ta T 3 1, ares — ‘a : { Ae L } vA ; rm n T ° P Vv T po~ 7? Vv na i- lat. Ka- u- ma go-vi- a- Ca-gov- tu- yit a- f, Cext. ea) Cond) sBa v2 2 —— 19 La } 2 { I T Tr po ran a a oy ret Corer rt wive = j* Pp j* Se }! J! q Tr xa-xa a- fa-li ot xi-xi a- dal ya, ye e ya No. 185. Recorp IV. E. 1a Mostly Bb major tonality Phrases Measures Beats A a bed 4 gi 223 2 2 B dt d? d? d+ 4 9 2 29:3 C e f gh 4 9 23 2 2 D tg) bP 4 11 323 3 ext. Leo Fl 4 8 2-2-2. -2 E a cd i an (oe p) ‘4 16 2 2 2 23 2 2 34 ¥ cee” HE ea 4 83 1842 3 2 386 Canadian Arctic Expedition, 1913-18 © Phrases Meausres Beats ext. 3 3 jty jt 5 12 Bo oe Cee 2 2 Coda qr 2 3 2 This is another case of wandering on and on, melodically, without any _ very well marked form. The writing of the song in quarter-note units is a litta misleading as the tempo is very rapid and the effect is like eighths and sixteenths, so that in general character the song is very like the two which have already been given. Were it re-written the tempo would be about 76. “Ard With the phrase E there seems to come an echo of the D phrase, and it 1s here that the song may be considered to divide into two not very well-defined sections. The first contains 37 and the latter 39 beats. The words also make the same division. Although the form is vague, the melody is very pleasing. The minor seventh upon which it ends and which is introduced here and there throughout the song, is novel and effective, without being disagreeable. The aa begins upon the last quarter-beat of the measure on the fifth degree of the scale. Songs of the Copper Eskimos 387 None Pance Song. dIVE Ib te E | Amotitciag, Point Hope, Alaska(Composed by Acetcaq 2) I A o~ aw B : J “2 “A | Ta —17-F J a b c ‘d e. ti-kinyaynag-pu-ci-i-i u- miag-pamnia-a- me o-ke ya-a- me tat- Hy (ext ) A : e- @ a= 7 fe A / 7 Pe a a (7 J £ f} e1 ce) ga-vu-ma-i e € € A Uvama-le uvana-le mal-ek-caqtun-a- t Cc : rif. very slightly. Poem o-ka kap-ce Ka-na-a kap-ce-a ma-na- Rae ee trkiy-ay -mun e € ya === ong of Acetcagq. a= P Legato ; aa Kiny-ay-nag-pu-ci = - i um- lag-pan- nia qa-a-a&-na o Ke ya- metitqa-vun-ai 4 Accel. e cresc. See : T n : 1a aT zfs hy 1}, 1 4 4 m~ o-— m~ 1 A A YY A TY T vt © te +: u- va-ga-le u-va-ma-le ma-lek-caq tum -ai t 0-Ke-yalu- ya pr-ma-a-cu- OA I 7 T C T KT AT KT i ee Se a—| 4 es | f T T T C3 fT ! 7 He si 4 ry ne— ai yan-a yaya ye ai yas=-a_ ye 88540—254 388 Canadian Arctic Expedition, 1918-18 No. 136. Regcorp IV. E. 13 A major tonality Phrases Measures Beats A a bed 4 o. 91913 2 : B e f{ f)e g 5 11 2 2 2-2 3 Cc hy a) ep ik 4 8 D2 2. 2 2 D a lm on 4 9 3.2 2 2 Coda { n! n? 2 4 2 2 As it is given here this is another example of wandering melody which does not return in any except the a measure to what has gone before. (This, in the D phrase, gives a hint of the melodic ideas which were contained in a but it is very faint.) The song is also characterized by rapid movement and by dotted notes of small time value. The actual tempo of the larger movement is slow which in spirit very well expresses the sentiment which called it forth. The song begins on the first beat of the measure, on the third degree of the major scale. It ends on the second. As is the case in so many songs from all four regions, the seventh degree of this scale comes out prominently in the melody. This point will be discussed in the section on scales or preferences in scale tones. As it happened, the collector knew the composer of the song at the time that it was first conceived. The story is partly told in an article which appeared in the Musical Quarterly for April, 1922, entitled ‘“Eskimo Music in Northern Alaska.” He says: ‘“‘The most interesting of all the songs I heard, both from the circumstances in which it was composed and from the intrinsic beauty of the melody, had its origin on the old whaling steamer Karluk, the ‘flagship’ of the Canadian Arctic Expedition, 1913-18. The Kariuk was caught in the ice near Flaxman island, off the coast of Alaska, about August 11, 1913, and, after drifting helplessly for several months, was finally crushed, and sank in the following February. In the early days of September a Point Hope Eskimo on board the vessel, Asetsak by name, composed the following song, expressing in its words his longing for his old home and his despair of ever seeing it again. Asetsak reached the shore with a sled party about a fortnight later, and as he travelled along the coast he taught his song to every family he encountered. During the winter of 1913-14 it was perhaps the most popular song for 100 miles on either side of Barrow. Mr. Young, who harmonized it for me, frequently played it as a voluntary in his church, and more than once was asked the name io on One lady even thanked him for his ‘lovely selection from ach!’. In correspondence Mr. Jenness goes on, ‘I learned the song from Asetsak himself and wrote it down about a month after it was composed. Arotitciaq, the native who sang it into the phonograph, learned it at the same time—he was Asetsak’s companion with us. But it was not until two years later that he sang it into the phonograph, and during those two years he had never bege able to check his own version with any one else’s, or with the composer’s. YR’ will notice, therefore, considerable differences between my version, which is, I think, nearer the composer’s own, and Anotitciagq’s.” Songs of the Copper Eskimos 389 In the original, triplet rhythms are quite constant and there is a return to the first part of the song for the finish which is all that could be desired, artistic- ally. Although Anotitczag tried to remember it in all its appealing beauty, and did very well under the circumstances, it can be seen at a glance that the rhythms gradually escaped him and what he retained was chiefly the broad melodic outline and the comparative time values of the notes. He has also confused the order of the phrases and begins with what was originally the pe making a semi-cadence on the second degree (just before the phrase B), _MPhich in the original version was carried to the tonic and then extended in a final section on the fifth. This, because of the way in which Anotitciag paused on the second, became associated with what in the original version is an entirely new section (that after the double bar). In the phrase C, in Anotitciaq’s song, he has departed considerably from the original tune, although with it before us for comparison we can see that he follows it in skeleton, if he does weave around it some variations of his own. He then closes with the part which originally opened the song but which was also reverted to at the end, but instead of singing through he stops on his favourite second degree at the end of what is the first line in the original version. The fact that Anotitciag has given three of the five songs from this region and that two end on the second degree, when in one case at least we know that the original version did not, leads to the question if such might be a personal mannerism with some singers. Such a question could not, of course, be answered without considerable observation in the field. 390 Canadian Arctic Expedition, 1913-18 baer PaneeSong. Amotitciag “Point Hope, Alaska.(composed by Aceteag ) dati2 cu-mun u- va- yut tr- pi-va-ti-y- ub i tik- i- yay-miueni U-vu- ar oe ono ere, = = d e b? f g h b> me-ma o-ltk-tu- mut ga — ni-ge- yu-ti- yu-yute yd au-we yam-a ; Ds E bcd , 5 us ai t - vam ; if = T i rt i j gim ye-yu- yut e ya yam-a © ya u-vaptiymk e e ya ya ya hy ee pu CL car t | A So A ta OT CRT | t T + t t Tom ; ™m! : me m3 mr a ma A XAXR ya a a ya No. 137. Recorp IV. E. 1c B, E, and A major tonalities Phrases Measures Beats A a bc bit(be b! b?) 7+ 144 222 2 2 2 28 B de b 3 63 ae ae C f g h bi 4 8 22 2 2 D Cae eae 4 ce 2-2-2 48 E lj jm 4 82 a2 2 2 2 ext. m! m? m? m? 4 8 22 2 2 It might almost be said that the song is in 2/4 metre, but for one or two deviations. As to form, however, it is as wandering in melody as any of the others from this region, and in its short, but extremely melodious compass ranges through three tonalities, ending on the second degree of the last one into which it settles in the third phrase. It is distinctly major in feeling. Although it starts quite low, on the fifth degree of the first key, it at once takes the sur- prising leap of a minor seventh which leads to the octave. Dotted rhythms are found but not in such numbers or such fine values as with the other songs, ba, there are enough of them so that, together with the other features, it is seen clearly to belong to the group with which it is placed. It begins on the last half of the first beat, with two sixteenth notes. Songs of the Copper Eskimos 391 CHAPTER 3. SCALES OF TONE PREFERENCES AMONG THE COPPER ESKIMO AND OTHER GROUPS. Within the scope of the present paper it is not possible to ‘go very deeply °° the question of the exact scales used by the Eskimos and whether or no and what degree they may vary from those which are in common use among musicians with European traditions behind them. Such an investigation would be a long study in itself, if indeed it had been possible to make it in a scientifically accurate manner under existing conditions. Where there are instruments of fixed pitch furnishing music not only of themselves but also accompanying the vocal music and probably to a considerable extent influencing its development, or even confining it, it is possible with sufficiently accurate mechanical means at hand for measuring each tone, to discover what are, in fact, established scales. The situation is very different, however, with vocal music which has devel- oped by itself in a given region. Not only is the human voice very variable as an instrument, and often uncontrollable except as the result of much practice which would not be likely to occur in such a region as that which we are study- ing, but all sorts of psychic conditions, including the effect upon the Eskimo of singing into a phonograph, the like of which he has never seen before, have a direct bearing on the tones produced. It is impossible to measure these influ- ences, as it is also to measure the variations of the phonograph. Although these latter are largely rhythmic and tend to increase with the wear of the record, the starting and stopping of the record and the way in which the needle is removed or placed have some influence upon the tones at the beginning and the end of the song, and we sometimes obtain sounds there which really do not belong. This does not occur in the main part of the tune so far as my experience goes. Considering the psychic influences which bear upon the voice, as well as others such as colds, inflexibility, old age and the like, and the fact that the transcriber had no other means than an accurate ear available for noting the tones actually produced, a long dissertation on scales, covering all the ‘‘off- pitches” that have been heard in the course of the transcribing, to say nothing of the continual flatting that characterizes the singing of some individuals which certainly could not have been intentional, would not only be practically without value but quite out of place. I have tried to note carefully, however, all the pitches as they were sung, whether true to the degree as indicated by the staff, or removed ever so slightly, and some of the quarter-tones certainly seem to be intentional, or at least in certain situations habitual with the individual singer. The reader will observe a number of such instances where in repeated parts the same pitch variation will occur. He will also probably observe as many more where in one case a pitch will be a quarter- or less than a quarter- tone flat or sharp, but again in the phrase as repeated elsewhere will be found to be true. Sometimes there is a play between these off-pitches and true ones. All these will be observed by the reader who is sufficiently interested to peruse the songs carefully and in detail. The’ tonal content of each song, except in cases where the tonality is so irregular that a collection of such tones could mean little or nothing (and these are very few), has been represented in a little scale, one for each song, and these have been transposed to the “common denominator” of the scale of C so that Bey might be readily comparable. In nearly every case all the pitch deviations ave been included, but there are a few instances in which these were so numer- ous and very evidently due to untrue singing, that they have been omitted and the fact noted, although in the songs themselves they have been given. 392 Canadian Arctic Expedition, 1913-18 To a certain extent these scales representing the tonal content of each song are misleading, for it all depends upon the frequency with which certain tones appear, what is the general colour of the song. In such a little scale the merest changing or passing note receives equal attention with tones which may be said to be primary. The same set of notes may in one case give one impres- sion and in another a different one because of the prominence given to certain notes and the almost involuntary appearance of others. The fact is outstandingly clear, however, that there are two modes wi which the people are quite familiar and with which they play, the major and the minor. In more than a few instances there is very evident play between a major tonality and either its relative or its tonic minor with the stress on the pivotal tones. Many other interesting modulations occur through means that would delight the modern composer and master of unusual tonal effects, as well as through the more ordinary channels. One interesting example that comes to mind is No. 81 in which the modulation is back and forth between C major and D flat major by means of the flat sixth and seventh of the former key, and a pivoting on the fourth. There are numerous others which musicians will readily note. After a study of the little scales it will be apparent that all of the tones of the diatonic major scale are known and used with frequency, but the major seventh occurs more often in a combinational major and minor scale which will presently be discussed, than in a major setting. On the other hand, the natural minor scale is most commonly used of the three and the raised sixth and seventh of the melodic minor are seldom encountered. Augmented seconds, as between the sixth and raised seventh of the minor, are not used to any extent, (but see No. 74, which might also be considered as belonging to the combinational group soon to be discussed). The augmented second between the tonic of a major scale and its raised second degree is not uncommon. The third tone of the major scale is perhaps the most common of any; it is employed very often for opening and closing songs and for the general level. In fact, the tonic as a resting tone or general level, takes a very secondary place to the third and fifth. In the minor mode the third and fifth are also prominent tones, the latter especially so, and it, of course, is the same as the third of the relative major, in general effect. It seems that rather than being set apart in the consciousness of the singers the two modes are more or less intertwined. While we find numerous songs in minor and many more in major, which is generally the case in many primitive settings, in nearly all of the minor songs there are places where the feeling is major. There are also many examples of songs which fluctuate between the two or modulate directly from one to the other. Chromatics for nearly every diatonic tone are to be found many times and this might be expected in music where modulation plays so important a part as in that of the Eskimos from this section of Canada and northern Alaska. They are used very effectively, not only for passing and changing notes but prominently in the melodies themselves, chiefly as pivots in modulating. I have been particularly interested, however, in the same peculiar quality which pervades many of the songs from the Copper Eskimos even where there is not the same melody. The songs given by Hagunyag, a Puivlik woman, first drew my attention to the matter, for they nearly all possessed this character. It lies in a preference, which amounts to a fashion, for certain scale tones which, according to the colour that the songs themselves appear to derive from it, are taken from both major and minor tonalities as we should think of them. I have found altogether 28 songs from the Copper Eskimos which contaigy these tones in more or less constant combination, with now and then others added, or the upper tones of the scale transposed downward or upward an octave. They fall proportionately in the four groups, pisiks, atons, un- Songs of the Copper Eskimos 393 classified and weather incantations. Possibly some examples have been over- looked, and among those given there are duplicates in the cases of different versions of the same tune.! The scales of these songs have been grouped together. In the main the tones are the seventh, sixth, fifth, third and tonic of the major scale, the play between the third and fifth lending a major character, that between the sixth, third and tonic a minor feeling, while the seventh, sixth, and third, with the fifth, are the tones which occur most frequently and which give the peculiar tonality that attracted my attention. Sometimes the upper seventh is omitted and the lower substituted for it which gives a different but related effect, and there may be other tones introduced sporadically. This scale effect has not been found in any of the songs which come from the other regions outside of the Copper Eskimo area.2 The Mackenzie, with all their varied melodies, seem not to have developed the fashion, or at any rate, it is not so popular a combination as it is around Coronation Gulf, or we should probably encounter at least one example of it even in so small a collection as twelve songs. I have investigated the exact localities from which songs with this scale come and the singers, in order to see if it is a strictly local phenomenon in the Coppermine River country, or if it might be a style developed by one or two individuals, especially as Hagqunyaq, the Puivlik woman, sang so many of the examples. The following list will show that the fashion has now spread beyond any local limits or a few individuals. Pisiks Song No. Locality Singer 2 Puivlik Haquyyaq 3 Puivlik Haquyyaq 4 Puivlik Uyahaq 5 Akuliakatak (composer Tuhayog) Kdneyoqg 8 Bathurst Inlet Kukilukag 18 Puivlik Ikpakhuaq 19 Dolphin and Union Straits Avakana 20 Coppermine River ' Téptuna 23 Puivlik Ayivyana 25 Coppermine River Niptandtciaq 35 Puivlik Haquyyaq 43 Puivlik Haquyyaq Atons 57 Puivlik Haquyyaq 63 Coppermine River Qatyryan.a 67 Dolphin and Union Straits Avyana (Puivlik) Unclassified 75 Puivlik Haquyyaq 73 Coppermine River Takoheq.ina 82 Prince Albert Sound Miluk.dtak (Dolphin and Union Straits) 1It is interesting to observe, in passing, however, that while the scales of different versions of the same song may, in zeneral, possess the same prominent tones, or otherwise they certainly could not be the same song, there are often enough hers introduced in a more elastic version to deceive the student who is examining scales only, into a belief that two songs ‘ould not resemble one another, which are in reality only different versions of the same tune. 2 One interesting example of its use is found in No, 57 which is a version of No. 58. Inthe former song the seventh degree has been substituted throughout for the true octave which obtains in No. 58, and which is probably nearer the original, and possibly the original itself. 394 Canadian Arctic Expedition, 1913-18 Weather Incantations 88 Coppermine River Néneyoaq 90 Coppermine River Nédneyoag 91 Puivlik Kéneyoq 101 Coppermine River Ayivyana 102 Coppermine River Ayivyana 104 Puivlik Kaneyoq 107 Puivlik Kaneyoq 108 Puivlik Ikpakhuagq 111 Coppermine River Ayivyana 114 Coppermine River Agivyana The other scales have been grouped according to their affiliations, but those from the Inland Hudson Bay, the Mackenzie, and Point Hope, Alaska, have been kept separate. No other pronounced preference for tone selection such as the one just discussed has been noted. The four songs Nos. 24, 29, 31, and 46 (the second song), seem to have nearly the same scale tones and some of these are peculiar enough to be noteworthy, but the songs do not sound alike and apparently have nothing in common. Another set ranges from the second above the octave of the tonic, or the ninth, to some point about an octave below or even drops to the fifth degree in the octave below the tonic, but they are more varied than the major and minor combination with the seventh of the major as the highest tone. There are also, naturally, some groupings ranging from the octave of the tonic downward even as far as the fifth in the second octave, and another largely minor group, in which the tones do not extend above the sixth degree. There are not many songs in the entire collection which have a range much beyond an octave and the greatest range of all the songs taken together is two octaves and a third, if men’s and women’s voices are not differentiated. It has already been said that the feeling for the tonic does not appear to be as well established in Eskimo music as in that of some other primitive peoples. Among certain tribes of American Indians, for instance, especially in certain groups of ceremonial songs, the feeling for the tonic is very strong. In these Eskimo songs this is largely supplanted by a general level on the third degree of the major scale or the fifth of the minor. 137 songs comprise the entire col- lection, not counting the examples in which fusion of two or more tunes has occurred. Of these 24 are from other than the Copper Eskimo region. The following observations are based on the remaining 113 songs. Thirty cases reveal a preference for the third of the major as a resting tone and general level, which in most cases is pronounced. To these are to be added fourteen in which the fifth of the minor serves this purpose, totalling 44 cases. The tonic of the major is preferred in only 19 cases, and there is but one instance of the third of the minor being used, thus totalling 20 instances; but there is also one case of the octave of the tonic. 12 cases are found for the fifth of the major scale and 8 for the tonic of the minor; the others are scattering. In the Mackenzie River region the general level is pretty well divided between the tonic and the fifth, and in both of the other regions is scattered. The i from these places are too small for any conclusions to bear much weight. _ 1 Another instance of the deceptive character of scales showing the tonal content is in Songs 16 and 49 which appear on this basis to belong to the combinational group we have just discussed, but which in reality have nothing in common with t, except most of the tones of which they are composed. - Songs of the Copper-Eskimos 395 Sroup 1 —Combination Scale.—— Mi Maj. Mi aMi : = Se No23. pw No.4. Pp No./10. WL No.106. Wey Mi oMaj Maj-Mi-Irred. Ty iY = caiati | fic a oS ae ee 102. : ae re ay No. 25 = Nal9 Maj-Mi QMi Mi HZ (i-* & es 2 =5 See J a o> No3. No.90. S No.20. (Ff 20,19) a4 WL P ‘ tJ 4 == rz p> t ‘ is 4 =. 2 b hy eSeaus a exes ’ 逢e No.100. No 5 No 63 2 wi P (Mi Maj f\Maj- Mi T 4 iy it $ : BA TZ a + 7 a Stee ? > No. 57. 18. No.3 sie fs) is No. 18 P Maj. Maj-Mi. Mi f lk: - il aii “§ i A. 2 + “TS e ee aw ae se e a> 81, . ST. < 73. No see a No.67. * No.73 . Mi Maj pMi o Maj | a & TA (ome Hh 5 TZ alas wa irae TL. ss cee tts a : € No.2. No.51. 103. q) No.43 P P 0. oA No.103. ei P: Pisik, A= Aton, WI=Weather Incantation, UsUndifferentiated 396 Canadian Arctic Expedition, 1913-18 Group I €oncluded) (Maj 9Maj-Mi. Maj-Mi. Maj __ ran tt : tt r tt ~ 1 =| a ee € wel!) «(Seeks Stee s 107. 35 No 87. No.8. a No.107. niet No. si Mi- jIrreg. Maj-Mi f- TT +f 4 = eo e v = > No.75 U No.21 Pp No. 101. ar S. without pitch deviation: Group 1. Songs having similar scales to those of Group! but which dive a totally different impression. pMi-Maj. Maj- Mi i 17, ——— = a eee ee No. 49. P No. 16. Pp Sroup TW. Songs with some peculiar tones in common but which are not alike nor do they give that impression. BEN Maj. nMi “t vat pb m8 _)p e Le 7 en3 . e : No. 24 - No. 29. No.3}. Maj. vas re FY i e Se = No. 46. Songs of the Copper Eskimos 397 Maj. Maj. | (May. i] te oa ti-e { : : SS : “Eg IS ° No.76 v VNo.44. No.72. ; without pitch deviations fPey May. f\Maj-Mt. ie mt ae aa | > tote a [ ran 2d tt — = -e y\4 > ie ~ aa ue = rn Bie 6 e e eo 6 No. No.59. No.64 0.84, u ° & Maj. Maj pont Ty -o Be si ' a = fi + = Te n at 4 ee oe? “e > > No.27. No. 66. No. 98. P A Ww. i) Maj Maj. New song joined on. Ab ae @—»-4 1 || at t yA Was a OR ache ; v TT 3 e Foe e enw No. lo. 7. P [Irreg. ) Maj ae {}—\—-e- = 7 + —f ‘ aot — ty esa { er a) rte ~ ri aod < athe 26 ees No p No.22 P Irreg,. jMaj. 4 Jig: | ana 1 qT te — oe a e ° ry e Coe No. 80 No.41 398 Canadian Arctic Expedition, 1913-18 Maj 9 Maj 0 Maj 9 Maj. ae aed ee? i ? e+e 58. No.0 P No 82 u No. 50a - No.58 Aide Mi Maj La — TT f = t ar) ad ti : . No85. No. 89. WI No 91. WL Mi Irreg. q Maj- Maj. ()Maj. y y Te oS e? e @ fe "eeu No.60. A No. 77. U No.| ae No!o8. Maj. ) Maj. Maj t Shah» ii b t t tt @—. Ti Sides Soe} 2 & trad a es it @ q . Re ee 7 e on e eo 40: 55. No.11 No.40¢e P No. rm fe) P ps p Ni. Mi vo I] F TV ——— = E J “ghee the ° ef®erx = 7? e Fe = No.83. U. No.32 a No.70. 4 Songs of the Copper Eskimos 399 Maj a May. (Maj Maj. nMaj ist wae b tf ae Bb TZ 1 ut # tt o—— —ikp-e — iip—e—— Tip-e—— {-p—e—-} ic P eo? ee ? ee ee ? ~ 2 e 0.62. No,92. an No.93 Wi No.4 ay No.18. u. May. / Maj . Maj Mostly May +y a T iim 4 yf ul rimat - ar e-— —— @ _— es a aed atts tzFs No97 WI No. 126. No.38. 2 No.(7. P Maj. and Irreg. aMaj- Irreg. T_Y¥ I $2 ——— = es ’ Cee SSS No.2. des Noi ev ee A P jIrreg. (different Key.) aMai. Ty i L TA L iT =. +86 tii cag) e°* Noe © vale No. 30. © A. P al: Maj. Maj. aMay. q Irreg 4 | 4 iL T_T —)- je a 5. AO | it Wg (GOs &e ete e No.109 No.95. No96. No.28e. Nol. WI wi. W.I. R (sare Song) Maj. (@) Maj. (b) Mi. q Mi. 7 TT TY TT Pi fo ul 1. TA ree | i F. Wee fey 7 6. 99, .19. © (one Song composed of two) P Me WL No.79. U. (Maj. Mi. Maj. q Irreg. b 17 HF Tf zim ° > e FS ~ e e*SS= 7 Oe Nol. ae No. 88 e WI. 400 Canadian Arctic Expedition, 1913-18 No.46. No.69 (third Song) PR Uv. May. a és he rz ; Maj; Irreg. TT fans i i sy QQ ‘ e | ¢ e No. 15. No.9. Pp Gromx €.Mi-A Mi-DMi~ FiMaj. Scale as for FMaj. - a re ae Ss. = SL = Ce ao s No, 102. No. 56. A. OM. bins Tf PO- + 4 i! 3 Oe tee Noes. P Not analyzed. Too short. = =| == j No.65 So irregular not feasible fo make note of tonal content™ Songs of the Copper Eskimos 401 Hackenzic Riv er. _ Maj. piles Irreg. q Mi. *eetebete ° ee be etree No.5 No.119 No.124 f Maj. f Irreg 9 Ci-s @ ‘ 41 { ---— ; ¢ a : No.121. No. 118 Trreg. (Russran) Maj. pets z : No.125. No.120. (4). There are numerous other chromatics at the end of the song but they seem to De due fo flatting. Maj - -Mi. f) May. Maj. pes pies J , . 7 tie : > = uit No.117. No.114. No.122. pees ee aS = = : =¢ e => : No.123. ae 7 Note. ¢ Inland Sudson Bay Mi. A Maj. pNearly monotone. — ta B tt +— e e Jd rs 7 8 the No.130- No.126. No.127. No.132. Maj: Ivreg. ; pres: _ Ta pres os by (Aol 4 4 TA = Lan \ferese ipiee e | Foie No.131. No. 128. No.I29. Without pitch deviations. 88540—26 402 Canadian Arctic Expedition, 1918-18 Maj. (Maj. “ ————————— 5 = zh 1 CSP o ue IC : Ne ee J oe be No.136 No.135. awa f) Maj. p May. qMaj. ki ite Ts j | uae a rn IT iA v: 1-7 aN i Cra 4 thes ° ee 2 No.137. © b No.133. No.134. IF Champagne del. Songs of the Copper Eskimos 403 CHAPTER 4. DIFFERENT VERSIONS OF THE SAME SONG AND INSTANCES OF MELODIC BORROWING _, Although a whole section might be written on this subject, much that 1, Mf interest has already been given in the remarks accompanying the individual songs. Perhaps, also, those who would pursue the matter will take greater pleasure in discovering the variations for themselves, than in reading a long description of them. It is easy to imagine how different versions of the same song came into being. Not only are many tunes quite old, which fact alone would cause vari- ations to creep in, but Mr. Jenness tells me that the songs divide into two kinds, those which, like the incantations, are handed down from one generation to the next in more or less stable form, and the dance songs, or topical songs. These are very like the Jama songs of the West Indian negroes in which little events that amuse or interest the people are set forth and pass rapidly from mouth to mouth and region to region, taking on new phases as they go, to fit their varying surroundings, finally becoming so changed that all but the main idea in the words, and sometimes even that, vanishes into oblivion. The same tune, neces- sarily, is carried with the song, and in the process of having new words set to music which they do not fit, and of being mutilated on this account, or through forgetfulness, it also in time is but a ghost of its former self, possibly retaining only a little theme here and there to recall its earlier state. Fashions in music, like that for certain scale tones which we have just mentioned, are also the cause of much confusion of similar tunes and the removal bodily of whole sections from one song to another. Numerous instances of such joining are to be found in this collection, and many times it is undoubtedly due to the fact that the two songs have some little melodic feature in common. Due to the tingeing of so many songs with similar melodic conceptions it is quite possible that some variants have been overlooked, for the student soon becomes steeped in the welter of tunes that are nearly, yet not really alike, and finds it difficult to recall whether a particular tonal combination has been heard before or not. The following list will assist in locating probably the greater number of variants, if not all of them. So far as I have observed, there is no borrowing between dance songs and incantations. Dance Songs Song No. 2; cf. No. 42. Song No. 42; cf. No. 2. ‘ 3. cf. Nos. 19 and 20. «44; cf. No. 45. - 5; ef. No. 18. «45; cf. No. 44. “ 18; cf. Nos. 5, 22 and 40. “56; cf. Nos. 30?, 31?, and 61 “« 19; ef. Nos. 3 and 20. «57; cf. No. 58. “20; cf. Nos. 3 and 19. “58; cf. No. 57. “22; cf. Nos. 18 and 40. “61; cf. No. 56. “ 30; ef. Nos. 31 and 56? “69; cf. No. 70. ¥S 331; cf. Nos. 30 and 56? “70; cf. No. 69. 40; cf. Nos. 5, 18 and 22. 88540—263 404 Canadian Arctic Expedition, 1913-18 Weather Incantations Song No. 90; ef. Nos. 100 and 110. Song No.101; cf. Nos. 95, 96. “92; cf. Nos. 93, 94. “ 104; ef. Nos. 90, 97, 110. «98; ef. Nos. 92, 94. “ 105; cf. No. 106. “94; cf. Nos. 92, 938. «106; cf. No. 105. “95; ef. Nos. 96, 101. “107; cf. No. 109. “96; ef. Nos. 95, 101. “ 108; cf. No. 112. “97; ef. No. 104. “ 109; cf. No. 107. “98; ef. No. 99. “ 110; ef. Nos. 90, 100, 104. “99; ef. No. 98. “ 112; ef. No. 108. “100; cf. Nos. 90, 104, 110. In closing it may be well to summarize the salient characteristics of Eskimo -music as it is exemplified in the present collection, especially along those lines which differentiate it from the music of such other primitive groups as the tribes of American Indians with whose music we have an acquaintance. According to accounts of those who have visited them, the types of songs of the Eskimo along the north coast of America are very limited in number, and are confined to dance tunes, to magic songs which are mostly for the purpose of influencing the weather, and which come the nearest of any to ceremonial songs, to the tunes which children sing, although these are exceedingly rare among the Copper Eskimos, and to topical songs like that of Asetsak. This paucity of types contrasts very strongly with the different kinds of songs which are found among the Indians, taking them as a whole, although from tribe to tribe there are very great differences in the number of kinds as well as in their melodic quality. Apparently the Eskimo have no work songs that might corres- pond to the grinding, hunting, house building, weaving and other such Indian songs. There are apparently no ceremonial songs of a set character which might be associated with rituals, like the Creation Ritual of the Pawnee, or with medicine societies, like the Onondaga medicine songs, or with war, like some of the inspiring warrior songs of the Iroquois. There are no love songs and no lullabies other than the pisiks. This seems an almost incredible state of affairs especially where topical songs exist, and probably these might be found to furnish examples that would correspond to some of the types we have mentioned, were they better known. But whether there are rare specimens in existence or not, the fact remains that they are completely overshadowed by the more or less conventional dance song and the incantations, or else are converted into them. We have already spoken of the predominance of the major mode. This seems to be the case also in the music of many Indian groups as it is in most regions of the world. In the music of such tribes as I have studied, however, I do not recall anything like the widespread use of a peculiar group of tones such as the combination scale of the Copper Eskimo, although certain whole lists of songs belonging to one ceremony may have a melodic similarity, and be modelled on one pattern. But the feature is confined to songs of one type and to one time and place and does not tinge the whole music of the tribe. On the whole Eskimo songs are longer and more varied than Indian songs, which, if they attain any length, do so by almost direct repetition of a few very limited musical ideas. Some Pawnee songs might be called very long when they are used for 56 steps in a ritual, and are sung through in their entirety each time with only a change of one or two significant words, but in reality the musical expression is short. The melodic themes of the Eskimo songs are not only af =n more ample, but we find combinations of several themes and modulation ofall sorts from one theme to another. A song may have as many as three or four modulations and key settings, if we may be allowed the term in discussing a Songs of the Copper Eskimos 405 music which knows nothing of keys as such. In Indian music with which I have become acquainted, however, modulation is extremely rare. Indian songs modulate from major to minor, either the relative or more rarely the tonic minor, but this on the whole appears to be more accidental than habitual. In Eskimo songs there are so many examples of this that it is one of the features of the music. While the tonic is by no means established in the music ‘of the Indians except in certain types of songs, like ceremonial sets, the feeling for it is certainly “well developed, generally speaking, as with the Eskimo, if not more so, for with the latter, there is a much stronger appreciation of the third as a resting place, a condition also much more accidental in appearance in Indian music than habitual. It has been frequently said that Indian songs have a downward trend. In fact, some writers have intimated that this is an almost universal phenomenon with them. Such is by no means the case, for there are examples, in great. number, of songs which are level in movement and even of tunes which end with a melodic ascent. Nevertheless, songs with a downward trend, which begin rather high are certainly very common and tend to create such an impression. These Eskimo songs, on the other hand, have impressed me by their com- paratively low beginnings, with a considerable rise in the course of the melody and a return to somewhere near the starting point, if not the actual starting tone. Thus the melody describes a rather large upward curve and returns. Many songs also show inverted curves as well. The upward curve is sufficiently frequent, however, to be called a characteristic feature and to place itself in contrast to the large number of Indian songs which have a falling melody. A glance at the scales will partially reveal this tendency in the Eskimo songs, where the beginning and ending tones are indicated by the small letters b and e directly over and beneath the notes which are so employed. The tendency to fuse two or more songs has already been noted. This, so far as it is known, is a comparatively rare phenomenon in Indian music. No doubt the fusion of songs and modulation have interacted considerably in Eskimo tunes and accustomed the singers to more radical departures than are usually encountered in the course of a single song in Indian music. Perhaps the beauty and melodic richness of Eskimo songs as a whole can be mentioned again without over-emphasizing a truly remarkable gift of this people who live in a land where there might seem so little to inspire them. What arctic regions may lack in warmth and vegetation is perhaps more than compen- sated for in the beauties of a frozen world. However that may be, artistic expression in tone has not been denied these people who live for a considerable part of the year almost in darkness. We find plenty of single songs here and there in Indian music that are beautiful, along with many that are not, but from the country where it is nearly always winter is brought a collection of songs that for their generally high musical merit, for real loveliness, it is hard to find a counterpart in more favoured lands. SECTION 2. TEXTS AND TRANSLATIONS By D. JENNEsS Division of Authropology, Victoria Memorial Museum, Ottawa COPPER ESKIMO DANCE SONGS PISIKS No. 1. Recorp IV. C. 80 Dance Song (pisik),1 composed and sung by Hryilag, a Putvleq woman. (Spoken: gimakpaleynagqa) Verse 1. picuyuleqtuyay e ye ye yaya picuyuleqtuyay e ye ye ya Refrain I. e ye ye yaye ye ye ya Connective. e yaya Verse 2. picuyulegtuyay e ye ye yaya kulukcumun ema picuagtoyiuck (Refrain I and Connective) Verse 3. kayataineyaliy emufueymeymaya kulukcuymun «ma picuagtoyivck (Refrain I and Connective) Verse 4. ulukcayals ttkeleyatayapkuyo ccuayayyuk amulagpaya Refrain II. e ye ye yaye (hu hu hu hu hu hu) (Connective) Verse 5. picuyuleqtuyay e ye ye yaya picuyuleqtuyay e ye ye ya (Refrain I and Connective) Verse 6. picuyuleqtuyay e ye ye yaya kuyayyuaymun picuagtoyiuek (Refrain I and Connective) Verse 7. aptaloyli apkuacagcuyoliyi kuyayyuaymun picuagtoyivek (Refrain I and Connective) Verse 8. kuyayyuaymun tikileyatayamaya utkuccktanut? tckileyatagtuya (Refrain I and Connective) Verse 9. utkucckcanutt tkileyatayamaya ccumainalr mreqciyanittpet (Refrain IT and Connective) Verse 10. picuyuleqtuyay e ye ye yaya dcityamun ima picuagtayiuck (Refrain I and Connective) Verse 11. qileqtetyin «ma takovakcuyaluyo pietkcun-ama cucutpaktuya (Refrain I and Connective with the words dlicnagqciyami ila inserted) 1 Copper Eskimo: pecig. 407 408 Verse 12. Verse 13. Verse 14. Refrain III. Verse 15. Verse 16. Verse 17. Verse 18. Verse 1. Verse 2. Verse 3. Verse 4. Verse 5. Verse 6. Verse 7. Verse 8. Verse 9. Verse 10. Verse 11. Verse 12. Verse 13. Canadian Arctic Expedition, 1918-18 picuyuleqtuyay e ye ye yaya picuyuleqtuyay e ye ye ya (Refrain I and Connective) picuyuleqtuyay e ye ye yaya agoviyamut? picuaqtoyivtk (Refrain I and Connective) qaiyuagceisqtut gadvekcivaktuntyt gaiyuaqtayatt arpayudpin e ye ye yaye ye ya (Connective) ptcuyuleqtuyay e ye ye yaya tunumuti ima ptcuagtoyiuck (Refrain I and Connective) tveqpaktiyalin apian-emaya upaktoqeuyatt picuagtayrutk (Refrain I and Connective) cunauv'a tmnay ivegpaktucayleyt dtiamintk niyaqtaxyaneqtog (Refrain I and Connective) uvayalu may tyttayotin-ilaya niyaiyain-ama togxoaq aya (Refrain I) Translation Wishing to begin to walk Wishing to begin to walk Wishing to begin to walk To Kuluksuk I proceeded to walk. My stomach [?] when it was empty within me To Kuluksuk I proceeded to walk. [Lake] Uluksaq when I reached at last The lake trout I pulled out one after another. Wishing to begin to walk Wishing to begin to walk. Wishing to begin to walk To the Kugaryuag [river] I proceeded to walk. (Mt.] Aptalog on the road that seemed to lead to it To the Kugaryuag [river] I proceeded to walk. To the Kugaryuag [river] when I reached at last To Utkusiktaq too I reached at last. To Utkusiktag when I reached at last sea a I did not go and finish them [the stone pots]. Wishing to begin to walk To Asiak I proceeded to walk. Bull caribou, though thinking I should see many, Because I had no bow I was unable to do anything. Wishing to begin to walk Wishing to begin to walk. Wishing to begin to walk To Agoviyag I proceeded to walk. ‘Verse 14 Verse 15. Verse 16. gy erse 17. Verse 18. Verse 1. pt. 1. Refrain. Connective. Verse 1. pt. Verse 2. Verse 2. Verse 3. Verse 3. Verse 1. Verse 1. Verse 2. Songs of the Copper Eskimos 409 The sealers though they hauled up many seals, The one seal I obtained I could not procure a companion to it. Wishing to begin to walk To the land behind [northward] I proceeded to walk. The thought entered my mind, Apiana [man’s name?] Expecting to meet him I proceeded to walk. What is this, this here, the thought that enters my mind? His sled it caused him to be exceedingly angry (because it upset]. And I then having no possessions [on the sled] Since I did not become angry I laughed aloud at it. No. 2. Recorp IV. C. 628 Dance Song (pisik), sung by Haquyyag, a Pucteq woman pt. pt. pt. pt. pt. pt. pt. a ye yar ye yt yar tckicatyeyiveyu uwaliayyu camna ttkicatyeyiviyu tye yar ye yt ya yee Bia, So ye yt yat ye yi yar ya @ yar ya uwaliayyutt ndloyyucts capku tckicumaqcuytt tékicatyeyiviyu (Refrain and Connective). 4 ye yat ye yt yat tekicatyeyiviyu uwalinyutt camna ttkicatyeyiveyu (Refrain and Connective) cdveyyuttt — uwalinyuti capkoa cdviyyutti capku tikicumagcewyin tikicaiyeyiveyu (Refrain and Connective) tye yar ye yt yar tkicaiyeyiviyu uivatt qa camna ttkicatyeyiviyu (Refrain and Connective) kayhtyyumli capkoa (Spoken: atysqen-apku) Translation I could not reach Waliag? down there I could not reach. Waliaq’s swimming-places those, After wishing to reach them I could not reach. I could not reach Uwalinruk® down there I could not reach. 1 This song is a record of a journey made by the composer about 1900, when she travelled with her husband from Stapyl- ton bay in Dolphin and Union strait to Tree (Kugaryuag) river in Coronation gulf, for the purpose of making lamps and pots from the soap-stone (utkuciktag) in that vicinity (See Vol. XII of this series, Pt, A., The Life of the Copper Eskimos, p. 54). All the places mentioned in the text lie between the Coppermine and Tree rivers. The song was very popular for many years. It was heard by Mr. V. Stefansson in 1911 (Anthrop. Papers, A.M.N.H., Vol. XTV, Pt. 1, p. 34), and taught by his 2 Waliag (or Uwaliag): the district between the Rae and Coppermine livers, much Irequented by caribou, which were “ee Eskimo Natkusiak to the Indians on Dease river (op. cit., p. 263). ‘iven into the lakes and rivers by the Eskimos and speared. Hence the reference to ‘‘swimming-places,”’ 3 linruk (or Uwalinig): a vague term to denote the country inhabited by western Eskimos, who, until the middle of BR ig det a3 used to travel as far as Wise point to trade with the Copper Eskimos. This song would indicate that knives were the most important articles bartered by the western Eskimos. 410 Verse 2. pt. Verse 38. pt. Verse 3. pt. Verse 1. pt. Refrain I. Connective. Verse 1. pt. Verse 2. pt. Refrain II. Verse 2. pt. Verse 3. pt. Refrain III. Connective. Verse 3. pt. Verse 4. pt. Verse 4. pt. Verse 5. pt. Verse 1. pt. Verse 1. pt. Verse 2. pt. 1 Kanghiryuaq. Canadian Arctic Expedition, 1913-18 2. Knives, Uwalinruk, those knives, those, After wishing to reach them I could not reach. 1. I could not reach The promontory down there J could not reach. 2. Of Kanghiryuaq! those. (Spoken: I have finally forgotten it) No. 3. Recorp IV. C. 93 Dance Song (pisik), sung by Haquyyagq, a Pucvleq woman 1. ai yai"ye ye ya ayontymiuya nunami camaya ayontymiuyay ai yai yer ya at ya gai yat ye yt ya at yar ye yar ye t ya ar ya 2. cuna cuatt ima peciyacuatt nalagcivaktunt ayoniymiuyay ai yat yer ya (Refrain I and Connective) L, ai yaiTyet ya ayontymiuya tcikumi camaya ayontymiuyay at yat yet yar at yai ye yt ya at ya t ye yar yar (Connective) 2. tupiyyati may niniayyut?t gayveqcivaktunt ayontymiuyay at yat yet ya at ya (Refrain II and Connective) ls (Reallysa new song joined on to the preceding) tunuctn-agpayalt e€ yar yar 1 ya tunucen-agpayalt e€ yar yar vt ya tunucn-agpayali at ya hat yar ya at yt a ar yar ye az yar ya 2. na.— tunuctn-aqpayali teikayyuayli camna tunucmn-aqpayali e yat yar ya (Refrain III and Connective) 1. nitcegayneyla camna tunucen-aynextuyo umiviynun ona tunucmn-agpayalt (Refrain III and Connective) 2. tunucen-aqpayalt nunayyuayli camna tunucn-agpayali e yat yar ya (Refrain III and Connective) ds tuktugayneyli camna tunucin-aynextuyo tunucin-agpayali e yar yat ya , (Refrain ITT) Translation 1. I failed also in hunting, On the land from down here I failed also in hunting. 2. What [are] these people walking along Striking down the game, [while] I failed also in hunting, 1. I failed also in hunting, On the ice from down here I failed also in hunting. : the district around Prince Albert sound on Victoria island. Verse 2. pt. 2. Verse 3. pt. 1. (new song). Verse 3. pt. 2. , Verse 4. pt. 2. Verse 5. pt. 1. Verse 4. pt. 1. Songs of the Copper Eskimos 411 The sealers, they who cut up the meat, Drawing seals up on top of the ice, [while] I failed also in hunting. I turned back from it at last, I turned back from it at last. I turned back from it at last, the big ice down here, I turned back from it at last. Seals being abundant down here [yet] turning back from it at last unnoticed To Umivik I turned back from it at last. I turned back from it at last, the great land down here, I turned back from it at last. Caribou being abundant down here [yet] turning back from it at last unnoticed I turned back from it at last. No. 4. Recorp IV. C. 7838 Dance Song (pisik), composed and sung by Uyahag, a Putwvttqg woman Verse 1. pt. 1. Refrain. Connective. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. Verse 3. pt. 1. Verse 3. pt. 2. Verse 4. pt. 1. Verse 4. pt. 2. Verse 1. pt. 1. pene 1. pt. 2. Verse 2. pt. 1. mauna hat ye ya atyumivaktuya ai ndtceghoqtunutt aryumivaktuya at MOUNGa at Ya art ye ya mauna 2 ya ya hat ya mauna hat ye aryumiwaktuya at cilayyua qayma auyalixyayman (Refrain and Connective) mauna hat ye aiyumivaktuya ai cilayyua qayma okiulicyayman (Refrain and Connective) cilayyua qayma okiuliryayman hai tyluayyummlu myumavaktuya (Refrain and Connective) mauna hai ye atyumivaktuya hai ya cilayyua qayma opinyalixyayman at (Refrain and Connective) mauna hat ye dlienaylogpa hai cinik — ptetkciya una inyumavaktuya 1 ya (Refrain and Connective) tiymiyalyuya nalagctyayayman hati noyayayyus gayleqtuatagptk har (Refrain and Connective) mauna har ye Translation Through here I should like to know How to reach people who secure seals I should like to know. Through here I should like to know, The season now when it began to be summer. Through here I should like to know, The season now when it began to be winter. 412 Canadian Arctic Expedition, 1918-18 Verse 2. pt. 2. The season now when it began to be winter, In my house I remained idle. Verse 3. pt. 1. Through here I should like to know, The season now when it began to be spring. Verse 3. pt. 2. Through here it was pleasant . . My bow, it, I accomplished nothing [with it]. Verse 4. pt. 1. My winged arrow when it failed to strike anything, The young fawns I simply caught with my hands [?] Verse 4. pt. 2. Through here . No. 5. Recorp IV. C. 85a Dance Song (pisik), composed by T'ucaysq, an Akuliakdtak man, sung by Kdneyq, a Puwhg girl. Verse 1. pt. 1. ganog unay unataylayoyo picukaliy unataylayoyo Refrain. t yaya t yaye Connective. ye yaya Verse 1. pt. 2. teymigamntk atysyapkuyo milunmuik unataylayo (Refrain and Connective) Verse 2. pt. 1. ganog unay unataylayoyo qyaliytiy unataylayo (Refrain and Connective) Verse 2. pt. 2. trymigamntk atysyapkuyo milunmuk unataylayo (Refrain and Connective) Verse 3. pt. 1. ganog unay unataylayoyo geyneqtoyiiy unataylayo (Refrain and Connective) Verse 3. pt. 2. teymigamntk atysyapkuyo tcukcamnin aiyaytayo (Refrain and Connective) Verse 4. pt. 1. ganoq una unataylayoyo ugatrytiy unataylayo (Refrain and Connective) Verse 4. pt. 2. tiymigqamntk aiyoyapkuyo myaymty unataylayo (Refrain with wu hu hu hu hu hu at the end) Translation Verse 1. pt. 1. How this one am I to strike it with a missile? As it walks let me strike it. Verse 1. pt. 2. With a winged arrow since I cannot do it, With a stone let me strike it. Verse 2. pt. 1. How this one am I to strike it? The king eider let me strike it. Verse 2. pt. 2. With a winged arrow since I cannot do it, With a stone let me strike it. Verse 3. pt. 1. Verse 3. pt. 2. Verse 4. pt. 1. Verse 4. pt. 2. Songs of the Copper Eskimos 413 How this one am I to strike it? The black musk-ox let me strike it. With a winged arrow since I cannot do it, With the horn of my bow let me push it away. How this one am I to strike it? The hare here let me strike it. With a winged arrow since I cannot do it, With a snare let me attack it. No. 6. Recorp IV. C. 94 Dance Song (pisik), sung by Kulahuk, a Kiluccktok man. Really a combination Song 1. Verse 1. Refrain. Song 2. Verse 1. pt. Refrain. Connective. Verse 1. pt. Verse 2. pt. Verse 2. pt. Verse 3. pt. Verse 3. pt. Song 1. Verse 1. Song 2. Verse 1. pt. Verse 1. pt. of two songs. pitaqcaunma una avataniyaleymani tuyimun ima una payayalegemn aymilr yar ye yar ye yar yar yr ya € yar yar yar yar ya yar ye ya yar ye yar yar yar ye a yee avuyat ya inyumauyayivek tunumuyamm myumauyayiwuya avuyat yar ye yar yar ya avuyat ya ye yar yat yar yar ye yar ya nayyuyttu qa kulavayyutt tlayeyunainapkin nyumauyayivuya (Refrain and Connective). avuyat ya nyumawyaytiock kivanmuyamni nyumauyayivuya (Refrain and Connective) neyyutitu ga wyyuyalud tlayeyunainapkin nyumauyayivuya (Refrain and Connective) avuyat ya inyumauyayiuek kilumuyamni myumauyaywuya (Refrain and Connective) geynegtuta ga akcayaluct ilayeyunainapkin inyumauyayiwuya (Refrain) Translation My familiar spirit, it, around the caribou when it travelled Towards me it began at last to gallop. Eastward I was idle, On my journey north I was idle. Bull caribou, cow caribou, Because I could secure none of them I was idle. 414 Canadian Arctic Expedition, 1913-18 ‘ Verse 2. pt. 1. Eastward I was idle, On my journey east I was idle. Verse 2. pt. 2. Edible things, bearded seals, Because I could secure none of them I was idle. Verse 3. pt. 1. Eastward I was idle. On my journey back inland I was idle. Verse 3. pt. 2. Black musk-oxen, brown bears, Because I could secure none of them'I was idle. No. 7. Recorp IV. C. 79 A Prince Albert sound Dance Song (pisik), sung by Kédneysq, a Pucvteq girl Song 1. Verse 1. pt. 1. ye yer ye yt yar ccumauyayiek nunayyuaymun ima-a iwcumauyayiuck Refrain. a yar ye yar yar yar yar yar Connective. yai yay Verse 1. pt. 2. ayoticayyutt ndyyuliyyut capkoai ccumayaluycts icumauyayiuk (Refrain and Connective) Verse 2. pt. 1. yai ye yar ye ya tcumauyayivtk at tcikayyuaymun 1 ya ccumauyayivek (Refrain and Connective) Verse 2. pt. 2. anotitcayyutt ndyyuliyyuct capkoat ccumayaluyttt icumauyaytutk (Refrain and Connective) Verse 3. pt. 1. yar ye yat ye ya wcumauyayiuek garyryayyuymult ccumawyayioik (Refrain and Connective) yar yar picryyayyuytu ima gqilauyayyuytu tcumaydluytt. tccumauyayiuek (Refrain and Connective) Song 2, joined to the preceding. to Verse 3. pt. Verse 1. yar ye yat ya gicaylegpaktuya nunamm camaya tubaktagcamnik qicayleqpaktuya Refrain. ye yar yar yar % yet yer yar ye ye yr yar yar yar yar yar yar yar Connective. yar ya Verse 2. dmicuyayyumn imalxyaymata gayaqtagcamnitt teyulaugpck (Refrain and Connective) Verse 3. aynagdtiydtt geyneqtayli ya qayagtagcamantk teyulaugptk (Refrain and Connective) Verse 4. gayaqtay:ma tma koiya! — qulaytynayivaya nunamnunls ima niptaryaiyunmanlu Insert. ye yt yar ya ye yr ya ga ye yt yar yar ye yt ya ga (Refrain and Connective) 1 Apparently a mistake on the part of the singer. Verse 5. Verse 6. Song 1. Verse 1. pt. 1. Verse 1. pt. Verse 2. pt. 1. Verse 2. pt. 2. Verse 3. pt. 1. Verse 3. pt. 2. Song 2. Verse 1. Verse 2. Verse 3. Verse 4. Verse 5. Verse 6. iw) Songs of the Copper Eskimos 415 ye yr yar ya qicayleqpaktuya tcikumin camaya tubaktagcamnk qicayleqpaktuya (Refrain and Connective) uyryun-uaya geynegtalemna tubaktageamnk teryulaugptk (Refrain and Connective) Translation My thoughts went constantly, To the great land my. thoughts went constantly. The game, bull caribou those, Thinking of them I thought constantly. My thoughts went constantly, To the big ice my thoughts went constantly. The game, bull caribou those, Thinking of them my thoughts went constantly. My thoughts went constantly, To the dance-house my thoughts went constantly. The dance-songs and the drum, Thinking of them my thoughts went constantly. I was beginning to waste away exceedingly from hunger. From the land, from down there, something to serve as a new sealing weapon [I obtained]. I was beginning to waste away exceedingly from hunger. Very many [caribou] when they were in the water, Material for a new kayak I obtained. My marriage partner! Qernegtag. Material for a new kayak I obtained. The new kayak I have never put a cover on it, To my country since it did not make its appearance.’ I was beginning to waste away exceedingly from hunger. From the ice, from down here, something to serve as a new sealing weapon [I obtained]. I was beginning to waste away exceedingly from hunger. My little nephew Qernegtag he. Something to serve as a new sealing weapon I obtained. No. 8. Recorp IV. C. 61 An old Dance Song (pisik), sung by P:y-uag, a Dolphin and Union strait man Verse 1. pt. 1. Refrain. Connective. yar yat yat yat (2?) ndlunaxyayivan nunayyum ima ayoteyyul-u ya Yt yar yar yar ya a yar yt yar yar ya ya yt yar yar yar ya ga ya Yt yar yar yar ye yar yar 14.e. the man with whom I exchange wives. 2 The frame of the kayak was not transported back to the maker's home in Prince Albert sound and in consequence was never covered with sealskins, The song was apparently composed by a man who had journeyed south to the mainland for wood. 416 Verse 1. Verse 2. Verse 2. Verse 3. Verse 3. Verse 4. Verse 4. Verse 1. Verse 1. Verse 2. Verse 2. Verse 3. Verse 3. Verse 4. Prelude Verse 1. Refrain. pt. pt. pt. pt. pt. pt. pt. pt. pt. pt. pt. pt. pt. pt. pt. Canadian Arctic Expedition, 1913-18 2. komayyuyaluka qileqtileyyuct umiymayayluin ndélunaxyayivan (Refrain and Connective) 1. yar ye yar ya ndlunaxyayivan tcikayyum wna ayoteyyul-u (Refrain and Connective) 2. tupryyal't ema ndlumit-aine ayluayyuaynun nélunaxyayivan (Refrain and Connective, adding he he he he at the end of the first line) 1. yar ye yar ya ndlunaxyayivan at — art ya piciayyult galyimi uv-ant (Refrain and Connective) 2. gatyimt unima ndlunit-aini pleayyuin ima tainiqcat-u ndlunixyayivan (Refrain and Connective) 1. yar yr yar ya cdtgeyatayiva aytuyamnin tma .cdtgeyatayiva (Refrain and Connective) Di yar ya eqdlutuni cit — Translation 1. He does not know at all how to get them, Of the land the game. 2. Animals with warble-flies [caribou], animals with antlers, Musk-oxen he does not know at all how to get them. 1. He does not know at all how to get them, Of the ice the game. 2. The sealers they are not ignorant how to get them. To the big seal-holes he does not know at all [how to reach]. 1. He does not know them at all, The dance-songs in the dance-house here. 2. In the dance-house they are not ignorant of them. The songs and the words for them he does not know at all. al It [the fish] passed right by it [the hook]; From the fishing-hole it passed right by it. No. 9. Recorps IV. C. 968 anp IV. C. 97 Dance Song (pisik), sung by Kunana, a Kiluccktok man a ya hai ya 1. at yar yt ya civuydnalukpa ua at yer yar yar yt ya tuctyutdxyaymiywyo imnaima cyitum ima gitautaluk at yar ya har yar yar ya he yar yi ya ga ye yt ya qa Verse 1. Verse 2. Verse 2. Verse 3. Verse 3. Verse 4. Verse 1. Verse 1. Verse 2. Verse 2. Verse 3. pt. 1. 1i.e. for a snow-hut. 88540—27 pt. pt. pt. pt. pt. pt. pt. pt. pt. pt. Songs of the Copper Eskimos 417 qanoglt waya aulaniagpiryai yi ya at ya ga'aa piluayniyliuna unaima kuldy (nagpaktumcek) at ya yt yaa ciwuydnalukpa uv-a ar ye yar yar yt yat tuctyutidayaymiyuyo imnaima gtyalogan ima kdtut-aylu (Refrain) ganoglit woaya aulamagpixyat yt ya ai ya ha ga ilatuli tma-a unaima gaivyunacuyneya atyuleymiyapku gai yer yar yar yi ya tynegernayiwuya uvanilu ndtceymi uvant (Refrain) ganoqli uvaya aulaniagpixyat yi ya ai ya ha qa ai yar yt ya civuydnalukpa uva ar yer yar yar yt ya tuciyutdxyaymiywyo tmnaima tamaycuin tma wiutaylu (Refrain) ganoqli uvaya aulaniagpiayai yi ya ai ya ha qa ilatulti una unaima qaivyunacuyneya aiyuleymiyapku at ye yar yar yr ya tynegemayivuya uvanilu tupiymi uv'ant (Refrain) ganoqlt uvaya aulaniagpixyai yi ya ai ya qa {e e e e'] Translation It terrifies me here On hearing the loud sound, that one, Of Singittog’s drum. How I am I going to move about [in dancing]? A greater space than this one it being hard to find? It terrifies me here On hearing the loud sound, that one. Qingalogana and Katuttag. How I am I to move about? Just think. That thing, My lower circle of snow-blocks! I hardly know how to build it. I continue nevertheless without stopping. Here, too, on the floor here. How I am I to move about? It terrifies me here On hearing the loud sound, that one. Tamarsuin and Iviutag. 418 Verse 3. pt. 2. Verse 4. pt. 1. Canadian Arctic Expedition, 1 918-18 How I am I to move about? Just think. That one, that one, My lower circle of snow-blocks I hardly know how to build it. I continue nevertheless without stopping. Here, too, in the tent here. How I am I to move about? No. 10. Recorp IV. C. 27 Dance Song (pisik), sung by Unet-ag, an Akuliakdtak girl Verse 1. pt. 1. Refrain I. Verse 1. pt. 2. Refrain IT. Verse 2. pt. 1. Verse 2. pt. 2. Verse 1. pt. 1. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. ye yayt ye ya utgtynagcetynaymiuya teckumil-i utqeynageeynaymiuya ye ye ye yer yer yer ye gat ya ar ya 2 yet yet yet ye ya yt ya a gar ya t ya you ugeutyiti. uyuvaliayagtunina yat ayicagpaktuya 7 yet yet yet yer yer yer yer yer yer yet ye aie hea qai ya gat ya ya 1 yet ye ye yayt ye ulgeynagerynaymiuya nunamils utqeynagerynaymiuya ar ya (Refrain I) t yer ye nayyulyd i pitualixyagtuni e yar ya ayicagpaktuya (Refrain IT) Translation I intend to return again also, From the ice I intend to return again also. Blubbery animals [seals] when they came a little towards me at their holes I quickly secured one. I intend to return again also, From the land I intend to return again also. Antlered animals [caribou] when they began to walk away I quickly secured one. No. 11. Rercorp IV. C. 100 Dance Song (pisik), sung by Ndtcrn, a Bathurst inlet youth Verse 1. Refrain. Connective. Verse 2. uyinagpat yat yar yai neqituyog ganiganit:og una cuminagpauna ai yar yet ya t yar ya gamganicin'aynamnt utgoyyuayivaya tcikoyyuk kinuynamnun cuminagpat at yat yar (Refrain and Connective). Verse 3. Verse 4. ore 5. Verse 6. Verse 1. Refrain. Verse 2. Verse 3. Verse 4. Verse 5. Verse 6. Songs of the Copper Eskimos muynuls iwatyait-uagtetunt neqituyrqg ganiganit-oq una (Refrain and Connective) cummagpat yar ye yar ya koiyayutt cdtqungatyuttog unat (Refrain and Connective) neyyunmut? uteyoryd-uagiit-unt kovyayuti cdétqungatyutt-og wnat (Refrain and Connective) muynutt ivatyait-uagitunt ymin iyi unai wytaiyayminiyt a koiyayut: cdtqungqaiyuttsq una (Refrain) (Spoken: nuyut-oq) Translation ? ? What is he doing, he. ? it carried me back, The ice, to a place far behind me. To people, while they kept stealing [his property] There is plenty of meat [?] What is he doing? Koiyaruk had no knife, he. To game, while it actually returned towards him, Koiyaruk had no knife, he. To people while they kept stealing [his property] He himself, he, at his going to visit them [?] Koiyaruk had no knife, he. (Spoken: It is finished.) No. 12. Recorp IV. C. 46) An Old Dance Song (pisik), sung by Utogeq, a Coppermine river woman Verse 1. pt. 1. Refrain. Connective. Verse 1. pt. 2. Refrain II. Connective. Verse 1. pt. 3. Refrain ITI. Verse 2. pt. 1. 88540—274 dtayuna gai cucuinagpa qa pigoyualeqt ndtcixyagtoyo imna qat diayuna gat ya gai ye ya t ya gat ye yai ya gat € ydi ya a ga gat yat ya a ga qm ya qat ya imakaleqit atyayyuavuko tuyuqtayamnuka augtuytogpa gat dtayuna gat ya gat ye yat ya gat ye yar ya ai ya cucuiculaymiyama tymiqtagern'agq-uya dtayuna gat at ye yat ya ga gat dtayuna qat ya qat ye yar ya qai ye yar ya € yat ya a qa qai he dlayuna gat cucuinagpa ga aymayiayyuk ga eqdlukxyagtoyo tmna (Refrain I and Connective) 419 420 Verse 2. pt. 2. Verse 2. pt. 3. Verse 1. pt. 1. Verse 1. pt. 2. Verse 1. pt. 3. Verse 2. pt. 1. Verse 2. pt. 2. Verse 2. pt. 3. Canadian Arctec Expedition, 1918-18 wmakaliagiag atyayyuavuko tialayamnuko neqtqtut-oqpa qat (Refrain II and Connective) cucuicutaymiyama tymigqtagemn-aquya Translation Lo, he, what does he not do? Pigoyuag catches many seals. Indeed our hands, When we two ate liver, it covered them with blood. Because I never could catch any [seals] I went away at last alone. Lo, he Lo, he, what does he not do? Angmagiaryuk catches many fish. Indeed out two hands, When we split fish for drying, it provided plenty of food [?] Because I never could catch any [fish] I went away at last alone. No. 18. Recorp IV. C. 91 Old Dance Song (pisik), sung by Ndneyoag, a Coppermine river man Verse 1. pt. 1. Refrain I. Connective 1. Verse 1. pt. 2. Refrain IT. Connective 2. Verse 1. pt. 3. Refrain III. Connective 3. Verse 2. pt. 1. Verse 2. pt. 2. Verse 2. pt. 3. Verse 3. pt. 1. kia kia una pen-eylukuat-t gatyoyayyuk ilicagpiyo ai yar yar yar yar yayt ya gar yar ye ye at gat ya qa t ya gat ya qtyalogat-uga g¢yagcanuviu pin-eylukuatt tlicagpiyo at yar yar yar yai yayt ya gat yat ye a ya pimeylukcarytiunt ilicayminavaya kipottkca una ai ya yai yaoi yat ya ai yat yar yar yar yayi ya ai yai ye ye ait ya gar ya hat ya [kia] cumunkia uv-a picuk-dluagpek tunumun camuya garyiinaqcuynaya (Refrain I and Connective 1) ilun-uayali gagcalina uckin-acuynayo minyoqcaytnagptk (Refrain II and Connective 2) kaiyutayyuati nanyoteyyuayina cwwyayenageuyo (Refrain III and Connective 3) cumunkia wa picuk-aluagpek kivenmun camuya qaylinagcuynaya (Refrain I and Connective 1) Verse 3. Verse 3. Verse 4. Verse 4. Verse 4. Verse 1. Verse 1 Verse 1. Verse 2. Verse 2. Verse 2. Verse 3. Verse 3. Verse 3. Verse 4. Verse 4. Verse 4. pt. pt. . pt. pt. pt. pt. pt. pt. pt. pt. pt. pt. pt. ae ae Songs of the Copper Eskimos 421 aynayituats tékin-agcuynarytt kivanmun camuya minyogcaymagptk (Refrain IT and Connective 2) cwutuyuyuat? taineylyuayina cwwyaymnageuyo (Refrain III and Connective 3) cumunkia uv'a picuk-dluagpctk kivenmun camuya gqoytinagcuynaya (Refrain I and Connective 1) tcayuit-ult teken-aqgcuynag kivanmun camuya minyoqgcaytnagptk (Refrain II and Connective 2) niyatceyragcarya navyticeyiagcaya civwyayinagcuyo (Refrain ITI) Translation Whose, whose this his mistake? The song I am learning it. Qingalogana’s and: Qingaqsanuk’s Their mistake I am learning it. Even this mistake I am trying to learn it too, the word he substituted, that one. Whither, pray, here am I to walk however? To the north down hither I not seeming to draw near. My dear little relative Qagsalina, Not having reached him I have become weary. Katyutaryuag his heavy crushing,’ he being a savage man. Whither, pray, here am I to walk however? Eastward down hither I not seeming to draw near. Beautiful women, I not seeming to reach them, Eastward down hither I have become weary. Sivutuyuyuag his big words, he being a savage man. Whither, pray, here am I to walk however? Eastward down hither I not seeming to draw near. Isaruittog I not seeming to reach? Eastward down hither I have become weary. I am likely to make him angry, I am likely to make him break something, he being a savage man. No. 14. Recorp IV. C. 9538 Dance Song (pisik), incomplete, sung by Ulogcaq, a Kiluctktok man Verse 1. pt. 1. Refrain I. Connective. 1 Kaiyutaryua 2 The word in t th yai yai yar ya tcumavak-dluagpik kivanmutt camuya tcumavak:dluaqptk yat ya yt yat yar ya har yar ya yai ya yt yar yar yar yt ya i ya ha ai ya ya hat ya threw his wife down’and stamped onjher. e text. would mean ‘‘he not seeming to reach,” but it seems probable that the first person ending has been dropped on account of the music. 422 Verse 1. pt. 2. Refrain II Verse 1. pt.-3. Refrain III. Connective. Verse 2. pt. 1. Verse 2. Verse 2. Verse 3. Verse 3. Verse 3. Verse 4. Verse 1. Verse 1. Verse 1. Verse 2. Verse 2. Verse 2. pt. 2. pt. 3. pt. 1. pt. 2. pt. 1. pt. 2. pt. 3. pt. 1. pt. 2. pt. 3. Canadian Arctic Expedition, 1913-18 takonacutuaynay'a kivatin mn-uant takonacutuaynay'a kivatymnun cdéviantk yat ya yt yar yar ya gar yar yar hat takoyunaitpak:ama imdluayin-aquya kivenmutt can‘ama yat ya yt yar ya yar yar yr yar ya yat ya yt yar ya yar ya yr yar ya yat ya yt yat yar ya har yar ya har yai ya yt yar yat hi at yr ya hi ya ai ya ha 2 ya hat ya yat ya yt yai ya tcumavak:-dluagpek kilumutt camuya tcumavak dluagpetk (Refrain I and Connective) ya hai ya takonacutuaynay'a kiluccktok umtymani takonacutuaynaya kiluccktok kénuyantytu (Refrain IT). takoyunaitpak'ama imdluayin-aquya kilumutt can-ama (Refrain III and Connective) t yat ya yt yar ya tcumavak-dluagptk uwanmult camuya tcumavak:dluagptk (Refrain I and Connective) takonacutuaynaya uwatinyum qeyuant takonacutuaynaya uwatinyum kiliyvaneytu (Refrain IT) takoyunaitpak:-ama imdluayin'aquya uwanmutt can'ama (Refrain III and Connective) ya ya yr yar ya tcumavak dluagptk tunumutt camuya tcumavak-dluagptk (Refrain I) Translation Although I was earnestly expecting [them], -Eastward, down thither, although I was earnestly expect- ing [them], They were not actually visible to me, the farthest east, its inhabitants; They were not actually visible to me, the far eastern people, their knives. Though I could not see them 1 was filled with thoughts of them, to the east when I turned. Although I was earnestly expecting [them], Southward, down thither, although I was earnestly ex- -pecting [them], They were not actually visible to me, Kilusiktok its. musk-oxen; e They were not actually visible to me, its copper too. Though I could not see them I was filled with thoughts of them, southward when I turned. Verse 3. pt. 1. ‘ Verse 3. pt. 2. se 3. pt. 3. Verse 4. pt. 1. [Verse 4. pt. 2.? .., Verse 4. pt. 3. Songs of the Copper Eskimos 423 Although I was earnestly expecting [them], Westward, down thither, although I was earnestly ex- pecting [them], They were not actually visible to me, the western people their wood; They were not actually visible to me, the western people their mammoths'. Although I could not see them I was filled with thoughts of them, westward when I turned. Although I was earnestly expecting [them], Northward, down thither, although I was earnestly ex- pecting [them], They were not actually visible to me, the northern people their polar bears; They were not actually visible to me, the northern people their seals. Although I could not see them I was filled with thoughts of them, northward when I turned.] No. 15. Recorp IV. C. 733 Dance Song (pisik), composed by the singer’s father. Sung by Keyultk, a Prelude. Connective. Verse 1. Verse 2. Verse 3. Verse 4. Verse 5. (a prelude or interlude). Verse 6. Verse 7. Dolphin and Union strait’s man kanat ya kanai ye ye yaya kanai ya kanai ye ye e ya kanayai ya e yaya kanaiya atyuleqpaymiyiyaya komayua aiyulegpaymiyiya kanayat ya (Connective) ptekemni nalayniyayayaya komayua aiyuywaymiyiya kanayai ya (Connective) kanatya aiyuywaymiyiyaya qaiyuat in atyuyivaymiyiya kanayai ya (Connective) cin-ekpaymi gadvekniyayayaya komayua aiyuleqpaymiyiya kanayat ya [hu hu hu hu hu hu] (Connective) kanaiya kanaiye ye yaya -kanaiya kanatye ye ye kanayat ye (Connective) kanaiya aiyuleqgpaymiyiyaya miyneyia atyulegpaymiytya kanayat ya (Connective) gayyugeamntk gadvekniyayayaya miyneyia aiyulegpaymiyiya kanayat ya (Connective) 1 Mammoth ivory is found in the Mackenzie delta and westward. The natives ascribe it to a somewhat fabulous mon- ster which they call kiligvak. 2 The remainder of the song, as obtained from another native. 424 Canadian Arctic Expedition, 1913-18 Verse 8. kanaiya kanai ye ye yaya kanaiya kanaiye ye ye kanayat ya (Connective) Verse 9. kanaiya atyuleqpaymiyiyaya qeymiyaluk qaqoqtuayyumuka kanayai ya (Connective) Verse 10. kanaiya aiyuyivaymiyiyaya inuyaliy aiyuyivaymiyiya kanayat ya (Connective) Verse 11. muynuti aulahazyayiman Translation Verse 1. I did not know how to secure it; The caribou I did not know how to secure it. Verse 2. With my bow I tried to kill it. The caribou IJ did not know how to secure it. Verse 3. I did not know how to secure it; The seal I did not know how to secure it. Verse 4. With my big weapon [harpoon] I tried to pull it up. The caribou I did not know how to secure it. Verse 5. bis AGS, TG GSE die ond Verse 6. I did not know how to secure it; The fish I did not know how to secure it. Verse 7. With a fish-hook I tried to pull it up. The fish I did not know how to secure it. Verse 8. de see. they dat eSbi Verse 9. I did not know how to secure it; The dog, a white bear it chased. Verse 10. I did not know anything of him; The man I did not know anything of him. Verse 11. Towards the people when he departed altogether. No. 16. Recorp IV. C. 25p Dance Song (pisik), composed by the singer’s father [unfinished]. Sung by Cenciag, a Pucvteg man Prelude. ar ya avat yar yat ya avai ye avai yai yai ya ya Refrain I. avai ye yat yat yai ye Connective. Zt yai ya Verse 1. avatya aciytynilaya atemnila nevtilixyamrymanlu (Refrain I and Connective) Verse 2. qaiyuyavl upaiyaymenmayale atimnilt. aciytynilayale (Refrain I and Connective) Verse 3. Refrain IT, Verse 4. Verse 5. Verse 6. Verse 7. Verse 1. Verse 2. Verse 3. Verse 4. Verse 5. Verse 6. Verse 7. Songs of the Copper Eskimos ; 425 cainektaya nikaytnagt:t-uyo quliimutt ayicixyamtymaya avat ye ya he he (Connective) avaiya aciytyilaya komayua aciryyilayalu (Refrain I and Connective) taugdtin nayliyaymeymaiyunlu komayua aciytyilayalu (Refrain I and Connective) avatya aciyiyilayar ya naéyyultyli qatlizyameymalu (Refrain I and Connective) yar ya tdlumnitma nahoynicyaqtit-uya nayyuliyla qatlixyamiymalu (Refrain I) Translation Over there I could think of nothing else. Beneath me, when it breathed loudly through the water, The broth-provider [seal] when it was going to rush up to me, Beneath me, I could think of nothing else. The thing I made [harpoon] while I had to devote all my attention to it, Upwards and downwards when it pulled me strongly. Over there I could think of nothing else. The grub animal [caribou], I could think of nothing else. [My] fellow-countrymen they went to lay low the caribou. The caribou, I could think of nothing else. Over there I could think of nothing else. The antlered [caribou] when it began to come to me, In my pit thus while I lay listening intently; The antlered [caribou] when it began to come to me. No. 17. Recorp IV. C. 87 Dance Song (pisik), sung by Keyut-¢k, an Akuliakdtak man Prelude. Refrain. ‘Monnective. Verse 1. pt. 1. ye yer ya t yar yar yo ye yer ya 1 yar yar ya ye yer ye yar yar ya yar yat yar 4 yar yar yar yat yat yat ya yat yai yé a yar ya yar yar ya-a t yar yar ya tyluayyuptiyni qocunivaktuya (Refrain and Connective) 426 Verse 1. pt. 2. Verse 2. pt. 1. (incorrect) Verse 2. pt. 1. (correct) Verse 2. pt. 2. Verse 1. pt. 1. Verse 1. pt. 2. Verse 2. pt. 1. (incorrect) Verse 2. pt. 1. (correct) Verse 2. pt. 2. Canadian Arctic Expedition, 1913-18 cilalivut qayma qocuyinit-unt tyluayyuptryni gocun-ivaktuya (Refrain and Connective) cilalivut ma — magtgpalivuya gay — naulaymik ugeultck — «mana yat yat ya-at ya yar ya tupayyuptiyni gocun'ivaktuya (Refrain and Connective) avativut qayma qocuyinit-unt tupayyuptiynt gocunivaktuya (Refrain and Connective) Translation In our house I sit constantly crouched up [from cold]. The people outside of [beyond] us now, “hey do not sit crouched up; In our house I sit constantly crouched ne The people outside of us—let me stand up again— With a harpoon—a seal—no In our house I sit constantly crouched up. The people west of us now, they do not sit crouched up; tn our tent I sit constantly crouched up. No. 18. Recorp IV. C. 56 Dance Song (pisik), composed by Ikpakhuag, sung by Avyana, a Puwtkg man. Cf. No. 40 (IV. C. 26) and No. 22. (IV. C. 76), where other renderings of the same song are given. Prelude. Refrain. Connective. Verse 1. pt. 1. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. ye he ye ye yt yay e ya qaya ai ye yt yat yaya € yayl yayar yayt 44 ya gat yaya a ye yayat yayar yet yar ya e yaya nakinmiyuna qaileyay tmagtuyo at yet yat yaya qilegtiliayyuk tuleyavagtunini (Refrain—2nd line only—and Connective) uvaya (may ryicuagpaktuyuyo a yet yar yaya gayyuayyuaylu tpiyeyayinapkuluyo (Refrain—2nd line only—and Connective) nakinmiyuna gaileyay mnagtuno at yet yat yaya kdtainaluk tuleyavaqtuneyi (Refrain—2nd line only—and Connective) waya imay piyumatgagtuncyt au yet yar yaya punyuayyuaylu ipryeyayinapkuluyo (Refrain—2nd line only—and Connective) Verse 3. pt. 1. Verse 3. pt. 2. Verse 1. pt. 1. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. Verse 3. pt. 1. Verse 3. pt. 2. Songs of the Copper Eskimos 427 cummmiyuna qatileyay tnagtuno at ye yt yar yaya cuntyluyayyuk paliyyuatgagtuneyt (Refrain—2nd line only—and Connective) uwvaya may aunydtgagtumniyt ar yet yar yaya auyaylu camna ipiyeyayinayuluyo (Refrain—2nd line only) Translation Whence pray have they always come, The bull caribou stamping hard on the ground [7]. I then watching eagerly for it, : The arrow too because I did not want to let it fly. Whence pray have they always come, Katainaluk stamping hard on the ground? I then after having a desire to do it [to gol, The big dog too I did not want to let it loose. Whence pray have they always come? The sickness after withering me up, I then in my weakened condition, My blood too down here it [sickness] not wishing to leave it. No. 19. Recorp IV. C. 92a Dance Song (pisik), sung by Avakan:a, a Dolphin and Union strait boy about 12 years of age. Song composed by his mother, Apat:og Prelude. Refrain. Connective. Verse 1. pt. 1. Verse 1. pt. 2 (or Verse 2). Verse 2. pt. 1 (or Verse 3). Verse 2. pt. 2. (or Verse 4) ‘'- Verse 3. pt. 1 (or Verse 5). at ye ye ya ye ye ye ya at ye ye ye ya ye ye ya ga ai ye ye ye ye ya at yai ye ye ya a yet ye ai.ye ye ye kdcayatagpek napagtog una kdcayatagptk (Refrain and Connective) caviyotiya tiyulayapku puyutakcayyuk unilayami qovianayivog (Refrain and Connective) at ye ye ye tucanegcagpaktun wativulima tucanegcagpaktun (Refrain and Connective) gaqogtul:ymitt nunagagpak- amck uvativuluma tucaneqcagpaktun (Refrain and Connective) at ye ye ye tuc:anegcagpaktun kivativulema tuc-aneqcagpaktun oqayyuamitkut (Refrain and Connective) 428 Verse 3. pt. 2 (or Verse 6). Verse 4. pt. 1 (or Verse 7). Verse 4. pt. 2 (or Verse 8). Verse 1. pt. 1. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. Verse 3. pt. 1. Verse 3. pt. 2. Verse 4. pt. 1. Verse 4. pt. 2. Canadian Arctic Expedition, 1913-18 auyaliymitt nunaqagpak:-amik kivativulima tucaneqcagpaktun (Refrain and Connective) aneynelima aneynegruninaqilagtunt neqgigzagpak-avin tuc:anegcagpaktun (Refrain and Connective) at ye ye ye govianayivog (Spoken: nuyurn-agq'ag ila’) Translation I kept felling The tree, that one, I kept felling. My whittling knife when I took hold of it, A thing to serve as a platter, when it was finished,’it was a joyful sight. They think they hear, The people west of us they think they hear White [bears] that they are numerous in the land; The people west of us they think they hear. They think they hear, The people east of us they think they hear, the people who are great talkers, Warm-blooded animals [musk-oxen ?] that they are num- erous in the land; The people east of us they think they hear. Breathing, being something like breathing [?] That you possess plenty of food they think they hear. It is a source of pleasure (Spoken: It is in a state of completion, yes indeed) No. 20. Rescorp IV. C. 60 Dance Song (pisik), sung by Tdptuna, a Coppermine river man Prelude. Refrain. Connective. Verse 1. pt. 1. Verse 1. pt. 2. Verse 2. pt. 1. yar ye yt ya ar yar yar ya yet ye yr yaye yer yer ya yer ye yt yayat yar ye yt ya yt ya a yar yar 2 ya yer ye yt ya atyumivaktuyai ya ndtceqceuktunul't aityumivaktuya ai yat (Refrain and Connective) t ya ugeuleyyutts atyulegpak apkin ndtceqcuktunult aiyumivaktuya (Refrain and Connective) 1 yat yar ya yt yat aiyumivektuya ptetkecktunult aiyumivaktuya (Refrain and Connective) Verse 2. pt. 2. omitted ? Verse 3. pt. 1. 1 yar yar ya yi yat aiyumivaktuya gaydtqeqtunul:t atyumivaktuya (Refrain and Connective) Verse 3. pt. 2. Verse 4. pt. 1. ‘e 4. pt. 1 ‘Xrepeated). Verse 4. pt. 2. Verse 5. pt. 1. Verse 5. pt. 2. Verse 6. pt. 1. Verse 6. pt. 2. Verse 1. pt. 1. Verse 1. pt. 2. Verse 2. pt. 1. Verse 3. pt. 1. Verse 3. pt. 2. Verse 4. pt. 1. Verse 4. pt. 2. Verse 5. pt. 1. Verse 5. pt. 2. ‘Gise 6. pt. 1. Verse 6. pt. 2. Songs of the Copper Eskimos 429 4 yat noyaleyyudlt aiyulegpak apkin gaydtgeqtunul-t aiyumivaktuya (Refrain and Connective) a yat ye yi yar aiyumivaktuya eqdlukcuktunun aiyumivaktuya (Refrain and Connective) @ yar ye yr yar aryumivaktuya eqdlukcuktunun aiyumivaktuya t yar yar yar — meyneyiyanima aiyuleqpak: apkin eqdlukcuktunun aiyumivaktuya (Refrain and Connective) t yat yar ye yt yar aiyumivaktuya numiyuktunuli aiyumivaktuya (Refrain and Connective) ya ya peciayyuts ndluleqgpak- apkin numiyuktunul't aiyumivaktuya (Refrain and Connective) & yat yat ya yi yar aiyumivaktuya ugilaiyunul’t aiyumivaktuya (Refrain and Connective) 4 ya niuyuak-ali aqtulegpak-apkin ugilaiyunult aiyumivaktuya (Refrain) Translation IT am quite unable To capture seals as they do, I am quite unable. Animals with blubber [seals] since I do not know how to capture,. To capture seals as they do I am quite unable. I am quite unable To shoot as they do, I am quite unable. I am quite unable, A fine kayak such as they have I am quite unable to obtain. Animals that have fawns since I cannot obtain them, A fine kayak such as they have I am quite unable to obtain. I am quite unable To capture fish as they do, I am quite unable. Small fish since I cannot capture them, To capture fish as they do I am quite unable. I am quite unable To dance as they do, I am quite unable. Dance songs since I do not know them at all, To dance as they do I am quite unable. I am quite unable To be swift-footed as they are, I am quite unable. My big knees since they are heavy on me, To be swift-footed as they are, I am quite unable. 430 Canadian Arctic Expedition, 1913-18 No. 21. Recorp IV. C. 57 Dance Song (pisik), sung by Aytvyana, a Coppermine river man Prelude. at yat ya at ya ga-ar yer ya at ya qa hai ya Refrain I. hai yar yar ya gar ya at yar ya hat yar ya qe ya a ga gai ya ga Connective 1. t ya qa ya Connective 2. ai yet ya Verse ‘1. pt. 1. ndlunaylukpa-a ptcicayyuk nélunaylukpa (Refrain I and Connective 1) Verse 1. pt. 2. citalivutt picvuleymata pteicayyuk ndélunaylukpa Refrain IT. hai yat yai ya gat ya hai yat ya at yer ya gat ya Connective 2 + at yet ya gai ya Interlude. ndluleqpakcuyoni ililicayminava [ht ha hi ha] (Connective 2) Verse 2. pt. 1. ttqagtuaylayo uyyuktayyua dqayacaylayo (Refrain I and Connective 1) Verse 2. pt. 2. tcikumi camani wavakcaya tcikutnaymilu ndlauryayyaya (Refrain II and Connective 2+)’ Verse 3. pt. 1. ? ndluleqpakcuyont unatayiwaya apkutdqaytuaymana i yat ya [ha hi] (Prelude, Refrain I, Connective 1) Verse 3. pt. 2. ? t yat ya «ttqagtuaylayo nadnuktayyua tgayacaylayo (Refrain I and Connective 1) Verse 4. pt. 1.? tcikumi camani picuavak:ama tetkuinaymilu takolyataqtaya (Refrain II and Connective 2) Verse ? eqciyim-agtuyont unatayivaya pietkcaqg'ayttuayman [hi ha ht hi) (Connective 2) Verse ? ai yai ya ttqaqtuaylayo eqdluayyuk tayeomt «ma (Refrain I and Connective 1) Verse ? tdcint camant atyuleqpak-apkid hat ya mayuktayyutu agayacaylayin (Refrain II and Connective 2) Interlude;? aiyulegpakcuyonty (?) gopgagiaya — Translation Verse 1. pt. 1. Does he not know, Something that will serve as a dance-song does he not know? Verse 1. pt. 2. Interlude. Verse 2. pt. 1. Pirse 2. pt. 2. Verse 3. pt. 1? Verse 3. pt. 2? Verse 4. pt. 1? Verse ? Verse ? Verse ? Interlude ? Songs of the Copper Eskimos 431 The people beyond us since they are going to compose dance-songs, Something that will serve as a dance-song does he not know? Seeing that I do not know it at all I am going to learn it. Let me just recall it, A big bearded seal let me keep thinking of it. On the ice down here I kept searching for it, And on the mere ice I went straight to it. Seeing ee I do not know it [song] at all—I struck it [the sea When erate was really no means of approaching it. Let me just recall it, A big white bear let me keep thinking of it. On the ice down here when I kept walking, Even on mete ice I kept seeing it. Though afraid of it I struck it, Since there was no bow to hand. Let me just recall it, A big fish in the sea. In the lakes down here since I did not know at all how to catch them, The ne that were migrating up-stream too let me recall them. Not aoe at all how to capture them I tried to spear them. No. 22. Recorp IV. C. 76 Dance Song (pisik), composed and sung by Ikpakhuag, a Pucwttqg man. Other versions, by other singers, are given in Nos. 40 and 18. Prelude. Refrain. Connective. Verse 1. pt. 1. Verse 1. pt. 2. Interlude. € arse 2. pt. 1. yee ye ye yay e ya gaya ai ye yar yaya € yayi yayar yayi yat ya gat yaya 4 ye yay at yay at ye yi (yai ya) (Spoken: kdldtunuyama ila miketyman) e yaya cuminmiyuna gaileyay magtuyo at ye yi yat yaya qileqtikayyuk tuleyavagiuneyt (Refrain and Connective) waya tmay iyicuagpaktuyuyo at ye yt yar yaya gayyuayyuaylu ipiyeyayinapkuluyo (Refrain) € yayt yaya yayt yat ya gai yaya ' (Connective) nakinmiyuna gaileyay:magtuyo ai ye yi yat yaya kdtainaluk tuleyavagtuncyt (Refrain and Connective) 432 Verse 2. pt. 2. Verse 3. pt. 1. Verse 3. pt. 2. Canadian Arctic Expedition, 1913-18 e*yaya uvaya (may piyumdtqaqtuyuyo ai ye yt yai yaya punyuayyuaylu tpiyeyayinapkuluyo (Refrain and Connective) nakinmiyuna qaileyay' magqtuyo ar ye yar yaya cuntytuyayyuk paliyyuatgagtuntyt (Refrain and Connective) waya*tmay auntydtgaqtumniyt at ye yt yai yaya auyaylu camna ipiyeyayinayuluyo (Refrain—hi, hi hv) Translation (Spoken: Because I have a bad cough indeed it [my voice] is low.) Verse 1. pt. 1. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. Verse 3. pt. 1. Verse 3. pt. 2. Whence pray have they always come? The bull caribou stamping hard on the ground. I then watching eagerly for it, The arrow too because I did not want to let it fly. Whence pray have they always come? Katainaluk stamping hard on the ground. I then having a desire to do it [to go], The big dog too I did not want to let it loose. Whence pray have they always come? The sickness, after withering me up, I then in my weakened condition, ‘ My blood too down here it [sickness] not wishing to leave it. No. 28. Rercorp IV. C. 42 Dance Song (pisik), sung by Ayewyana, a Putvt:q Eskimo man Prelude. Refrain. Connective. Verse 1. Verse 2. Verse 3. ye yeyt at ye ke ya ga ye ye ki at ye ya gayi € yar ya gat yat yat ya yt yar ai ya ya yet yaqat ya ye ye ki har yar yat ye yar ye yar yar ya gat yar yat 1 ya gai ya yat ya aqa ye yar ye ga gat t ya gar ya ganoqg capkwa pryacuayacukptki a ki ya ga qai ya mitqultylt peyacuayacukpiki camantyt nunamt camani ki (Refrain and Connective) ulauyag gayyucyitan ck ye yeyi yai ye ya gaya i ya ga [nay-] mitquleyn peyacuayacukpcki camancyi nunami camant ke (Refrain, 1st line only) gayyuryitan:tk nautyutyd-uagpaya nayyuleyyuati camna yat yeyiyt yat ye yaya Verse 1. Verse 2. ¥ erse 3. Songs of the Copper Eskimos 433 Translation How these am I going to obtain instead, A pair of caribou-fur stockings am I going to obtain in- stead, down here, on the land down here. Ulauyagq, with arrows not his [?] A pair of stockings am I going to obtain instead, down here, on the land down here. With arrows not his [?] I simply transfixed it, the one with large antlers. Down here No. 24. Recorp IV. C. 508 Dance Song (pisik), sung by Katyayyuk, a Coppermine river man Verse 1. pt. 1. Refrain. Connective. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. Verse 1. pt. 1. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. 88540—28 Glinagpain ai yat yi ya at ya apgaliyayyuk numilixyayami takoyaneyloq:a Glinagpain ai yat ya qat 4 yat yar yar yar yi ya ga % Yat yar yar yar yt yar yar yar ya a qat i ya t yar ya gatyimi capkwa hatyuyaxuytt ai numilizyayami takoyaneyloq:a (Refrain and Connective) dlinagpain 7%-yai yi ya qat aviayayyun numilizyayami at ya (Refrain and Connective) tucayidn capkwa hatyuyaruytt at numlizyayami takoyaneyloqa (Refrain—beginning only) Translation ; mace Apgqaligaryuk, when he began to dance vigorously, he looked splendid. In the dance-house these people, as he danced around them When he began to dance vigorously he looked splendid. 2? Aviarag, when he began to dance vigorously, The listeners, these people, as he danced around them, When he began to dance vigorously he looked splendid. 434 Canadian Arctic Expedition, 1918-18 No. 25. Recorp IV. C. 90a Dance Song (pisik), sung by N¢ptandtciag, a Coppermine river woman Verse 1. pt. 1. Refrain. Connective. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. Verse 3. pt. 1. Verse 3. pt. 1 (repeated with a modification). Verse 3. pt. 2. Verse 1. pt. 1. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. Verse 3. pt. 1. Verse 3. pt. 1 (repeated). Verse 3. pt. 2. at yay at yl ya govianayivog miyneyiageiun aulaxyayaneyt ya ar ye yar ya t yay ai ye yayt ya at ye yay yay i yat ya aya ya nt (Spoken: ulamninuktayapku) miyneyiagciun ciaqluxyayami miyneyiyameylu quivekcizyayivog t ya t yar ye yar ya (Refrain and Connective) 4 yat ar yt ya goanayivog komayoagciun aulaxyayaneyi ya ai ye yai ya (Refrain and Connective) komayoagciun aulaxyayami komayoagqciun nalaqcixyayivog 1 ya é hé (Connective.) Zt ya at yi ya govianayiveg qaiyuageiuls niyiyayaneyt ya ar ye yar ya (Refrain and Connective) 2 yai at yt ya govianayivog qaiyuagciult ciaqtuxyayaneyt ya at ye yar yar ya (Refrain and Connective) qaiyuagceiult cragtu — niyryayami tiptliayyumi quivegcixyayiog 1 ya ai ye yar ya (Refrain) Translation He was in a state of rejoicing, The fishing-line jigging it properly (Spoken: For I have forgotten it) The fishing-line when it sank right down, His line too he pulled it right up. He was in a state of rejoicing, The caribou weapon [arrow] flying straight. The arrow when it flew, The arrow it struck home. He was in a state of rejoicing, The weapon for getting broth [sealing harpoon] being hurled down. He was in a state of rejoicing, The weapon for getting broth being let down. The weapon for getting broth when it was hurled down, His stinking seal he drew right up. Songs of the Copper Eskimos 435 No. 26. Recorp IV. C. 99 Dance Song (pisik), composed and sung by Ildtciag, a Kiluccktok man, Verse 1. yar yat ya agcaqtog'aya dnoyeyum ulikdtamnilu aqcagtoqg aya Refrain. yaoi yat yar ya e yar yar yar yar ya yar yar yar yar e@ yar yar yar ye Connective. t yai ya Verse 2. untt uv'a dnagtsymeyuya dn-oyeyumiytu ultkdtamnilu aqceagtog'aya (Refrain and Connective) Verse 3. tacamnainalt pactnyoynitkiya tcumayiyuya pacinyoymvaya (Refrain and Connective) Verse 4. yar yar ya agcaqtog’aya tyisgtun ima piciayyumiyls agcagtog aya (Refrain and Connective) Verse 5. tacamnainali dnexonttkiya qitautiyaluk kivikteyivaya (Refrain and Connective) Verse 6. yat yat ya agcaqtoq:aya calytts ontpqaqcamnk agcagtog aya (Refrain and Connective) Verse 7. unt? uma onipqayumeyuya calytti ima ontpgagcamntk agcagtog:aya (Refrain and Connective) Verse 8. tacamnainali theycunttkiya hdneyanilu thtycoywaya (Refrain and Connective) Verse 9. yai yai ya agcaqtoq:'aya uyyuytuyyumilu tukaqciyamntk agcagtog aya (Refrain and Connective) Verse 10. , tupiyyatt ima piyumaymiymata tukaqciyayali (dnegcoyivaya) (Refrain and Connective) Verse 11. tupiyyatt ima piyumaymiymata utaqeutivtk aryaleqpakruya (Refrain) Translation Verse 1. It robbed me, the wind Of my covering it robbed me. Verse 2. This [much of it] here I have saved. The wind of my covering it robbed me. 88540—284 436 Canadian Arctic Expedition, 1918-18 Verse 3. Only that one I could not place my hand on it [?] I thought of it but I did not place my hand on it [?] Verse 4. They take from me, the singers, My song they take from me. Verse 5. Only that one [that song] I did not refrain from letting it go. The dena I held it up high. Verse 6. It robbed me, the spirit Of speech it robbed me. Verse 7. This [much of it] I have spoken first. The spirit of speech it robbed me. Verse 8. Only that one I do not want to look at him. Over to one side I turned my eyes. Verse 9. It robbed me, the wicked bearded seal. Of the harpoon line it robbed me. Verse 10. The sealers since they too had been unable to capture anything, My harpoon line I did not let it go. Verse 11. The sealers since they too had been unable to capture anything, I waited, pulling hard on my harpoon line.! No. 27. Recorp IV. C. 38 A Prince Albert sound Dance Song (pisik), sung by Haquyyaq, a Pusottg woman Verse 1. pt. 1. at ya ai ya tyttyociteyiveck ugeultyyuaq una tciku:naymi ma-nilu Refrain. at ye ya e@ ya e ya gai ye ya ya gat yai ye Connective. 2 ya gat ya Verse 1. pt. 2. kdpoeqoqpuya i ya ya gat ya qulvekxyaqtuayapku aqveqtaqteylyuag camna (Refrain and Connective) ‘Verse 2. pt. 1. qai ya at ya inetyocitryivek nayyuleyyuag una nunami hamanilu (Refrain and Connective) “Verse 2. pt. 2. qayyuegoqpuya t ye ya gat ya nilexyagtuayapku tama-ni cailiysg (Refrain and Connective) Verse 3. pt. 1. gar ya at ya inttyociteyivek eqdluneyuk una taciinaymi wv-anilu (Refrain and Connective) Verse 3. pt. 2. ipueg-oqgpuya ai ye ya qai ya qulvekxyaqtuayapku aquveqtagteylyuag camna (Refrain and Connective) 1 This song was composed and sung by the old shaman Ilatsiag (see Vol. XII, Pt. A., The Life of the Copper Eskimos, Pp. 209). Its theme changes with the composer’s thoughts. First he recalls a winter journey when he was riding on his sled, covered with caribou skins; the wind nearly blew them away, and he attributed this to the maleficence of his ergg:t.ies who were seeking his death. He passes on to the joy he felt at a certain dance when he taught his audience a new Vg. Then he recalls a shamanistic performance when his guardian spirit took possession of him and spoke through his person; and he remembers how he avoided looking at his fellow-shaman Kannuva, who was holding a seance at the same time. Finally comes a sealing episode, when IJatsiag succeeded in harpooning a large bearded seal during a famine. He held fast to his line and waited for the other sealers to come to his assistance. Verse 4. Verse 4. Verse 1. Verse 1. Verse 2. Verse 2. Verse 3. Verse 3. Verse 4. Verse 4. pt. pt. pt. pt. pt. pt. pt. pt. pt. pt. Songs of the Copper Eskimos 437 qat ya at ya tytkyociteyivek uyyuluyyuag una ceyyainaymi uv'anilu (Refrain and Connective) gaydtgeqoqpuya ai ye ya hat ya kdlecuxyaqtuayapku ceyyainaymi Translation I wanted to use my weapon. A big blubbery seal, this one, right on the ice, even here. I struck smartly with the harpoon, And then I just pulled it up, the seal that wandered constantly from one breathing hole to another down here. I wanted to use my weapon. A big antlered caribou, this one, on the land, even down here. I shot my arrow swiftly, Then I just knocked it down in this place, the caribou that wandered about on the land. I wanted to use my weapon. The fish, this one, right in the lake, even here. I struck it smartly with my fish-spear, Then I just pulled it up, the fish that wandered about constantly down here. I wanted to use my weapon. A big bearded seal, this one, just at the river mouth, even here. I paddled my kayak hard, Then I simply towed it ashore, just at the river mouth." No. 28. Recorp IV. C. 74 Dance Song (pisik), composed by Téptuna, a Coppermine river native, sung by: Verse 1. pt. 1. Verse 1. pt. 2. Refrain. Connective. Verse 2. pt. 1. Verse 2. pt. 2. Haviaq, a youth from the same region ya yar t yat govianayivog nunami camani picuyayama % ai yat yar (Refrain omitted) komayyuanima dmimiotuyed gayyuayyuatt dmileytt-og 7 ai yat yat ya yat yayt yar yar yar yar yar t yar t yar yai yat ya govianayivog teckumt camant picuyayama 7% ai yati yat (Refrain and Connective) qaiyuyuatt ima uyaleqtunt naulayiya tpigiayyayttoq 4 at yat yar (Refrain and Connective) 1 The Copper Eskimos have never harpooned seals from a kayak, so this must refer to an exploit of a Hudson bay native. Possibly the song originated in that area. 438 Verse 3. Verse 3. Verse 4. Verse 4. Verse 5. Verse 6. Verse 6. Verse 1. Verse 1. Verse 2. Verse 2. Verse 3. Verse 3. Verse 4. Verse 4, Verse 5. Verse 6. Verse 6. pt. 1. pt. 2. pt. 1. pt. 2. pt. 2. pt. 1. pt. 2. pt. 1. pt. 2. pt. 1. pt. 2. pt. 1. pt. 2. pt. 1. pt. 2. we ? 2 Canadian Arctic Expedition, 1913-18 yar yar ya govianayivog kivanmun camuya picwyayama 7% at yat yar (Refrain and Connective) gemiayyuk cama nakataywtuyo tuktuyaluymun itepteqeen-aqptk 1 ai yat yat (Refrain and Connective) gayyugcayyuya quyvekcivaymiyman tuktuyaluymin maqiqpaleq-uya % at (Connective) ya yt yar ya teyliatagpck komayaij-an pokuniaqtuti i ai yai ya (Refrain and Connective) yat yar ya govianayivog qileqtiliayyuk — qileqtiliayyuk mitiyleg-ayapku at gayyuayyamnilu itumatyektitptk t ai yar ya (Refrain and Connective) gayyu — yar ya % ya govianayivog gatyimi camant nanektuayneymi 7 at yat ya (Refrain and Connective) numikayma ima cddvautiyayinmaya qilauyayyuk icigtuagpaka 1 ai yat ya (Refrain) (Spoken: taima) Translation It was pleasant On the land down here when I kept walking. Caribou though being found numerous, My big arrow secured no skins. It was pleasant On the ice down here when I kept walking. Broth animals [seals] though longing for, My harpoon point was not sharp enough. It was pleasant Eastward down thither when I kept walking. The hummock from down here though falling over it, Towards the caribou I finally crossed over. My fish-hook since it always pulled up something, Towards the caribou I rose up again. Unseen I intercepted them, The caribou that were engaged in grazing. It was pleasant; The bull caribou, after I made it begin to leap away, With my big arrow I failed to secure it [?] It was pleasant; In the dance-house down here, at my standing up [to dance]. My dancing-companion, when he would not let me dance , around the ring, 7 The drum I simply took it into the ring. (Spoken: It is finished) Dance Song (pisik), sung by Kdn-wa, a Coppermine river boy Verse 1, pt. 1. Befrain. Connective. Verse 1. pt. Verse 1. pt. Verse 2. pt. Verse 2. pt. Verse 2. pt. Verse 3. pt. Verse 3. pt. Verse 3. pt. Verse 1. pt. Verse 1. pt. Verse 1. pt. Verse 2. pt. 2. Songs of the Copper Eskimos No. 29. Rucorp IV. C.'92B a ye ye ye yt ya alicnaylukpa dlagcayyua tainigcait-og t yat ya hi ya t yet ya ai yi ya ha hi ye yi ya hi zt ya hat ya tain¢qcanilu avaciyatuyin no — ugeultyyuti tcikumit camani yat ya (Connective) ai ya tlayneyluctn-ayapkin taicunagpdtka aylumiynun unuvaymata 4 yat ya hi ya (Refrain and Connective) | a yet yea ya yt ya dlienaylukpa dtagcayyua tainiqcatt:oq (Refrain and Connective) ya ya tainigcanil-u avaciyat-wytn nayyuleyyut nunami camani t yar ya ht ya hat ya (Refrain and Connective) tlayneylucen-ayapkin taicunagpatka qaiyyneyin ikeyegpaymayin t yar ya hi ya (Refrain and Connective) ye ye yt ya dlienaylukpa dtagcayyua tainiqcatt:og (Refrain and Connective) tainiqeanil-u avaciyatuyin uyyuluyyutt? tcikumi camant yat ya (Connective) at ya tlayneylucin-ayapkin taicunagpatka aylumtynun unuvaymata t yai ya hi ya hai (Refrain) Translation It is pleasant, The game, there is no song about it. Words [for a song] being far away [hard to find]— Seals on the ice down here— 439 When I obtained a few [words] I attached them [to the music]— To their breathing holes they departed. It is pleasant, The game, there is no song about it. 440° Canadian Arctic Expedition, 1913-18 Verse 2. pt. 2. Words being far away— Antlered caribou on the land down here— Verse 2. pt. 3. When I obtained a few [words] I attached them [to the music]— The Shee when it crossed over them. Verse 3. pt. 1. It is pleasant, The game there is no song about it. Verse 3. pt. 2. Words being far away— Bearded seals on the ice down here— Verse 3. pt. 3. When I oe a few [words] I attached them [to the music]— To their breathing holes when they departed. No. 80. Recorp IV. C. 59a Dance Song (pisik), sung by Ivyayotailaqg, a Putwteg man. Cf. No. 31. Verse 1. t yat yat ya yar ttqayacaytayin nunayyutt ttkdpaktdtka ayoticat's gdtqaqcicuynaya Refrain. t yat yat yat ya i yai ya yat yat yai yar yat ya Connective. t yai ya Verse 2. kuyyuaylu peyul-u ima ukpileyiu qa kiciyaylu umiuy (?) ucuynagcisyutk tcogtaylu icogtut-ua magtqcayutk mayagtoyurytu (Refrain) Translation Verse 1. Let me recall them to mind, The lands that I have reached, Game as I do not even wish to find. Verse 2. Kugyuag [river] and Pingog [hill] And Ukpilik [river] and Kissigaq, Usungnagstorvik and Isogtoq’s' muddy water, Magqigsarvik and Mangaqtorvik. No. 31. Recorp IV. C. 708 Dance Song (pisik), sung by Kukilukaq, a Bathurst inlet woman. Cf. No. 30. Verse 1. t ye ye ye ye tqayacaytayet nunayyuttu teketpaktdtka ayoticamntk gdtqaqcicuynaya Refrain. tye yet ye yer ye yet yet ye yet yet yer ye e ye Connective. a yet ye (Spoken: alienagciyami ila «dicaijiyrq) Connective. a ye t ye 1 Isogtog means ‘'the muddy one.” Verse 2. Verse 1. Verse 2. ‘Songs of the Copper Eskimos 441 ukpiltytu keliyaylu ucuynageisyveytu icogtaylu kautaluvtu (Spoken: ulamneyaliaruni dlienagciyami — uhuqalum diuaya) ukpiliyluga kileyaylu ucuynageisyvtytu! icogtoylu tcogtun-uaylu magegcayutk mayagtayurytu (Refrain) Translation Let me recall them to mind The lands that I have reached, Game as I do not even wish to find. (Spoken: It is pleasant indeed, teaching the song) Ukpiltk and Kiligag and Usungnagsiorvik And Isogtog and Kautaluk (Spoken: Though going astray in the words ityis a joy nevertheless; the song is Uhugqaluk’s) Ukpilik and Kiligag and Usungnagstorvik and Isogtog And Little Isogtog, Maqiqsarvik and Mangagtorvik. No. 32. Recorp IV. C. 64 Dance Song (pisik), sung as a duet by Qopdn-a and her brother-in-law Ayivyana, Prelude. Verse 1. pt. 1. Refrain. Connective. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. Verse 3. pt. 1. Verse 3. pt. 2. Verse 4. pt. 1. ‘Sise Apt. 2. both Coppermine river Eskimos yar ye i yat ya cdnileyalu neqiceywtuyo ai ya aynauyuytu quyuyusgtag yar ye yt Yat yar ya ya 2 yar ya canileyalu neqiceytymayo cdniley ima ty1y10ya (Refrain and Connective) qaiyuyieyu yat ye. . . negiceytymayo ai ya aynauyuytt aymotitcrysq (Refrain and Connective) qaiyuyieyu yat ye yt ya muayyuya pigtuyertt (Refrain and Connective) gitaunmut-u kétunmut-u mnuayyuya pigtuyeats (Refrain and Connective) qaiyuyieyu yar ye yt ya muayyuya kivanmun ima (Refrain and Connective) muayyuya qaiyuyiayman ya cdnileyali aymotticiysq (Refrain and Connective) Omitted ? 1 There was an error in the text supplied to Miss Roberts. She has filled in_correctly_the first two words of the line, but the last word is omitted in the musical text. 442 Canadian Arctic Expedition, 1913-18 Verse 5. pt. 1. (?) cadnileyali aymotitctyman muayyuya eyvayrg dz (Refrain and Connective) Verse 6. (According to another Eskimo, a different song joined to the preceding) nakin nakin picuktuaxyayivek at kilumuti picuktuaryayivck o Refrain. nakin nakin nakin ya nakin ya t yar yar ye Connective. a yat ya Verse 7. kilumutt picuktuaymiyama 1 ya gigigtayyuk ii gala an ya Refrain. nakin nakin Translation Verse 1. pt. 1. Her husband, she feeling love for him, The woman she was smiling. Verse 1. pt. 2. Her husband when she felt love for him, Her husband, I began to gaze at her. Verse 2. pt. 1. Wishing to come—when she felt love for him, The woman, she looked down ashamed. Verse 2. pt. 2. Wishing to come, Myself [I]. bending down Verse 3. pt. 1. To the drum, to the drum-stick, Myself, bending down [on account of their weight] Verse 3. pt. 2. Wishing to come, Myself, to the east, Verse 4. pt. 1. Myself when I was wishing to come, My husband looked down [in anger]. Verse 5. pt. 1. My husband when he looked down Myself I recalled to mind. Verse 6. Whence, whence, I kept on walking Southward I kept on walking. Verse 7. Southward when I had truly walked, Big Island I reached after a long time.! No. 38. Recorp IV. C. 40 Dance Song (pisik), sung by Qoexuk, a Coppermine river man Prelude. cumin unat yar yar yat yat ya Refrain. cumin unat yar yat yat yat yar yar yar ya CUMIN UNAL Yat Yat @ Yat yar yat yar yar yar Connective. i yat ya , ‘Verse 1. pt. 1. cumin unat ya tamayukpaylukpa ptctkcayyuk tamayukpaylukpa (Refrain and Connective) 1 The composer of the song up to Verse 5. pt. 1. was a Coppermine river woman named Aquluk, It describes a ies ‘<< Sv paid to the hut of another woman named Itogana. Itogana sat in front of her lamp beside her husband; on the oj of the hut was a third woman with her husband. Jtogana began to smile at this man, but looked down ee as as she noticed that Aguluk was watching her. The song then relates how Aquluk wished to travel eastward, but her husband refused to go. To console herself she began to think of all the places she had already visited. At this point (Verse 6) the singers broke into a new song suggested by the preceding; the origin of the second song is unknown. Verse 1. Verse 2. Verse 2. Verse 1. Verse 1. Verse 2. Verse 2. pt. pt. pt. pt. pt. pt. pt. Songs of the Copper Eskimos tainicagcicutt: tapeqtogceen-axtuyo pietkcayyuk tamayukpaylukpai ya (Refrain and Connective) cumm unat ya imaleyayivan dmicuyayyuin nak-akun ema (Refrain and Connective) nunamt camant atyuleqpak- apkin emant ima kitik-eat-ayin (Refrain unfinished) Translation 443 Whence this one? Does it want to be irreparably lost? The bow does it want to be irreparably lost? Word matter [phrases] combining together at last [into a song]. The bow does it want to be irreparably lost? Whence this one? They [caribou] went through it into the water, Very many of them, through a hole in the ice. On the land down here since I am quite unable to find them, In this place let me go between them. No. 34. Recorp IV. C. 39 Dance Song (pisik), composed by Ikpakhuag, a Puvtcq man, sung by Haviuyag, Prelude. Refrain. Connective. Verse 1. Verse 2. Verse 3. Verse 4. Verse 5. . a man from the same region ye yayar ye ye ye yay ye ya yaya t ye yaya rt ye ya ya Yyi-ya ya ye ya ya e yaya ganog uv'an ayoyavaya ye yayar ya cimlimay ayoyayttqgomaya (Refrain and Connective) akcamiylu qatoryaryuayyumeyr ye yayar ya cdinilimay ayoyayttqgomaya (Refrain and Connective) ganog camnay alimalialuka ye yaya ya upgotryay alimalialukivuya (Refrain and Connective) muyaliy aqtunalialuyma ye yayar yaya upgotiyay alimalialukivuyo (Refrain and Connective) ganog camna picuyacuayaiyayiwaya ye yaya yaya ys nuna camna picuyacuayaiyayivaya (Refrain) 444 Canadian Arctic Expedition, 1918-18 Translation Verse 1. How here is she to overtake me? My wife tells me not to be overtaken. Verse 2. Brown bears and wolverines— My wife tells me not to be overtaken. Verse 3. How, down here, is it still far away from me, My shelter I am still far from it. Verse 4. My self it weighs heavily on me; My shelter I am still far from it. Verse 5. How, down here, do I think I shall ‘walk on it? The land down here I think I shall “walk. on it. No. 385. Recorp IV. C. 78a Dance Song (pisik), composed and sung by Uyahag, a*Pucvitg woman Prelude. Zt ye yt ye yt ye hi ye yt ya ga Refrain. Z ye yt ye yt yar ye yt ya gat t yat ye ya hi ye ya hi ya ha ha ga qa Connective. t yat yar Verse 1. pt. 1. yat ye yat ye myumavaktuyai cilayyua gayma opinyalixyayman ai (Refrain and Connective) Verse 1. pt. 2. gayyucayiya quyvekciyuyaymai ya a ye yt yar ya myumavektuyat (Refrain and Connective) Verse 2."pt."1. yat ye ya ye ya myumavaktuyat v=) cilayyua qayma aiyalixyayman ai (Refrain and Connective) Verse 2. pt. 2. canileya una nalagciyuyaymat a ye yt yar yi ya nyumavaktuya (Refrain and Connective) Verse 3."pt. 1. yat ye yar ye inyumavaktuyat cilayyua gayma okiulieyayman at (Refrain and Connective) Verse 3. pt. 2. canileya una quyvekciyuyayman a ye yt yar ye ya nyumavaktuyar (Refrain) Translation Verse 1. pt. 1. I was idle The season now when it turned again to spring. Verse 1. pt. 2. My fish-hook since it pulled up nothing I was idle. Verse 2. pt. 1. I was idle The season now when it turned again to summer. Verse 2. pt. 2. My husband, he, when he struck nothing [no caribou] I was idle. Verse 3. pt. 1. I was idle The season now when it turned again to winter. Verse 3. pt. 2. My husband, he, when he pulled up no seals I was idle. Songs of the Copper Eskimos 445 No. 36. Rzcorp IV. C. 98 An old Dance Song (pisik), sung by Oqaitok, a Kiluccktok woman Prelude. ye yt yayt ye yt ya ye yt ya hi ya ha qai ya Connective. t ya gat ya ere 1. pt. 1. ayotikcdt-t capkoa mitquliyyut capkwa picualixyagtun ayoyunattpaktuya Refrain I. ye yt yai i ya yt ya-a hai yar yat ha ya Verse 1. pt. 2. ptetkciyali una cayayayluyoli dqaqcukpakemn-aqtuya Refrain IT. ye yt yayt ye yt yayi ye yt yar ye yt ya ye yt ya qi ya yi ya gat yar ya gai ya ; yt ye yt ye yt ya yi t ya ye yi qr ya a ga qar ya (Connective) Verse 1. pt. 3. ye yt yayt ye yi yay dlienaqemn-aylukpa ayoyunattpaktuya okiutuamicila Refrain III. ye yt yayt ye yi yat yat ye yi ya qai ya ye yt yayi ye yt ya-a e ye ya hi ya a qat it ya (Connective) Verse 2. pt. 1. ayotikcdt1 capkoa uqeultyyut capkwa uyudlicyaqtuni ayoyunaitpaktuya (Refrain J) Verse 2. pt. 2. unayayalt una cayayayluyolt itgagcukpakem-agqtuya, (Refrain IT and Connective) Verse 2. pt. 3. ye yt yayt ye yt yay dlienagen-aylukpa eqcilekpakemn-agtuya opinyatuami cila (Refrain III and Connective) Verse 3. pt. 1. ayotikcétt capkoa eqdluayyutli gttpalixyagtuni ayoyunaitpaktuya (Refrain I) Verse 3. pt. 2. gayyugceayyuyali cayayayluyoli ttgaqcukpaken-aqtuya (Refrain IT) (Spoken: iyisqtailaq dnyaiyunagtaynaxeq) (Connective) Verse 3. pt. 3. ye yt yayi ye yt yay dlienaqen-aylukpa a- eqcilekpakern-aqtuya manilyum iluant (Refrain III and Connective) Verse 4. pt. 1. ugcuacdtt capkoa akcaluyyut capkwa picutizyagtunt eqcilekpakern-agtuya (Refrain I) Verse 4. pt. 2. gayyuayyuya una eqeryttumi una eqettiyivaken aqptk (Refrain IT) (Spoken: putuyauta taimaite unin anyaiyunagryaluyman) 446 Canadian Arctic Expedition, 1913-18 Translation Verse 1. pt. 1. Game animals those, long-haired caribou those, Though they roam about everywhere I am quite unable to secure any. Verse 1. pt. 2. My bow, this one, carrying it in my hand always, I finally pondered deeply. Verse 1. pt. 3. It is all right, however, even if : I am quite unable to secure them in this present wint®. Verse 2. pt. 1. Game animals those, seals those, Though they keep visiting their holes I am quite unable to secure any. Verse 2. pt. 2. My harpoon, this one, carrying it always in my hand, I finally pondered deeply. Verse 2. pt. 3. It is all right, however, even if I begin at last to be greatly afraid, in this present sum- mer. Verse 3. pt. 1. Game animals those, fish, Though going out again into the middle [of the lake] I am quite unable to secure any. Verse 3. pt. 2. My fish-hook, this one, carrying it always in my hand, I finally pondered deeply. (Spoken: As there is no one singing with me I am quite out of breath) Verse 3. pt. 3. It is all right, however, even if— I finally began to grow very terrified, the hummocky ice within. Verse 4. pt. 1. Seals those, fearsome brown bears those, Constantly walking about here, I finally began to grow very terrified. Verse 4. pt. 2. My arrow, this one, being fearless, this one, Am I to allow myself to be terrified at last? (Spoken: Its dance-song, let it remain at that, for I have become greatly out of breath) No. 37. Recorp IV. C. 51 Dance Song (pisik), sung by Hdvyutaq, a Coppermine river woman Prelude. at ye ye ye yar yar yai ye yat at yet ye yt yar ye yt yer yar Refrain. ar ye yt ye yai ya at yar ye yi yar ya yi yai ya at ya ai yar yar ya a ya ha hat Connective. t ya Verse 1. pt. 1. 1 yar ye ye ya teyucayatagptk tytuayyuptiynt teyucayatagpik (Refrain and Connective) Verse 1. pt. 2. auyuynumnilt makiyeyama i ya tyluayyuptiyni teyucayatagptk (Refrain and Connective) Verse 2. pt. 1. Verse 2. pt. 2. Verse 3. pt. 1. Verse 3. pt. 2. Verse 4. pt. 1. Verse 4. pt. 2. Postlude (?) Verse 1. pt. Verse 1. pt. Verse 2. pt. Verse 2. pt. Verse 3. pt. Verse 3. pt. Verse 4. pt. Verse 4. pt. Postlude ? Songs of the Copper Eskimos 447 at ye yi ya tucatyogprk kiluleptrynilt tucalyoqgptk ai ya (Refrain, imperfect on account of flaw in cylinder) ae imnaluxyagtuli tucatyogptk (Refrain and Connective) at ye yt ya tucatyogprik uwaliptiymlt tucatyogpik (Refrain and Connective) uwalipta ima cdtgayyuayentk qayyryyuayly eqeryoqtayamat (Refrain and Connective) at ye yi ya tucatyogpik ee eee ama tucatyogptk (Refrain and Connective) tryaluyyuaylu uyyuluyyuaylu at wamnutt ima tucaxryagtutin nivtiyutixyagtog tucatyoqptk (Refrain and Connective) notiyutizyaymant cdtgoymiktogen-agpuk népkinhin-ayapket (Refrain) Translation I caught hold of it repeatedly, In our house I caught hold of it repeatedly. In my feebleness, since I was deprived of the power to stand In our house I caught hold of it repeatedly. I have been informed Of people inland from us I have been informed. spe ye of people who continually murmur songs I have been informed. I have been informed Of people west of us I have been informed. Of the people west of us, their big blades [knives], Their big arrows, and I am afraid. I have been informed pies een ee I have been informed A big stinking seal and a big bearded seal Towards me—you are listening intently—it breathed up loudly through the water. I have been informed. When it breathed up loudly They both were transfixed finally with my harpoon, but I could not hold them both in the end. 448 Canadian Arctic Expedition, 1913-18 No. 38. Rescorp IV. C. 32 Dance Song (pisik), sung by Hupa, a Pucvieg woman Prelude. Refrain. Verse 1. Verse 2. Verse 3. Verse 1. Verse 2. Verse 3. avaye ye ye yaye ye ye ye ya avaye ye ye yaye yet ye ye ye ye ye yaye t yer ya e€ yaye ye ye ye ye ye yaye ye yay avaye ye ye yay dlienagpa tainiqcagatyait:og katyolik ayotin-cy avaye yet yet yay (Refrain) ye ye tainiqcagaiyainman katyolin ayotintk e ye ya ’ at ye tainqtuayiwaya ayoyuamik kiteqguyaymt avaye yet yay (Refrain) ye yay ye ; ayoj'uy niagoyyuag ndyyuayyuagq poalyttkcagtaliayyuk avaya e ye (Refrain) (Repeat Verse 1 and part of Verse 2) Translation Over there it is pleasant— There are no words for the song—the game over there. Since there are no words to the song—the game— I simply improvise words for it—a big one [bull caribou] at Kitinguyag over there. A big one, with a big head, with big antlers, antlers large enough to make a snow-shovel, over there. No. 39. Recorp IV. C. 1008 Dance Song (pisik), sung by Ndtcm, a Bathurst inlet youth Prelude. Refrain. Connective. Verse 1. pt. 1. Verse 1. pt. 2. Verse 2. pt. 1. ai yar yt yar yar yar yi yar at yar yat yt yar yar yt yai yar yar yr yar yar yar yr yar yar ya yi yar yar yat yai yat ya a gat a yar yar ya yai ye ya govianayivuya ugceuleyyuats tucayneymi (Refrain and Connective) muayyutls metucktaxyaymata ndtceymun kanuya amutyatayneymi (Refrain and Connective) yar ye ya qovianayivuya tu'tiyaluk kauva «ma (Refrain and Connective) Verse 2. pt. 2. Verse 3. pt. 1. Verse 3. pt. 2. Verse 4. pt. 1. Verse 1. pt. 1. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. Verse 3. pt. 1. Verse 3. pt. 2. Verse 4. pt. 1. Songs of the Copper Eskimos 449 cunauv'a. una taintgcayalt kitailyumutt nivavateyagpet | (Refrain and Connective) yai yai ye ya ptcwyacaylaya cisyagtuneymun picuyacaylaya (Refrain and Connective) mumiytima takoyayneynaya clayagtuneymun picuyacaylaya (Refrain and Connective) tryuageiyami takolayaymiyapku tcumayauna tgqrumivtk (Refrain) Translation I was filled with gladness Big seals on hearing about. The men, when they kept hunting them at their breath- ing holes, On to the ice-floe down thither, pulling them up. T{was filled with gladness— The yellow-billed loon it called kau. What is here, this one, my phrase [the words I should have used]— To the water-hole I went and snared it [loon]. Let me go and walk, Along the sand let me go and walk. People I probably not seeing, Along the sand let me go and walk. My adopted child when I saw him, Him of whom I had been thinking, that one, I was thankful [?] No. 40. Recorp IV. C. 26 Dance Song (pisik), composed and sung by Ikpakhuagq, a Puwitqg man Prelude. Refrain. Connective. Verse 1. pt. 1. Verse 1. pt. 2. 88540—29 Cf. Nos. 22 and 18. yee ye yaye ya gaya at ye yar yaya € yayl yayai yay 1 ya gar yaya 1 ye yayar yayar yet yar ya e yaya cuminmiyuna qaileyaymagtuyo at yer yar yaya qileqtiliayyuk tuleyavagtuntyr (Refrain—2nd line only—and Connective) uvaya may tyicuagpakluyuyo ai yal ya yaya gayyuayyuaylu iptyeyaymapkuluyo (Refrain—2nd line only—and Connective) (Entire Refrain and Connective) 450 Verse 2. pt. 1. Verse 2. pt. 2. Postlude? Coda Verse 1. pt. 1. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. Canadian Arctic Expedition, 1913-18 nakinmiyuna qaileyaynagtuyo at ye ye ya yaya kdtainaluk tuleyavagtuniyit (Refrain—2nd line only—and Connective) uvaya imay piyumdtqagiuyuyo at ya ye yat yaya punyuayyuaylu ipiyeyayinapkuluyo (Refrain—2nd line only—and Connective) : e yayt yayar yayr yayt ya gar yaya ~ a ye yayar yaya ye yi yar ya e yaya — he Translation Whence pray have they always come? The bull caribou stamping hard on the ground? I then watching eagerly for it, The arrow too because I did not want to let it fly. Whence pray have they always come, Katainaluk stamping hard on the ground. I then having a desire to do it [to go], The big dog too I did not want to let it loose. No. 41. Recorp IV. C. 96} Old Dance Song (pisik), sung by Kunana, a Kiluccktok man Prelude. Refrain I. Verse 1. pt. 1. Verse 1. pt. 2. Refrain IT. Verse 2. pt. 1. at yar ya ar ya qa at ya har ya hat ya at yar ya at ya qa at ya hat ya har ya at yar yi ya hat ya yi ya hai ya hai ya ar yar ya har yar yr ha at ya ha ya qanog uv'a unutgovtuya ar yaa ga ai ya hat ya mitqutyitt imayitpakpan at yaa piyumaydluayemni (Refrain I) dtautciag aulauna una at ya ga hat ya hat ya mayauvli nunan-un at yaa tuktuleymutt camuya at yar ya at ya ye ye ha hai ya t ya har ya ganog wa unutgovtuya av ya qa hat ya hat ya ugeutyitt pud-uyaya at ya'a piyumaydluagtuni (Refrain I) bee Werse 3. pt. 1. and Refrain III were accidentally omitted in the texts supplied to Miss Roberts. Verse 2. pt. Verse 3. pt. Refrain ITT. Verse 3. pt. Verse 4. pt. Verse 4. pt. Refrain IV. Verse 1. pt. Verse 1. pt. Verse 2. pt. Verse 2. pt. Verse 3. pt. Verse 3. pt. Verse 4. pt. Verse 4. pt. 88540—293 Songs of the Copper Eskimos 451 dtautciag aulauna una at ya ga hai ya hai ya gotynan-um nunan-un ai yara ndtciliymutt camuya (Refrain II, slightly altered) piluayuryiiuna kulaynaqpaymiyunt aylulrymun ndteilik ndtcilayyuayman inyumayayyunaylogpa ai yat ya at ya qa hat ya i ya at yai yt ya-a yt ya har ya yr ya at yat ya at ya ye e ha hai ya ya hat ya ganog uv'a unutgovluya at ya ga har ya har ya aynat capkwa uwiluyay‘a ai yaa piyumaydluagtuni, (Refrain I) dtauiciag aulauna una at ya qa hai ya har ya tamaycun nunan-un ai yaa piyumaydluag (Refrain II, altered) piluayviyliuna kulaynaqpaymiyulu aynaltymun invuligymun aynailayyuayman cinaktoyaiyu- naylogpa ai yat ya ai ya qa hai ya hai ya at yar yr ya at yt ya yt ya hat ya ha yi ya hai ya ai yai ya ai ye ye ha hai ya Translation How here telling me to find subsistence. Furry animals [caribou] when they take to the water despite my wish to secure them. Only one its way, this one, Of Marau to the lands, to the place possessing caribou down thither. How here telling me to find subsistence. Blubbery animals [seals] .they will not come up to the surface to me although one wishes to secure them. Only one its way, this one, Of Qoingnannag to the lands, to the place possessing seals down thither. A more abundant place than this one though being hard to find [?]— To a place with seal-holes, a place with seals; when there are no seals one is always obliged to be idle. How here telling me to find subsistence. Women, those, they will not marry me although I wish to get them [?] Only one its road, this one, Of Tamarsuin to the lands, though wishing to go. A ge aaa place than this though being hard to nd [?] To a place with women, to a place with people; when there are no women one always dreams of them. 452 Canadian Arctic Expedition, 1918-18 No. 42. Recorp IV. C. 50a Dance Song (pisik), sung by Kaiyayyuk, a Coppermine river Eskimo Prelude. dlinaylukpai yar yai yi ya at yal yat yat yar yar yar ya Refrain. dlinaylukpain ai ya yat yar yar yar yat yar at yat yat yat yat yar yar ya ; at yat yar yar yat yar ya Cc imnai yat yat yai ye yt yar Connective. 1 yar ya Verse 1. dlinaylukpat yat yat yi yar ya dgqdcua emna wiucicuktsg ganyicicuktayyua at ya (Refrain and Connective) Verse 2. iviuyuaymi gényoyuaymi ar ya tucanegcautiyni cdtaukpata agcaneyama utageviymilu ai yay Refrain. dlinaylukpain ai ya yat yar ya yat yar yar ya nauyayyuktuti ccumanaiyuayyuk neyialagcenaiyuktog ginwyaluagemnaiyukisg at ya (Prelude and. first two lines of refrain) Translation Prelude. I should like to have good luck. Refrain. I should like to have good luck. Verse 1. I should like to have good luck. Itqassuag he loves to substitute words when singing to his dancing companion, being a man who loves to compose songs.! Verse 2. At the substitutions in the song— The audience when they take their places in the ring, when I danced [?] In the waiting-place [dance-house] too. Refrain. I should like to have good luck. They afte wont to catch sea-gulls? but [I am] unable to think [how to capture any]. He always loves to shout aloud when singing, he always loves to look around. No. 48. Recorp IV. C. 35 Dance Song (pisik), sung by Haquyyag, a Puig woman Prelude ? Loe ee + GOveacuagpit Refrain I. ye ye ye ye ye ya ye ya ye ya ye ye ya ye yay at ye Verse 1. pt. 1. 4 ye ye nayyuleyyuaymtyli ndlagciynagcunaya nunamitr camani goveacuagpet (Refrain I) ; e i cd 1 For dancing-companions see Vol. XII, Pt. A., Life of the Copper Eskimos, p. 86f. A man who dances after his asso ci- ate often improvises words to suit the occasion. 2 “Sea-gulls’ in shamanistic language means “‘seals’’; probably the word has the same meaning here. Verse 1. pt. Verse 2. pt. Refrain II. Verse 2. pt. Verse 3. pt. Prelude ? Verse 1. pt. Verse 1. pt. Verse 2. pt. Verse 2. pt. Verse’ 3. pt. Songs of the Copper Eskimos — 453 ye ye ye ye ye ye ye goveacuagpit teckumit< camani qoveacuagpit (Refrain I) a ye ye ugcultyyuaymiylu quyvekctynagcunaya teikumitt camani qoveacuagpit * ye ye ye ye ye ye ye ar ye ye ye ye ye ye yay ar ye ye ye ye ye ye ye ye ye qoveacuagpit uwanmutt camuya goveacuagptt (Refrain I) tye ye gaqoqtuyuitima ivalixyauymatiyi uwanmuyit yamiyi qoveacuagpit (Refrain) Translation oe Did you rejoice greatly? A caribou with big antlers, I not wishing to lay it low in spite of everything, On the land down there did you rejoice greatly? Did you rejoice greatly? On the ice down there did you rejoice greatly? A seal with much blubber too, I not wishing to pull it up in spite of everything. On the ice down there did you rejoice greatly? Did you rejoice greatly? To the west down thither [going] did you rejoice greatly? White bears when they searched diligently for them; To the west down there did you rejoice greatly? No. 44. Recorp IV. C. 24a Dance Song (pisik), sung by Ndtcen, a Coppermine river man Refrain. Verse. Verse. at ye-e yl-t yai yt ya-a hat ya hai yaa yi ye hat ya yt hat ya hai ya hat ya ha ye ya ye ya hai ya nuna camna picukpakydluayiya auyaqgan tmagop'ayo ha yt ha (Refrain) Translation The land down here though I wish greatly to walk on it, When summer comes, when water is abundant. 454 Dance Song (pisik), sung by N¢ptdéndtciag, a Coppermine river woman Verse 1. pt. 1. Refrain. Connective. Verse 1. pt. Refrain. Connective. Verse 2. pt. Connective. Verse 2. pt. Connective. Verse 3. pt. Connective. Verse 3. pt. Connective. 2. Canadian Arctic Expedition, 1913-18 No. 45. Recorp IV. C. 24c Portion of No. 44, sung by the same man Ndtcrn nuna camna nunayyuk camnaya nuna camnin Translation The land down here, the land down here, The land down here. No. 46. Recorp IV. C. 88 qatyuyegtuya yar yar yi ya tayiomiutt miycan-un tma qatyuyegtuyar yar yar ye yr yar ya qatyuyegtuyar yar ye yt ya yar ye yt ya-a yar ye yt ye ya-a t ye yt yet ya-a t ya ya-a qeyneqtununlu cayaiyaluymun papamunlu cineynimutt ema qaiyuyegtuyat yar yar ye yr yar qavyegtuvlt ema nuliayyuaynutt qaiyuleyydluaqtuy[a] qeynagtuccynayiwuya garyuyeqtuyar yar ye yt ya ai ye yat ya-a yar ye yr ya qaiyuyegtuyat ya yar ye yt ya a yar ya-a gatyuyegtuyat yar ye yr ya aynauyuynun gaiyuyegtuya (Refrain as in Verse 1. pt. 1.) 1 yar ya-a iptyunamun ciuceyaynun tptaluvtu uniutu nulian-un ima ai ya qatyuyegtuyar yar yar ye yt yar ya nuktagtavtu ima nultayyuaynutt gaiyuleyydluagqtuya aqeyagotey (Spoken: «yeyct-aq) yar ya gatyuyegtuya yar ye yt ya puvyuktuts meycan-un «ma (Refrain as in Verse 1. pt. 1.) 2 yar ya ayocdd — ayocddlunlu nukdtukanuti noyauutu nukdtukagtuni qatyuyegtuya yar ya naéyyulryyuaynutt qaiyuleyydluagtuya aryoqagctynayivuya qatyuyeqtuya ya ye yi ya at ye yer ya-a yar ye yi ya (Refrain as in Verse 1. pt. 1.) a yar ya New Song, joined to the preceding Verse 4. pt. 1. Refrain. Connective. Verse 4. pt. 2. Songs of the Copper Eskimos 455 ganog tmnai ya tgayacaylayo kdluctyagtsg mdluynayvitog ai ya ganog ‘mnat ai ya Gt yal yar yar at ya yat ya a ga qai ya t yat ya amayouna gtymiyulagtoat tuktuyayyumck qotyantxzyaqtoyli tucaypaymiyiya qatytayyumi (Refrain as in last verse) Here the singer ended, but a moment later continued with another song. Verse ? Refrain. Verse 1 Refrain. Verse 1. Verse 2. Verse 2. Verse 3. Verse 3. Verse 4. Refrain. Verse 4. Verse ? . pt. pt. pt. pt. pt. pt. pt. pt. gtktayianutlin[t] nikayymaymiyapa nukalianuctt gtyeqpakydluag in aiaktoli akunyant umyuvakerynagotin aynanutt mamgqami ganog tmnat ye yet ya ga ganog (mnat ye e ye e ye e ye e ye ye &€ yet yaa ga Translation I wish to come The salt-water people to their swamps. I wish to come. To Qernegtog and to Saraivaluk, To Papa and to Sinengnik I wish to come, To Qavyegqtog’s big wife; I wish to come but I search in vain continually [?] I wish to come To Arnauyuk I wish to come. To Ipigunag, to Siuserag, To Iptaluk’s and Uniuk’s wives I wish to come, And to Nuktaqtak’s big wife; I wish to come but searching [?] (Spoken: It is not finished) I wish to come To Puvyuyok’s swamps. Young bull caribou and to three-year-old caribou, And fawns or three-year-olds I wish to come, And to big bulls; I wish to come but I cannot succeed. New Song How this one am I to recall it? Kalusiragtog is a remarkable-looking man. How this one That wolf, that one, that wants to become a dog [?]. With a caribou that it mated I was informed of it In the dance-house. Towards mosquitoes although you devoted all your attention, For hares look carefully nevertheless, the rock between it, you who are always stealing away to the women on the plain. 456 Canadian Arctic Expedition, 1913-18 No. 47. Recorp IV. C. 908 Old Dance Song (pisik), incomplete, sung by N«ptandtciag, a Coppermine Verse 1. Refrain I. Connective. Verse 2. BG Loh s Refrain II. Verse 3. Connective. Verse 4. Verse 1. Verse 2. Verse 3. Verse 4. Refrain. Verse 1. pt. 2. Connective. river woman kia kia una qitautekca hai ya gatyi:tamilu cktulainagpa hai ya yar ya hat yai ya Qi yai yar ye yt ya ga gai ya yet ya ayt yet ya ayt ye yt ya ya yet yar ye qa gar ya ga t ya hat ya kipoq-aqtuaviu kdnuvydtciag ya hat ya gitautikca cktulainagpa hai ya t yai ya hat yar yat yar yar ye yi ya ga e ya ha ai ye ya a gar ya tlatun mana dtoyacuynayo tktulaciytynaqpaya hat (Refrain I, omitting first line) t ya hat ya kia kia una katottkea hat ya gatyi' tamilu dfalainagpa har ya (Refrain I) Translation Whose, whose this his drum thing? Even though lacking a dance-house he makes it resound loudly. Kipoqqaqtuaq, Kanuvyatsiag . His drum he makes it resound loudly. Like him, this man, though I cannot sing like him, Nevertheless I make it resound loudly. Whose, whose this his drum? Even though lacking a dance-house he makes it resound loudly. No. 48. Recorp IV. C. 8&4 Old Dance Song (pisik), sung by Kdneyaq, a Putvicg girl Verse 1. pt. 1. t yat ye yai culivyatlayat quiiq quéuq peyna qudvivaken aqtuat t yar yer yar yar yar yar yar yar yar yar yar yar ya a yar yer yar yar yar ye yar ar yar yat yat yar yar ye emalu ema oqautit-ayo ugeultynutu qa tlayotry[a] ayoteqgpakpaymat yat yet yai yar yar yar (Refrain) a yar ya Verse 2. Verse 2. Wee 3. Verse 3. Verse 1. Verse 1. Verse 2. Verse 2.' Verse 3. Verse 3. pt. pt. pt. pt. pt. pt. pt. pt. pt. pt. Songs of the Copper Eskimos 457 @ yat yet yar culivailayai _ pietketpak una qudvivakern-agtuat (Refrain with he’ he’ at the end and Connective) emalu ima oqautit-ay[o] ndyyultynut-u ga tlayotiya utgumiqpakpaymai yai ye yai yat yar yar yat ye (Refrain and Connective) yar yer yar culr-yailayar pt — gitautikpayo qudvivekeen: agtuat (Refrain) | emalu «ma ogautct: ayo 2 <4 pteryliynut-u ga dlayotiy[a] a. aqtogcipakpaymai yai yer ya yai ye yi yar (Refrain) (Spoken: numigdtiyin hapkwa dtogpayayalutt he’ e’) Translation Let me do nothing. The lamp, the lamp up there, it is constantly flaring up in spite of everything I do [?] Thus too let me tell it. Against seals too, my weapon Thou securest me no game. Let me do nothing. The big bow, this one, it is constantly uplifted. Thus too let me tell it. Against bull caribou too my weapon Thou sendest me home empty-handed. Let me do nothing. The big drum it is constantly uplifted. Thus too let me tell it. For singing dance-songs my instrument [drum] Thou makest me weary of lifting thee. (Spoken: Dancing-companions, these are the songs they continually sing) No. 49. Recorp IV. C. 95a Dance Song (pisik), sung by Ulsqcag, a Kiluccktok man. The singer stopped at the end of the first verse, as he was confusing this song with another. Verse 1. Refrain. avuyat ye yt ya acyumicutayivuy aiyumicutayivuya kivanmutt xan‘ama avuyat ye yi ya ye ya ht yar yt yar qat ya t ya hat ya Translation Towards the east I was getting farther and farther, I was getting farther and farther towards the east when I faced. 1 This song was said to have originated among the Eskimos east of Coronation gulf. 458 Canadian Arctic Expedition, 1913-18 No. 50. Rezcorp IV. C. 25c Dance Song (pisik), sung by Ceniciag, a Purvteg man ildtka ipkwa nundtka tpkwa ndlipcagqtuyeyitka cavayaluka kiluyaqluka kdpitagcaitoglu ulimaudtu qottgeylu kiteqceyyuaylu ainleynun piyitkaleynun ayvegto-nun goaqyumiunun ekilyayiaymiunun kamitkumiayyu togonaiyuayyuk navloyneylu tucagayneymi kivina katyuina ayon tuvagayami ganoilogpa puvektogayyu uyuayyu tuktuciuyucd:sqg (Spoken: nuyutpq) Translation My companions they, my countries they, I would go to visit them, Savagaluk and Kilugag, Kapitaqsaitog and Ulimaun, Qoitgeg and Qitiqseryuag, To the Aivilik, to the Pingitkalik, To the Whale-hunters, to the Frozen-meat Eaters, to the Sabine Gull people, Kamitkumiaryuk and Togonaiyuaryuk And Navlorneg—after hearing [about them] Kivina, Kaiyuina, Angon—when there are old ice-cakes— How does it go? Puvektogag, Unguaryuk—he never goes to hunt caribou. (Spoken: It is finished) No. 508. Recorp IV. C. 253 Dance Song (pisik), unfinished, sung by Cenciag, a Puevteqg man guwalil-2 kivalel-2 padcisyacuktut qaugtoylu cyaluiwysylu qaugtaylu «pkwa utkucerylu qauyalwlu oyviayyuwlu tyagcattoglu nakan‘alu kivaliaylu auyegdta opinyeqdta auyagtoymaqtuya makuniya toyqxuyyuayniylu Translation What, the eastern people They are accustomed to expect [people], both Qaugtog and Ingaluiuyog, Both Qaugqtog they and Utkusik And Qaugalik and Orviaryuik And Igaqsaitog and Nakanna and Kivaliag His comrade in summer, his comrade in spring. I am going to spend the summer with them, and with Torqsugyuag also. Songs of the Copper Eskimos 459 ATONS No. 51. Rzucorp IV. C. 453 Dance Song (aton), learned from Prince Albert sound Eskimos, sung by Avyana, Vasse 1. Connective. Verse 2. Verse 3. Verse 1. Verse 2. Verse 3. a Puwiiqg man dtinveyeyuyay e ye ye yaya dlinveyeyuyay e ye ye yay e ye ye ya e€ yaya dtinveyeyuyay piculitryayiweyt nunaiynaymulty piculitryayiviyt e yat (Connective) geynetoyyuits nutyagtinmdtiyiyt nunatynaymulin oviogtitxyayiviyt e ye yt Translation I am going to sing a rival song, I am going to sing a rival song. I am going to sing a rival song. I began to walk, To a beloved land I began to walk. Black animals [musk-oxen] when they were visible to me, To a beloved land I took long strides [?] No. 52. Recorp IV. C. 33 Dance Song (aton), sung by Nivagtdl.k, a Coppermine river Eskimo man Verse 1. Refrain. Connective. Verse 2. Verse 3. Verse 4. ¥erse 1. Refrain. piyiava nakiyikpakpa pictkcayyuk nakiytkpakpa ai ya pryiava 1 yar ya t at yar yar ya prylava 1 at yar yar yar yar at yar 1 yat tainiqceat-1 ivayiqtuagtunt ai ya pictkcayyuk nakiyikpakpa ai ya (Refrain and Connective) piyiava picuyuvi at ya auyayima picuyurt at ya (Refrain and Connective) tuymiyayyun ndliuyayeysqg ndnmaxpakcuyo picuyuvt ai ya (Refrain) Translation He constantly bends it, he constantly sends it straight, The big bow, he constantly sends it straight. He constantly bends it, He constantly bends it. 460 Verse 2. Verse 3. Verse 4. Canadian Arctic Expedition, 1918-18 Subject-matter for words [theme for a song] as he really seeks well, The big bow, he constantly sends it straight. He constantly bends it as he walks along, In summer as he walks along. Big birds it is evidently easy to secure, As he carries his pack, walking along. No. 53. Recorp IV. C. 583 Dance Song (aton), from Prince Albert sound, sung by Kdneysq, a Puwtq girl Prelude. Refrain I. Connective. Verse 1. pt. 1. Refrain IT. Connective. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. Verse 1. pt. 1. Verse 1. pt. 2. Verse 2. pt. 1. Verse 2. pt. 2. ye ye yar ye yar ya ye yar ya at yer yar ye ye yat ye ye yar yet yar i ye ya @ yar ye t yar ye ye yer yer ya yt ya at yar ye ye qar t ya hat ye yet ye ye yai uyaydluayiya diciagerya ima taynyayima ye yar ye ye ye yar yar ye rt yar ye yer ye ye ya yt ya at yar ye ye gar ye a ya hat ya auyalumna upat-uaxyatmaya dtciagciya ima tit-ayiydluayiya (Refrain I and Connective) ye ye ye-yar ayiunitydluayiya cumun noyan-uay ima kdniyan-uay «ma (Refrain I and Connective) auyalumna upat-uaxyatmaya cumun nayan'uay «ma ayiunitydluagqayali [he’-e’] Translation Seeing that I was longing for it, I gave it a name, the spirit. Much blood pours from me [my nose] unexpectedly. I gave it a name, seeing that I recognized it. I have not finished it [my song] however. ‘ Whither my little sister, my little Kanirag [has sh gone].! Much blood pours from me unexpectedly. a Whither my little sister—I have not finished it however 1 This is one of the songs that was taught by the Prince Albert sound Eskimos to the Puvvttg Eskimos during the summer of 1915 (see Vol. XII, Pt. A., p. 132), The words are said to have been taken from three separate songs. Songs. of the Copper Eskimos No. 54. Recorp IV. C. 73a 461 An old Dance Song (aton), sung by Keyxut-ck, a Dolphin and Union strait youth Prelude. pt. 1. Refrain. Pxelude. pt. Connective. Verse 1. pt. Verse 1. pt. Verse 2. pt. Epilude. pt. Epilude. pt. Verse 1. pt. Verse 1. pt. Verse 2. pt. Verse 2. pt. Dance Song (aton), incomplete, sung by Haquyyaq, a Puwhg woman » — — qoyagoya ai ye ya goyaqoya qa qgoya gai yaya goyagoya at ye yaya goyagoyayai ye ya ye ye (Refrain) e yaya nevyicuyneg dtoyivals (Refrain) qoqoyaryam neganegaya walualtymt ye e ya ye ye (Refrain and Connective) tdjva uvaya neytymiyuma (Refrain, Connective, he’ he’, and Connective again) qogoyaiyam neqaneqaya twalualeymt ye e ya ye ye (Refrain and Connective) qgoyagoyaye ye e ya ga (Refrain) qoyaqoya ai ye yaya goyaqoyanai ye e ya ye ye (Refrain) (Spoken: dt dmktaug e’) Translation Desiring to eat I am in difficulties about it.! Qogoraiyaq? his meat In a part that has little sinew. Now I when IJ also eat . Qogoratyag his meat In a part that has little sinew. (Spoken: Another song also, eh?) No. 55. Recorp IV. C. 62a yat ye t yaya 1 yaya yer ya yai ye 4 yaya t yet yet yaya at ye 1 yaya % yaya a yayat yayat t yay 4 ya ye ye yar ye ye yar e ye e yaya at yet yaya 14,e, 1am hungry and can obtain no food. ; : : 2 Qogoraiyag, a spirit that lives in the sea, makes the ice break up during winter storms. He was invoked by a shaman in February, 1916, during a succession of fierce gales combined with very cold weather. 462 Canadian Arctic Expedition, 1913-18 ganoga uv'a uweniyuttpek ar ye yt yaya ganoga uv'a inileuyipek ai yet yaya i yaya att yaya ye ye yar ye ye yar ye ye yar ye ye yar ye yaya au ye t yaya catutgeag uwenilayrgqtumi tunutgeag uwinilayoqtumi at ye t yaya ; quyyuyuagaya tatkaya nuytuakai ye ye yat ye ye yar Translation Why here have I never succeeded in marrying? Why here have I never attained to marriage? A slender woman being always able to marry, A stout woman being always able to marry. Qugyuk from far over there she came into sight [?] \ No. 56. Regcorp IV. C. 34 Dance Song (aton), sung by Kuniluk, a Puewlq man. A different version is given in No. 61 (Spoken: tagqz) Refrain. avaiya ai yar yar ya avalya at yat ya avaiya ai yar yar ya at ya avaiya at yar yat ya at yat yai ye Connective. t yar ya Verse 1. avaiya ttqayacaqlayi ai ya Meo iet | wpkwa kivateptiynilu takoyaymiyapkin Refrain. avarya 4 a yai ya ai ya avaiya 1 ya yar yat yai yat ye Connective. zt ya hat ya Verse 2. alyiayiu ¢pkwa katyuinalu umiymaynayyuk puyniynayyuk kununagqcayyuk kivaliaylu ka cuyayyu taipayyuytu ai alyayyuaylu ka aitaugeilu «titaiyaylu ka maliyyuayyu ildiciag dtciag Refrain avarya 1 ya yat ya avarya 4 ya yat ya avaiya t ya yat yar avatya t ya yar ya [w hu-u] 1 The word missing here could not be deciphered on the record. Songs of the Copper Eskimos 463 Translation (Spoken: Begin) Refrain. Over east . Verse 1. Over east let me recall them to mind : . . those people east of us too, because I also have travelled to see them. Verse 2. Algiag they and Kaiyuina, Umingmangnaryuk, Pungningnaryuk, Kununagsaryuk and Kivaliag, Sugaryuk and Tatparyuk | And Algagyuag and Aitaug and Ititaryaq, Maligyuaryuk, Ilatsiag, Atsiag. No. 57. Recorp IV. C. 75 Dance Song (aton), sung by Haquyyagq, a Puwhq woman Another version of this song is given in No 58 Prelude. cavyiyuwyaymilayo-0-yo cdvyiyuyaymilayo unayayay ai ya yayayay 1 ye ye yayaya ai ye yay ay ya ye yay ay ayayay au ye ye ye et yea Connective. e yaya Verse 1. pt. 1. cdvytyuyaymilayo'yo cavyityuyaymilayo unayayay ai ya Refrain. una gar yt t ye yaya (Connective) Verse 1. pt. 2. cuvitkaliunayaya mualeka una cdévyiyuyaymilayo (Refrain and Connective) Verse 1. pt. 3. puwtotkauyaya mualeka una cévytyuyaymilayo (Refrain and Connective) Verse 1. pt. 4. picckpa — kaépoqpauciayo:yo ndleqtuyayminayo cévytyuyaymilayo (Refrain and Connective) Verse 2. pt. 1. cdvytyuyaymilayo-yo cdvyiyuyaymilayo unayayay aye (Refrain and Connective) Verse 2. pt. 2. kayhiyyuwtiunaya mualeka una cdvyiywyaymilayo (Refrain and Connective) Verse 2. pt. 3. kapoqpauciayo-yo nélekituyayminayo cdvyiyuyaymilayo (Refrain) Translation Prelude. Let me go and dance beside him,! Let me go and dance beside him. Fe rse 1. pt. 1. Let me go and dance beside him, Let me go and dance beside him. 1 Another meaning given for this word was ‘‘Let me have a look at him.’’ I do not know which is correct. 464 Verse 1. pt. 2. Verse 1. pt. 3. Verse 1. pt. 4. Verse 2. pt. 1. Verse 2. pt. 2. Verse 2. pt. 3. Canadian Arctic Expedition, 1913-18 Of whatever place he is, That man, let me go and dance beside him. He from Puck, That man, let me go and dance beside him. Whether he will shoot!—whether he will stab me or not, Since I cannot help it, let me go and dance beside him. Let me go and dance beside him, Let me go and dance beside him. ¢ . He from Kanghiryuag, That man, let me go and dance beside him. Whether he will stab me or not, Since I cannot help it, let me go and dance beside him. No. 58. Regcorp IV. C. 4738 Dance Song (aton), sung by Qazyayana, a Coppermine river woman Another version is given in No. 57 aya tmualekauna cévyiyuyaymilayo una gai ye (laughter—kitucuna qovluna nuyauyrg) t yaya kéyoyuvtiunaya mualekauna cévyiyuyaymlayo Una gat yt ye ya 2 yaya ptetkpaucialiyt nateqtu — ndtegqtuyayminayo cdvyiyuyaymilayo una gai (laughter) < yaya (laughter) cuviiqaliunana nualekauna cdévyiyuyaymilayo Una gai yi ye yaya 1 ya ga puvtiwikauna nualekauna cdévyiyuyaymilayo una gat (Spoken: nuyumagqg kapayinumanck tainin-uantk — tla: nuyutpoq) Translation That man, let me go and dance beside him, That man. He ae the bay, that man, let me go and dance beside im That man. Let him shoot them . . . . . . since I cannot help it let me go and dance beside him, That man. He ae Put, that man, let me go and dance beside im That man. (Spoken: It is completed—they are only froth [are wrong], those two little words. Yes, indeed is finished.) 1A mistake on the part of the singer. Songs of the Copper Eskimos - 465 No. 59. Recorp IV. C, 454 Dance Song (aton), sung by Avyana, a Pucvieg man Prelude. e yaye yaye yay ay ay e We yayaya hae yay ay e yaye * yaye ye yay yaye yayar yay ay aye ye ya yaye.ye yay ay e . yaye yaye yaye 1° a5 yaye yayay eye ye... Connective. yaye e yaya . Verse 1. dtogcagtuya tajva e yay e yayanyay e€ ye yayaya atoghurymay ale paniymale yayai'ay e ye yaya 1 Connective. aye e ye yaya, 3 Verse 2. auleyumaviuntyi yay, ai gay ay: Translation Verse 1. Iam going to. produte a song now: Because they a me ta sing, my ‘daughters {want me to sing 2...) | yy. Verse 2. He wishing to go away. \ No. 60. Recorp IV. C. 54. Dance Song (aton), sung by Iyuagq, a Noahoyniqg woman Refrain. the ‘four eyes”’ are the dog’s two eyes, and two white spots, 9n2 over »1¢a eye, which the bzar mistook for another pair of eyes The alternative reading for the last verse means “we evacuatei”’ I have no information as to the occasions on which this chant is sung, although another version of it (No. 112) was said to be an ordinary weather incantation. Songs of the Copper Eskimos 493 No. 110. Recorp IV. C. 838 Weather Incantation, sung by the same man Ayeyana tayiag taying tayiog taying tayizyyumun mamattoyyuk cuayotailt agepciituayluyin agipcutuaymit-uytk Translation The sea, the sea, the sea, the sea, To the sea, the salt one, The rain making them sink into the soft snow, Making them sink into the soft snow [?] No. 111. Rscorp IV. C. 83c Weather Incantation, sung by the same man Aywyana aye yayaya ayai ya gat ya aye 1 yayaya yar ya ane uagana ayat ya gat yar aes layai yaya No. 112. Recorp IV. C. 83p Weather Incantation, sung by the same man Aywyana. Cf. No. 108 Verse 1. Verse 2. Verse 1. Verse 2. ctamdntk iliyyun maélikdluaymdtiyun ye yt yar ye yr ya ttikdcidt tdtpayu 2 ye yt yar ye yt ya citamdntk iliyyun mdlikdluaymatiyun ye yt yar ye yt ya a ye yt ya ye yt ya ye yt ya ye yt ya Translation Four eyes though they followed us, Their little evacuation up there. Four eyes though they followed us.? 1 This song, in the middle of a record embracing five different songs, was overlooked when the texts were first trans- cribed, and without the aid of the Eskimos I could not decipher the significant words. 2 For an explanation of this song see No. 108. 494 Canadian Arctic Expedition, 1913-18 No. 118. Recorp IV. C. 832 Weather Incantation, sung by the same man Aywyana nuyuamiyt nuyuaminr nuyuamint nuyuamty atay at yaya ye yt ya ye yt yaya yaya yaya nuyuamiyt nuyuameyt nuyuamiy, nuyuamty atay ai yay Translation Clouds, clouds, Clouds, clouds down below, Clouds, clouds, Clouds, clouds down below. et Verse 1. Verse 2. Verse 3. Verse 1. Verse 2. Verse 3. Songs of the Copper Eskimos DANCE SONGS FROM SURROUNDING REGIONS MACKENZIE RIVER DANCE SONGS No. 114. Recorp IV. D. 88 Dance Song, sung by Mayilen‘a, a Herschel island man! ana-a-a-a ciluli-ivet ciluliyutit ana-aluyma ciuta tunua cdniyatcilag cdniyatcilay a e (Repeat) ana-a-a anapiyag ciluliyute ana-aluyma ciuta tunua ciniyatcilag cdéniyatcilay a e ana-a-a qgatpa-a-aq ciluli-yutit ana-aluyma ciuta tunua caniyatcilag aliciami (Spoken: nuyut‘oq) (Verse 3: repeated twice) Translation 495 Hast thou found a carcass? Thou finding a carcass— My grandmother, her ear, the back of it Is not unclean, is not unclean. Anapigag [man’s name] thou finding a carcass— My grandmother her ear, the back of it Is not unclean, is not unclean. Qatpaq, thou finding a carcass— My grandmother her ear, the back of it Is not unclean, is not unclean. (Spoken: It is finished) No. 115. Recorp IV. D. 7p Herschel Island Dance Song, sung by Unalina and Cukatysg, two Mackenzie ~y river women qanoq katani ya aya : tyttayoli pilutiya mana tamdtkat-uyo mana € ye ya ya ye yaye ye ya yt ya aya utani-i-i yutani tikenailutauyog ndneyean-un mana ee ye yaye ye yae ye yaeeee ya (Repeat) Translation How . Am I to cast out my wickedness, this one, getting rid of all of it, this one? It [fox] will never reach to the traps, this one. 1A corrupt version of this song was current also among the Copper Eskimos, who learned it from a Mackenzie river Eskimo in 1912. 496 Canadian Arctic Expedition, 1918-18 No. 116. Recorp IV. D. 5a Dance Song, sung by Palazyaq, a Mackenzie river man (Burden syllables only) No. 117. Recorp IV. D. 6 © Mackenzie River Dance Song, sung by Unalina and Cukaiy2q, two Mackenzie river women cuna kan-a-a-a takoyiyo ku-kamli-t-t eqeryant a‘a aulatciyuag aa tekaiyukciuktuaq hui hui he-e-e ayiyaho hui hut e-e-e ayiyaho e é ayiyaho e€ @ ayiyaho hui hut he-e-e aytyaho —taima Translation What down here do I see? Of the river, in the bight, A man jigging for fish, A man engaged in jigging. No. 118. Recorp IV. D. 8a Dance Song, sung by Mayilen’a, a Herschel island man e€ yayt yaye e yayt yaye e€ yay yaye-e e yayt yaye e@ yayi yaye e yay yaye at yaye v yaya aya-ai e yaye e ai eyaya aynagpavii auldtciaya qai-t yaye € yayt yaye-e ar yaye kilicavtt-1 quniayniagpuyut aklagamaqtukdn(?)a ndlik-ak-a qivia ayatciaugegtog 1 yay yaye-e ai yaye @ yay a yaye-e ai ye ye yaya ar ye ya (Spoken: nuyut-sq) Translation The big woman she is proceeding to dance it. Let her proceed [?] We are going to watch. She looks as big as a brown bear. Her trousers, turn and look [at them]. i She has finished fluttering her arms down to her sid@ Lumbriculide. By Frank Smith. ine : : Enchytralide.: By Paul S. Welch...........cccccccccccnceces (Teed September 29, ao wats B: POLYCHAETA. By Ralph V. Chamberlin...........0se000+ se» (esued Noveniber 16, 1920). Part C: HIRUDINEA. . By J: P. Moore....2....ccccecccecnccceeeeevennens (Issued February 4, 1981). Part D: GEPHYREA,. iy inn ¥. Chamberlin.;...... er ere peewee. (Lesued June 10, 1920). Part E: ACANTHOCE By '« Van Cleave....cccccccsosccscceccen: (lesued (Arr 7, 1920). _ Part F: NEMATODAy By N. Ts COD neon ca caida dace ec ance ane Me sisiarsQl ate tines I ‘n preparation). ~ Part G-H: TREMATODA YAND CESTODA. “By A. R, Cooper......... " esued February 4,1981). Part bE TURBELLARIA. By/A. Hassell... ....esseeees sree seen eens Said te wed Kags (In. preparation). Part J: POLYCHAETA {Sppletien tats) By J. H. Ashworth...:...... 1 Nlesued September 29, 1924). Part K: NEMERTINI. By Ralph V Chamberlin....... weevesseee (In preparation). Part L: SPOROZOA.. By J. W. Mayor”. hyaiearalaialise avers ‘ Glaiscasarbraieiel dang Seater (In preparation). Part M: FORAMINIFERA, By J. A. Cushman...........ccecesesceeest .. (Issued, ya a, 1920), VOLUME X: PLANKTON, HYDROGRAPHY, TIDES, ETC, Part C: TIDAL:OBSERVATIONS AND RESULTS. By Ww. Bell Dawson. . (Issued October 1, 192 Part D: HYDROGRAPHY............. se rilajons dies wasesahi Stale sev os ove hea ohare ctu oya'6 seeeeeee (lt preparation). VOLUME XI: GEOLOGY AND GEOGRAPHY , ‘ Part A: THE GEOLOGY OF THE ARCTIC COAST OF CANADA, WEST OF THE KENT NINSULA. By Ji Je O'Noilleiiscs casas evices senna ce eaceaaie ves (Issued' July 5 Tae , PE Part B: ‘MAPS AND GEOGRAPHICAL NOTES. By Kenneth C. Chipman and John R. (Issued July 8, 1924). ' VOLUME XII: THE COPPER ESKIMOS Part A: THE LIFE OF THE. COPPER ESKIMOS. By D. Jenness..,... Issued’ ND Cote 14, 1988), Part B: Te gee ak oe ee eee OF THE WESTERN. AND ig, SONMOBBS: fcihes ocd rwsin cis dee seasaiets beseriee day o aladis esi ae May. . ees, KIM By Part C: THE OSTEOLOGY OF THE ‘WEsTERW AND CENTRAL ESKIM' By John Cameron..........0csssceeeceerensteesseneeeeneeneneeeas vue June 23, '1988), VOLUME XIII: ESKIMO FOLK-LORE 2 Part A: BEEING MYTHS AND TRADITIONS FROM ALASKA, THE MACKENZIE DELTA ND CORONATION GULF. By D. Jenness. ............. (Issued Novemder 15, 1924). Part B: STRIN G FIGURES OF THE ESKIMOS. By D. Jenness........... (Issued August 8, ae VOLUME XIV: ESKIMO SONGS: PART A: SONGS OF THE COPPER ESKIMOS. By Helen H. Roberts and D. Jenness.........++.+- Hedi vkensbaeedeegeiees ...(In press). VOLUME XV: ESKIMO LANGUAGE AND TECHNOLOGY Part ‘A: CoM GRAMMAR AND VOCABULARY OF THE ESKIMO DIALECTS Part B: : TECHNOLOGY OF THE COPPER ESKIMOS... fh gueieiene evel le nesiein iste She (To Et BARHOW, THE MACKENZIE DELTA, AND CORONATION GULF. Love: wines unve-ace a by¥ 4 viv lbw Tea WHE Rassias sew ala © Sreaaler wal leNs stewisia sareenre es (In. preperation), prepared). VOLUME XVI: ARCHAEOLOGY CONTRIBUTIONS a6 THE ARCHAEOLOGY OF WESTERN ARCTIC AMERICA. , pia sie a'6iaie ole minbinra in cis Sia. gine ete wieie os oe ncem ence ener eneeeensseaneseees renee (To be prepared). i (Index issued with last ines of each solumay j \