The above is a tune in which the contrasting phrases are of equal length, and recur with great regularity, but many tunes are found in which the contrasting motives, or melodic particles, follow each other with whimsical irregularity, their relative position and recurrence following no law but the feeling of the singer at the moment. Such is this tune of the Macusi Indians of South America:
![[PNG]](#7492430724626623457_pag11_score1.png.id-4898708905032390191.wrap-0.html.html){kind=link}
But in this Eskimo tune, noted by Dr. Kane, one of the earliest Arctic explorers, while the motives follow each other with regularity and are of equal length, each motive is given twice before the contrasting motive occurs:
![[PNG]](#7492430724626623457_pag11_score2.png.id-4050164737079275929.wrap-0.html.html){kind=link}
Two little tunes from Africa may serve as final illustrations of this contrasting phrase principle. These tunes are also interesting inasmuch as both contain a germ of ‘ragtime.’ The sources of ragtime are to be found in the songs of the American negro slaves, and it is significant to find these hints also present in the songs of the parent African race.
Dance Song
![[PNG]](#7492430724626623457_pag11_score3.png.id-312794060458116860.wrap-0.html.html){kind=link}