Sytlable= Total Fractions of 0.05 and over have been ‘ISOSYLLABICTTY IN 696 FIRST LINES OF Se” TEEN counted a2 4 vole number, of a tingle sanpleof ayair perforsed {n song. This sample was sung and ot Seled'in 1901 in Holland’ in studio conditions by Drew Natron Hasyin of Terfue thang, South Sinatra, who in hfe childhood learnt sya” singing from Nitipes algo clrculate are atill simg in he region around Palembang, 20 Sor tyaie cing conposed,, The nologies they are sung to are not eied to Revefeular oyatrs Singing ayatr is eaually an anaceur activity in which Dert{altsacion does not play « significant ole. air are sung only by bales, mostly at private occasions, during moments of relaxation in the Miytine or {a the everinge, Ocassionally spacer are sung at marriage cele {ixtione or ac he Farevell ceremony before someone noes on pilgrimage titiecea. "The melody analysed here clearly functions. as the vehicle of he exe but else teructurally sods to its meaning hy the correspondences Mae Tercepeibles "The melodic atyle of the performance is entirely word= In the recorded performance two types of melodic shapes can be dis~ cerned. with the quetrain of the sjair and form a closed melodie phrase. The Melodie phrase of both type T-and type TE divides into an antecedant Gprovaria) and consequent (apodoris). The antecedent (a + b) and the Sttesl medium. ‘The division is marked by the occurrence of a melisma on date of the voeaT pitch range, and a breathing pause (v). Type T and Type Ti have e eifferant antecedent, but share an’ identical consequent, “iso marked by a sustained hote in the higher range of the melodic anbitus, preferably alto enbeltished vith a melisma, but without a breathing, paute, Characteristic for the consequent, however, is that both its subphrases end tn the sane pitch, the note G, the final note of eubphrase ¢ anticipating that of de The over-all symetty ie sustained {a the subdivision of the bubpheases into snallst melodie segments. These eve again marked by a Sustained last note. This note is never eabellished in the subphrases the over-all schene given shove leaves possibilities for variation, hich eolances the pervesive offect of the performnee. The interval With i amall, the melody moving steyrwise as a rule. Throughout the b lnd.c aubphrasce microtonal tatonation occurs, that may be traced back to Gurtenie recitation, considering the use of the note A sharp. The si Phrases d revert to's pronovnced astural A Uingtressed syllables are preferably sung on shore notes. Stresses, SE spoken Languages The overcell thythle achene is w partan tom lose to speech ‘The munber of syllables per unit does not influence the overall contour