An analysis of their musical and textual structure and their mutual relations as well as the study of their variants and the insertion of this repertory in a geographical, historical, social and cultural context, permits us to draw certain conclusions, concerning our approach of the subject.
We tend, that is, towards a certain kind of typology of the lullabies examined, which gives evidence to the existence of two opposed groups (types A and B), encountered all over the country, but related to the extreme cases: a lullaby from Corfu and another from Asia Minor. The lullabies of the type A tend to a ditonic or tritonic character, an ambitus smaller than a perfect fifth, regular rhythm, syllabic character, musical strophes coinciding with poetical lines, verses without caesurae and the absence of a refrain. Lullabies of the
type B show a tendency for semitonic modes (either diatonic or chromatic), larger ambitus (at least a perfect fifth), free rhythm, melismatic character, musical strophes coinciding with two or four poetical lines, political verses and, at times, the existence of a refrain. Common characteristics in the two types are the monodic character, modality and their isometric structure, as regard the relation of musical and poetic unities.