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{"created":"2022-01-31T12:33:16.863941+00:00","id":"lit4579","links":{},"metadata":{"alternative":"Philosophische Studien","contributors":[{"name":"Scripture, Eduard W.","role":"author"}],"detailsRefDisplay":"Philosophische Studien 19: 599-615","fulltext":[{"file":"p0599.txt","language":"en","ocr_en":"Studies of Melody in English Speech.\nBy\nE. W. Scripture.\nYale Univ., New Haven, Conn. With 11 figures in text.\nThe term \u00bbmelody\u00ab is used here to indicate the rise and fall in pitch of the tone from the vocal cords during spoken words, just as during singing.\nThe discussions of the melody of speech by linguistic writers have been summarized by Storm1). The use of melody as a factor of expression in speech has been treated by Wundt2). Very little experimental work, however, has been done.\nAttempts have been made to determine the melody by merely listening to phrases. This method is unreliable for several reasons: 1) the speech sounds are generally so brief that the pitch can hardly be detected for a single one; 2) each speech sound comprises many tones and the ear gets a total impression of pitch that is usually different from the lowest tone; 3) the pitch of a vowel is nearly always continually changing and the ear fails to get more than a vague impression of a sort of average pitch or of a succession of steps in pitch. In spite of the careful studies of speech-melody by the ear alone we can rely only on experimental records of the actual voice vibrations.\n1) Storm, Englische Philologie. 2. Aufl. I. p. 205. Leipzig 1892.\n2; Wundt, V\u00f6lkerpsychologie. I. Bd. 2. Th. p. 397. Leipzig 1900.","page":599},{"file":"p0600.txt","language":"en","ocr_en":"600\nE. W. Scripture.\nThe experiments of Martens1) included a number of German phrases, such as \u00bbVater und Mutter\u00ab, \u00bbDer Donner rollt\u00ab, \u00bbLauf mein Kind\u00ab, etc. The words were spoken into Hen sen\u2019s phon-autograph, and the record on the smoked surface was studied and measured. Schwann and Pringsheim2) used a Scott phonauto-graph to record French words and phrases. With Hensen\u2019s phon-autograph Pipping3) has studied the melody curves of a number of isolated Finnish words. The variations in pitch in German vowels spoken singly into a phonograph and measured by aid of a corneal microscope have been studied by Meyer4). Using a laryngeal vibrator and a magnetic marker Rousselot5) obtained records that enabled him to give the average pitch of many French vowels. Vie tor6) has used a Marey tambour to record the vibrations of the voice as it issues from the mouth; he gives results for the word \u00bbdu\u00ab spoken with different expressions. Marichelle7) used a phonograph to record various French phrases; his curves of melody, however, seem to have been drawn to represent the impression on his ear and not to have been plotted from measurements. The melody in several examples of I, eye, die, thy, fly, etc. has been determined by measurements of a gramophone record8).\nIn attempting more extensive investigations of the melody of speech I have used two. methods.\nOne method consisted in tracing off the curves of a gramophone plate on to a band of smoked paper in such a way that it could be accurately measured; a full description of this method is given\n1)\tMartens, Ueber das Verhalten von Vocalen und Diphthongen in gesprochenen Worten. Ztschr. f. Biol. 1889. XXV. p. 297.\n2)\tSchwann und Pringsheim, Der franz\u00f6sische Accent. Archiv f\u00fcr das Studium der neueren Spr. u. Lit. 1890. LXXXV. p. 203.\n3)\tPipping, Zur Phonetik der finnischen Sprache, Untersuchung mitHenseris Sprachzeichner. M\u00e9m. de la Soc. finno-ougrienne. XTV. Helsingfors 1899.\n4)\tMeyer, Zur Tonbewegung des Vocals im gesprochenen und gesungenen Einzelwort. Neuere Sprachen. 1897. IV. Phonet. Stud. 1.\n5)\tRousselot, Les modifications phon\u00e9tiques du langage, 40. Rev. des pat. gallo-rom. 1890. IV.\n6)\tViet or, Elemente der Phonetik. 4. Aufl. p. 293. Leipzig 1898.\n7)\tMarichelle, La parole d\u2019apr\u00e8s le trac\u00e9 du phonographe. Paris 1897.\n8)\tScripture, Researches in experimental phonetics (first series), Stud. Yale Psych. Lab. 1899. VU. 1.","page":600},{"file":"p0601.txt","language":"en","ocr_en":"Studies of Melody in English Speech.\n601\nelsewhere1). Of the records obtained in this way only one set has been studied, namely, \u00bbRip Van Winkle\u2019s Toast\u00ab spoken by the famous actor, Joseph Jefferson2).\nThe other method consisted in speaking into a mouth piece connected with a Marey tambour. The tambour was a very small one with a lever of very light French straw, according to the new model suggested by Rousselot and made by Charles Verdin (Paris). The records were made on a Verdin drum at its fastest speed. A timeline was drawn on the drum just before and just after each phrase (or pair of phrases); this precaution was, however, hardly necessary, as the drum was found to be constant to the ten-thousandth of a second during each set of experiments. The tambour was tested by singing tones of different pitch into it; it was found to respond properly. The records were made in the laboratory of experimental phonetics at the Coll\u00e8ge de France (Paris) ; the apparatus was kindly placed at my service by the director, the Abb\u00e9 Rousselot.\nThe curves were measured under a magnifying glass by a ruler divided into half-millimeters, the tenths being estimated by the eye. Owing to the roundness of many curves it was often impossible to decide which tenth to select to indicate the extreme point. Other small variations were introduced by the resonance tones in the vowels ; in such cases the wave-lengths were sometimes measured from top to top as well as from bottom to bottom. The wave-lengths in millimeters were turned into time by multiplying by the coefficient obtained from the time-line; the results gave the period of each wave in the cord tone. The frequencies were found by taking the reciprocals of the periods. The results were tabulated and plotted. When the voice fluctuates greatly, or when voices of different pitch are to be compared, it is necessary to use the more accurate method of supposing the speech curve to be laid along the X-axis and the ordinates of frequency to be erected at the beginning of each wave3).\n1)\tScripture, The Elements of Experimental Phonetics, p. 52. New York 1902; also in Researches in experimental phonetics (second series)^ Stud. Yale Psych. Lab. 1902. X. 50.\n2)\tScripture, Elements, as before, p. 479; Studies, as before.\n3)\tScripture, Speech Curves, I. Mod. Lang. Notes, 1901, p. 71. The Elements of Experimental Phonetics, p. 61. New York 1902.","page":601},{"file":"p0602.txt","language":"en","ocr_en":"602\nE. W. Scripture.\nWhen the voice fluctuates little, there is no noticeable gain in using this latter \u2014 very laborious \u2014 method. In the original plots in the present case the scale was so selected that distance along the X-axis approximated on the average the horizontal length of the speech tracing; in the printed illustrations this is reduced to one-fifth. The units along the X-axis indicate the serial numbers of the succe-sive vibrations: first, second, third, etc. In the cases of surds or of sonants with no recorded vibrations a space was left in the plot which was equal to the length of the sound in the original record.\nThe records were made by the voice of the author, who is of New England birth and parentage (Mason, N. H., U. S. A.) from families of the early English settlers, but whose typical New England pronunciation was modified during a childhood passed in New York City. The phrases spoken were mainly those given by Sweet in his discussion of intonation in English1).\nThe phonetic notation employed here probably needs no explanation; aside from some minor peculiarities (which will be explained as they occur) the symbols are those in common use in phonetics. In the Figures and the Table the phonetic symbol is placed at the beginning of each sound. When two letters occur together, it has been found impossible to assign any limit between the sounds. In connected speech the sounds rarely have any well defined limits ; one sound changes more or less gradually to another and any precisely assigned limit must be more or less arbitrary2).\nIn the records of Jefferson\u2019s voice3) the declarative sentence was found to be regularly of circumflex pitch, that is, the pitch rose during the first part and fell during the last. This fundamental form showed variations in the amount of change, in the position of the highest point, in the general height of pitch, etc., to express various modulations of thought. In commands, questions, exclamations, etc., the fundamental form was modified to a degree increasing with the departure from the simple declarative form. The following cases show variations from the declarative form.\n1)\tSweet, New English Grammar. II. p. 39. London 1898.\n2)\tScripture, Elements, as before, p. 446.\n3)\tScripture, Elements, as before, p. 479; Studies, as before.","page":602},{"file":"p0603.txt","language":"en","ocr_en":"Studies of Melody in English Speech.\n603\nIn the record of the general interrogative sentence \u00bbDid you see him?\u00ab the curve of pitch (Fig. 1) rises from beginning to end with considerable steadiness. The amount of rise is considerably less than an octave; it does not seem to coincide with any musical interval. The record did not give the vibrations for the first [<?]. There was no\nH\u00d40 . AOO 150 100 AO\nr* * A j U $ i id you see hurt\ni\tm\n*20\t30\u201c 40\t60\t00\t70 SO SOTOO770 120\t130\tl\u00a5)\nFig. 1.\ninterruption of the vibrations during the record for \u00bbsee\u2019im\u00ab ; apparently no [A] was present in \u00bbhim\u00ab; or, if present, it must have been a sonant [A]. This presence of a sonant [A] instead of a surd one between two vowels has lately been found to be frequent.\nThe record of the general interrogative sentence \u00bbIs he here?\u00ab (Fig. 2) showed an even cord tone of moderately high pitch during\nHO,\ntod.\nIjofr-'\"'--\t;....\n,50J\u2018 Is he hfire 9\nh t\n10\t20\t30 W SO 60 TO 80 QO 700\t110\t120\nFig. 2.\nthe words \u00bbIs he\u00ab, and a steady rise during the [>'] of \u00bbhere\u00ab to a tone maintained throughout the [a] at the end. The relation of the tone at the beginning to that at the end was exactly 7 : 8. The [A] seems to have been very faint or entirely lacking ; the last sound was the indefinite vowel [a] commonly used in English for \u00bbr\u00ab.\nIt is well known that in general interrogative sentences there is a rise of pitch. The first of the preceding cases indicates that the rise may he a gradual one from beginning to end. The second indicates that it may consist in a change from a lower constant tone to a higher one through a more or less rapid slide.\nThe record of the special interrogative sentence \u00bbWhere is he?\u00ab gave the curve of frequency shown in Fig. 3. There is a steady\n\u00ab4...._..................\nio*.\t\u201e f\t........\n*4* Where, is fw f , \u2018\t. .\n10 to 30\t*0 so eo 10 SO 90 100\nFig. 3.\n0","page":603},{"file":"p0604.txt","language":"en","ocr_en":"604\nE. W. Scripture.\nfall of pitch of exactly an octave between the beginning and the end. There seems to he a mere trace of the usual circumflexion in an emphatic word at the beginning. The first sounds of \u00bbwhere\u00ab do not appear in the record. The record of the vowel [ae] ends in some vibrations that seem to indicate an attempt at [r] instead of the indefinite vowel [9].\nThe special interrogative sentence \u00bbWhere did you see him?\u00ab with the emphatic word at the beginning shows (Fig. 4) a circumflex rise\n200\nISO\n100\n50\n\u25a0se\to di\n- Where did you see him ? t\ndj u\nIQ 20\t30\t40\t50\t60\t70\t80\t00\t700 710\t120 130\t140\t160\t130\nPig. 4.\nfor the initial emphatic word, a tone of almost constant pitch thereafter, and a fall at the end. The general form is the same as that of the declarative sentence. The rise and fall do not occur by any simple musical intervals.\nThe record of the general interrogative sentence with a tag \u00bbDid you see him, John?\u00ab shows (Fig. 5) a rise in pitch from the begin-\nssoi\n200\nISO\n100\nso\ndi dj u s i Did, yotu $ee him,Jofynf\ni.. .1 -1\u2014I i..T I - 1\u2014i\u20141\u2014I .1 ..i-i\u20141\u20141\u20141\u20141\u20141\u2014ju- tu\u20141\u20141\u2014i. i ,i\u20141\u20141\n10\t20\t30\t40\t60\t60\t70\t80\t00 lOQ 110 120\t130 7+0 ISO 70Q\nPig. 6.\nning to the end of the interrogation at \u00bbhim\u00ab, as usual. The tag \u00bbJohn\u00ab begins somewhat lower than the end of \u00bbhim\u00ab; it rises as a single interrogative word would, but it starts higher. The whole sentence, including the tag, shows the usual rise of pitch for the general interrogative sentence.\nIn making the record of \u00bbWhat! what did you say\u00ab? the first word was used to express surprise. Such a phrase would be used, for example, by a person to whom a piece of startling news was brought.\nThe curve of pitch for \u00bbWhat\u00ab ! (Fig. 6) is of the circumflex form usual in isolated words1). The pitch is, however, in general very\n1) Meyer, as before; Scripture, Elements, as before, p. 478.","page":604},{"file":"p0605.txt","language":"en","ocr_en":"Studies of Melody in English Speech.\n605\nhigh for the author\u2019s voice, and the change is considerable. The highest point is almost exactly an octave above the beginning. In\n250}-\n200.\t...\u2022\u2022\u2022\u2022* '* ..............................\nISO*\t....... \u2022 \"\u25a0\u2022'in\u00bb,,'.,, ( t\ntoo : a\t(\thwa d I d ja se ..................\u2022\u2022\nsO \u25a0 WhdtH What did yoy say ?................. I i...........\u2014i\u2014i\n\u2019 to *0 1 30 ' to SO 60\t70 so SO 100 ItO HO 130 1*0 ISO 100 170 ISO\nFig. 6.\ngeneral the word shows a rise of pitch. The exclamation was followed by a pause of about one third of a second.\nThe special interrogative portion \u00bbWhat did you say?\u00ab shows (Fig. 6) a general fall with a circumflexion of pitch for the initial emphatic word as in the previous cases (Figs. 3 and 4). The interval between the highest and lowest points is an octave. The vowel of \u00bbwhat\u00ab is supposed to resemble [d\\. The \u00bbt\u00ab of \u00bbwhat\u00ab became in this case fused with the \u00bbd\u00ab of \u00bbdid\u00ab. The word \u00bbyou\u00ab was pronounced as usual in fluent speech, namely, as the liquid [j] followed by the indefinite vowel [9]. The [e] of \u00bbsay\u00ab was diphthongized as usual toward [ei\\\nThe record for the exclamation of \u2019surprise, \u00bbGood heavens!\u00ab shows (Fig. 7) for \u00bbGood\u00ab almost exactly the same course of pitch as\nuoi 2.00 ISO 7 00 50\nyUOood hja.vms!\n10 20 30 to so eo 70\nFig. 7.\nthat for \u00bbWhat!\u00ab (Fig. 6). The word \u00bbheavens\u00ab seems to share very little in the rise of pitch. When the first and last portions of the phrase are compared roughly as wholes, there is a fall in pitch. This peculiar high circumflex pitch of the initial word \u00bbGood\u00ab is noteworthy.\nThe record of the exclamation \u00bbHow well he looks!\u00ab gives a circumflex curve of pitch (Fig. 8), with a sudden rise during the\n*00. .......................\n150.y\t*\u2022\u2022\u2022\u201c\u25a0\t...,VV...........\n100-a u we\tl hi lu \"ks\n00 | | . . . , , ,\n*0\t16\t20\t30 \\O SO 60\t70\t80\t90\t100\nFig. 8.","page":605},{"file":"p0606.txt","language":"en","ocr_en":"606\nE. W. Scripture.\nword \u00bbHow\u00ab, a constant tone during \u00bbwell\u00ab, and a gradual fall at the end. It is the typical curve of a declarative sentence with the point of emphasis at the beginning.\nSweet states that in single words used to express surprise there is a steady rise in pitch, hut that in groups and sentences there is a fall. According to the records just given these apparently different cases are really the same. For single words there is a circumflex rise \u2014 that is, a long rise and a small fall; for phrases there is the same circumflex rise for the emphatic word at the beginning, followed by a gradual fall for the rest of the phrase.\nThe sentence \u00bbI\u2019ve done all I can\u00ab was spoken with an expression of resignation, as if everything had been done to avoid an unpleasant result, but in vain; the emphasis was on \u00bball\u00ab. The first words \u00bbI\u2019ve done\u00ab show a constant pitch (Fig. 9). They thus contribute\nzoo\nw\ntoo\n30\n[/\u2022'\u2022.A\u00bb#..................... ...\ntjUL. v *\u2022 : 'n \u00e0 \u2022 , l'ye,d\u00e7ni?g(Ulc\u2018ar?,\ncut\nx n\n40\t30\t60\t70\t80\niOO HO 1ZO 130 140 130 100 170\nPig. 9.\nto the expression by their monotony; in an ordinary narrative sentence they would presumably show a rise in pitch. The remainder of the sentence shows a circumflexion of pitch. This circumflexion differs from that of most declarative and emphatic sentences in having a slow rise with a rather quick fall. The lowest and highest parts have approximately the relation of 4 to 7 in pitch. The lengthening of the vowel in \u00bball\u00ab probably also contributes to the expression.\nThe sentence just discussed was suggested by Sweet\u2019s statement that a sentence like \u00bbI\u2019ve done all I can\u00ab spoken appealingly to mean \u00bbI\u2019ve done all I can, have n\u2019t I?\u00ab would have a rise of pitch at the end. I find it quite impossible to speak the sentence \u00bbI\u2019ve done all I can\u00ab naturally with a rising pitch at the end except as an expression of irritation and remonstrance; this latter expression seems to be that intended by Sweet.\nThe sentence \u00bbI wish you\u2019d let me alone\u00ab was spoken with an expression of irritation and remonstrance. The emphasis lay on \u00bbwish\u00ab","page":606},{"file":"p0607.txt","language":"en","ocr_en":"Studies of Melody in English Speech.\n607\nand \u00bbalone\u00ab. The word \u00bbwish\u00ab shows (Fig. 10) the usual circumflex pitch of an emphatic word, while \u00bbalone\u00ab shows a riseof pitch. The\nZ\u00d4<k\nzoo\nISO-\n100\nso\n<tl\n7 wish you'd let me alone-\n-jo 20\t30 to SO qo 70\nJ 9 so\n\"\"die\" l\n~\u00a3)& 100 110 do 130\tl+\u00b0 *50 160170\nFig. 10.\n180 wo zoo\nvoice begins at a slightly higher pitch than usual, rises through an interval of 4 : 5, falls about an octave, and rises about 3 : 5 at the end. The expressiveness seems to depend on the peculiar musical intonation in connection with the greater stress (intensity) at the time of the first elevation in pitch. The same modulation of pitch without the stress at the first elevation occurs in expressions of resigned agreement or reluctant consent, as in \u00bbI suppose you can\u00ab with some such meaning as \u00bbI wish you couldn\u2019t do it but I suppose you can\u00ab; this phrase when uttered with stress on \u00bbsuppose\u00ab expresses irritation as in the case just discussed.\nThe sentence \u00bbWill you do as you\u2019re told!\u00ab was spoken to express remonstrance, pleading and command, the stress being on \u00bbWill\u00ab. It begins at a rather high pitch (Fig. 11), rises through an interval\nZOO\nISO\n100\nso\n-vt\n-\t. .\t^^\t.a-\n/re xrnu'ra tnlli !\tu\t.\t.\t.\t,\nmu you, do op.you're, told.1.\nIP do\tso' \u00e8o\u2018\t\u00e8o too >io ue too M ao\nFig. 11.\nof about a major third, and then slowly falls to the end. Sweet is correct in stating that such sentences have a falling pitch, but this is so only because they begin higher than the usual declarative sentences.\nAll of the preceding records, as well as the Jefferson records mentioned above, show that Aristoxenus1) was correct in asserting that in speech, as contrasted with song, the voice is constantly and continuously changing in pitch. The changes are so gradual and so\n1) Aristoxenus, Harmonica, I. \u00a7\u00a7 25, 28, p. 8, Meib.","page":607},{"file":"p0608.txt","language":"en","ocr_en":"608\nE. W. Scripture.\ncomplicated that any attempt to represent the melody of speech by musical notation is thoroughly misleading not only because for each note some one point in the changing pitch must he arbitrarily selected, hut also because the most essential characteristics of the expression lie in the form of the change itself.\nAll these records and also the Jefferson ones show that the changes in pitch are not very great. This has been supposed to be a characteristic of American English as contrasted with Southern British English, but until experimental records have been made of the latter it is impossible to state exactly in what the greater modulation consists.\nFurther investigations of the melody of speech are highly desirable for the purposes of psychology, phonetics and oratory. In ordinary speech the cord tone \u2014 as well as the other tones \u2014 rises and falls without any conscious intention on the part of the speaker; it is one of the factors of phonetic expression which has been acquired in learning the language. Changes in the cord tone are used in some languages as a means of distinction among sounds just as explosions, cavity tones, etc. are used in most languages to make different consonants and vowels. The Chinese \u00bbtones\u00ab are variations in the cord tone that seem quite analogous to the variations in the cavity tones which we use to produce different vowels. The words that to us would appear as \u00bbdo\u00ab spoken in four different tones would be for the Chinese just as distinctly different as \u00bbda, de, di, do\u00ab are to us. I have noticed this perception of the melody of the cord tone as a component of the speech sound in the case of an infant who for a while used the intonations and modulations of words as they were first learned. In most European languages the cord tone, however, is generally separated from the other factors of the word and is reserved to express emotion; thus, \u00bbfather'\u00ab (with fall), \u00bbfather'\u00ab (with rise), \u00bb'father\u00ab (with rise and fall), \u00bb'father\u00ab (with fall and rise), \u00bbfather\u00ab (whispered), etc. all refer to the same person but with the addition of an expression of calling, warning etc. 3 We have thus in the melody of speech a partial record of the emotional expression of the speaker.","page":608},{"file":"p0609.txt","language":"en","ocr_en":"Studies of Melody in English Speech.\n609\nTable of Measurements.\n1. Did you see him?\nSound: .................. *........................................\nPeriod [or duration] in 0.0001s : 75 78 81 73 78 73 75 78 78 78 75 78\nFrequency: ................. 133 127 123 137 127 137 133 127 127 127 133 127\nd .... j .............................. u ....................................\n611\t64 64 67 59 59 62 62 59 62 62 59 62 62 62 62 59 59\n154 154 148 168 168 161 161 168 161 161 168 161 161 161 161 168 168\n.......................\u00bb........... s....... i ......................................\n62 62 59 59 56 56 56 56 [667...] 48 56 59 56 56 54 54 54 54 161 161 168 168 176 176 176 476\t205 176 168 176 176 185 185 185 185\n54 54 54 56 54 54 54 54 54 54 54 54 54 54 54 56 54 54 56 185 185 185 176 185 185 185 185 185 185 185 185 185 185 185 176 185 185 176\n56 56 59 56 56 54 54 54 51 51 51 48 48 61 48 48 48 48 51 176 176 168 176 176 185 185 186 194 194 194 205 205 194 205 205 205 205 194\n48 48 45 48 45 48 48 45 45 45 43 43 45 46 43 48 48 45 43 205 205 217 205 217 205 605 217 217 217 231 231 217 217 231 205 205 217 231\n40 43 43 43 45 45 43 43 40 43 43 43 40 40 37 37 43 40 43 246 231 231 231 217 217 231 231 246 231 231 231 246 246 264 264 231 246 231\n43 43 40 40 43 43 43 231 231 246 246 231 231 231\n2. Is he here?\nSound:.......... ........................................................\nPeriod in 0.00018: 57\t57\t57\t57\t57\t57\t60\t57\t57\t57\t60\t57\t64\t54\t54\nFrequency: ..... 175\t175\t175\t175\t175\t175\t166\t175\t175\t175\t166\t175\t185\t185\t185\n................................. %........... i.......................\n54 57 57\t60\t40\t60\t60\t- 69\t57\t60\t60\t60\t42\t45\t69\t51\t60\t60\t54\n185 175 175\t166\t166\t166\t166\t144\t175\t166\t166\t166\t238\t222\t144\t196\t166\t166\t185\n51 54 64 51 51 51 48 51 54 51 54 54 57 54 54 54 57 57 57 196 185 185 196 196 196 208 196 185 196 185 185 175 185 185 185 175 175 175 Wundt, Philos. Studien. XIX.\t39","page":609},{"file":"p0610.txt","language":"en","ocr_en":"610\tE. W. Scripture.\n57 57 67\t63\t66\t60\t60 63\t54\t57\t60\t57\t51\t72\tk . 60\t45\t54\t51\t. i 45\n176 175 175\t158\t151\t166\t166 158\t185\t175\t166\t175\t196\t138\t166\t222\t185\t196\t222\n48 51 48\t48\t48\t45\t45 48\t45\t42\t45\t45\t45\t45\t45\t42\t45\t45\t45\n208 196 208\t208\t208\t222\t222 208\t222\t238 9 . .\t222\t222\t222\t222\t222\t238\t222\t222\t222\n42 42 45\t42\t42\t42\t39 42,\t39\t36\t39\t42\t39\t39\t39\t39\t39\t39\t39\n238 238 222\t238\t238\t238\t256 238\t256\t217\t256\t238\t256\t256\t256\t256\t256\t256\t256\n39 39 39\t39\t39\t42\t42 42\t42\t42\t39\t39\t39\t42\t42\t42\t39\t39\t\n256 256 256\t256\t256\t238\t238 238\t238\t238\t266\t256\t256\t238\t238\t238\t256\t256\t\n\t\t\t\t3. Where\t\t\tis he?\t\t\t\t\t\t\t\t\nSound:\t\t\t\u00e6 .\t\t\t\t\t\t\t\t\t\t\t\t\t\nPeriod in 0.0001B:\t\t: 63\t66\t72 72\t81\t81\t75\t75\t72\t69\t72\t69\t75\t69\t66\nFrequency: .\t\t158\t151\t138 138\t123\t123\t133\t133\t138\t144\t138\t144\t133\t144\t151\n75 72 66\t72\t66\t66\t63 66\t69\t66\t69\t72\t66\t66\t63\t66\t69\t69\t69\n133 138 151\t138\t151\t151\t158 151\t144\t161\t144\t138\t151\t151\t158\t151\t144\t144 :\t144\n69 72 72\t72\t72\t72\t72 72\t72\t69\t81\t78\t81\t81\t78\t78\t81\t78\t81\n144 138 138\t138\t138\t138\t138 138 ;\t138\t144\t123\t128\t123\t123 :\t128 :\t128\t123\t128 :\t123\n75 75 78\t78\t78\t75\t75 81\t81\t81\t81\t84\t87\t87\t93\t93 (1170.\t\t\t\u2022 \u20221\n133 133 128 :\t128\t128\t133 :\t133 123 :\t123 :\t123\t123\t129\t114\t114\t107\t107\t\t\t\nhi\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n84 63 96\t99\t93\t96\t99 93\t99 :\t102\t93\t105\t99 :\t108 105 :\t\tLll\t114 :\t114 :\tLll\n119 158 104 :\ttoi\t107\t104 :\tLOI 107 :\tLOI\t98 :\t107\t96 :\t101\t92\t95\t90\t87\t87\t90\n117 117 117 :\t117\t117 :\t120\t\t\t\t\t\t\t\t\t\t\t\t\n85 85 85\t85\t85\t83\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t4. Where\t\tdid you see\t\t\t\thim?\t\t\t\t\t\t\nSound: \t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\nPeriod (or duration] in 0.0001 s : 62\t\t\t\t\t64\t62\t64\t69\t59\t56\t59\t59\t56\t54\t56\nFrequency: .\t\t\t\t... 161 154 161 154 168 168 176 168 168\t\t\t\t\t\t\t\t\t176 185 176\t\t\n48 56 56\t54\t56\t56\t54 54\t54\t54\t51\t48\t51\t51\t48\t48\t48\t48\t48\n205 176 176 185 176 176 185 185 185 185 194 205 194 194 205 205 206 205 205","page":610},{"file":"p0611.txt","language":"en","ocr_en":"Studies of Melody in English Speech.\t611,\n_ ................d ................ d ....\n48 51\t51\t51\t54 54\t54\t54\t54\t54\t54\t54\t54\t51\t51\t54\t51\t[88...]\n205 194\t194\t185\t185 185\t185\t185\t185\t185\t185\t185\t185\t194\t194\t185\t194\n48 51\t51\t54\t54 54\t56\t54\t56\t66\t54\t54\t66\t54\t54\t54\t54\t54\t54\n205 194\t194\t185\t185 185\t176\t185\t176\t176\t185\t186\t176\t185\t188\t185\t185\t185\t185\n............ d.......j ............................ u............................\n56 54\t56\t[149...] 65\t65\t64\t59\t56\t62\t59\t56\t56\t56\t56\t62\t56\t56\n176 185\t176\t152\t152\t154\t168\t176\t161\t168\t176\t176\t176\t176\t161\t176\t176\n56 56\t56\t56\t66\t56\t56\t56\t56\t56\t56\t56\t56\t54\t56\t51\t56\t54\t54\n176 176\t176\t176\t176\t176\t176\t176\t176\t176\t176\t176\t176\t185\t176\t194\t176\t185\t185\n[581...]\t54\t54\t64\t54\t54\t54\t54\t54\t54\t54\t54\t54\t54\t54\t54\t54\t54\n185\t185\t185\t185\t185\t185\t185\t185\t185\t185\t185\t185\t185\t185\t185\t185\t185\n54 54\t64\t54\t54\t59\t59\t59\t59\t59\t59\t59\t59\t59\t59\t62\t62\t62\t62\n186 185\t185\t185\t185\t168\t168\t168\t168\t168\t168\t168\t168\t168\t168\t161\t161\t161\t161\n............... m ......................\u00bb........\n62 62\t62\t62\t70\t70\t70\t70\t75\t81\t81\t81\t81\n161 161\t161\t161\t142\t142\t142\t142\t138\t123\t123\t123\t123\n5j. Did you see him, John?\nSound: .................... di............................................\nPeriod [or duration] in 0.00018 : 75 75 75\t70\t70\t70\t70\t67\t67\t67\t64\t64\n'Frequency: ............... 133 133 133 142 142 142 142 148 148 148 154 154\n....................... d......j.................. u......................\n64 59 59 56 64 54 [270...] 59 59\t62\t62\t62\t59\t56\t59\t56\t59\t56\n154 168 168 175 185 185\t168\t168\t161\t161\t161\t168\t176\t168\t176\t168\t176\n...................... s ....... i ....................................................\n59 56 59 56 69 [405...] 59 54 54 56 56 56 56 56 66 56 54 54 168 176 168 176 168\t168 185 185 176 176 176 176 176 176 176 185 185\n54 56 54 54 64 56 56 56 54 54 54 54 54 54 51 51 61 48 48 185 176 185 185 185 176 176 176 185 185 185 185 185 185 194 197 197 205 205\n......................................i.....................................\n48 48 48 48 48 48 48 48 48 43 48 54 43 51 45 48 54 35 62 205 205 205 205 205 205 205 205 205 231 205 186 231 194 217 205 185 284 161\n39*","page":611},{"file":"p0612.txt","language":"en","ocr_en":"612\nB. W. Scripture.\n........................................... j............... a,\n51 54 54 51 48 51 51 54 54 54 [405...] 54 54 56 59 59 59 56 194 185 185 194 205 194 194 185 185 185\t185 185 176 168 168 168 176\n56 54\t54\t51\t51\t51\t51\t51\t51\t51\t51\t54\t51\t51\t51\t51\t51\t48\t48\n176 185\t185\t194\t194\t194\t194\t194\t194\t194\t194\t185\t194\t194\t194\t194\t194\t205\t205\n............n..........................\n51 51\t51\t48\t48\t48\t48\t48\t48\t48\t45\t45\t48\t45\t43\t45\t45\t45\t43\n194 194\t194\t205\t205\t205\t205\t205\t205\t205\t217\t217\t205\t217\t231\t217\t217\t217\t231\n43 43 43 43 43 43 43 43 43 43 43 43 43 231 231 231 231 231 231 231 231 231 231 231 231 231\n6. What! What did you say?\nSound: .................... a\nPeriod [or duration] in 0.0001s :\t69\t72\t69\t75\t72\t63\t63\t60\t57\t60\t54\t57\nFrequency: ............... 144\t138\t144\t133\t145\t158\t158\t166\t175\t166\t185\t175\n54 51 54 48\t45\t48\t45\t45\t39\t39\t39\t39\t39\t45\t42\t48\t45\t51\t45\n185 196 185 208\t222\t208\t222\t222\t256\t256\t256\t256\t256\t222\t238\t208\t222\t196\t222\n............. t \u25a0... 1 ... hwa .......................................\n45 45 42 [4518.........] 63 63 63 63 63 57 57 57 54 54 54 54 57\n222 222 238\t158 158 158 158 158 175 175 175 185 185 185 185 175\n57 57\t57\t54\t63\t63\t57\t57\t57\t57\t54\t57\t60\t57\t60\t57\t60\t60\t60 -\n175 175\t175\t185\t158\t158\t175\t175\t175\t175\t185\t175\t166\t175\t166\t175\t166\t166\t166\n............ d .......................p.........................................\n60 60\t60\t60\t60\t60\t63\t78\t69\t69\t69\t69\t63\t66\t66\t66\t69\t69\t69\n166 166\t166\t166\t166\t166\t158\t128\t144\t144\t144\t144\t158\t151\t151\t151\t144\t144\t144\n.................................. s...... e.......................\n69 69\t72\t72\t69\t69\t69\t66\t[426...]\t66\t69\t63\t66\t69\t72\t72\t69\t72\n144 144\t138\t138\t144\t144\t144\t151\t151\t144\t158\t151\t144\t138\t138\t144\t138\n78 78 78 81 81 81 84 84 81 84 87 90 93 93 93 93 99 99 102 128 128 128 123 123 123 119 119 123 119 114 111 107 107 107 107 101 101 98\n102 102 111 114 98 98 90 87","page":612},{"file":"p0613.txt","language":"en","ocr_en":"613\nStudies of Melody in English Speech.\n7.\tGood heavens!\nSound :........ ........................................................\nPeriod in 0.00018 : 75 72 75 66 66 84 57 57 54 51 54 51 51 48 61 Frequency: .... 133 138 133 151 151 119 175 175 185 196 185 196 196 208 196\n....................................... d............... h ........ e-----\n45 48 45 51 45 48 48 42 48 51 78 63 69 69 66 66 66 75 69 222 208 222 196 222 208 208 238 208 196 128 158 144 144 151 151 151 133 144\n69 81\t69\t78\t63\t75\t66\t69\t66\t66\t66\t63\t60\t60\t63\t63\t63\t63\t63\n144 123\t144\t128\t158\t133\t151\t144\t151\t151\t151\t168\t166\t166\t168\t158\t158\t158\t158\n.... v ............. n ................... \u00bb .....................\n63 66\t69\t69\t75\t87\t93\t90\t90\t90\t87\t87\t90\t90\t90\t90\n158 151\t144\t144\t133\t114\t107\t111\t111\t111\t114\t114\t111\t111\t111\t111\n8.\tHow well he looks!\nSound: ........ a .......................................................\nPeriod in 0.00018 : 78\t69\t66\t63\t60\t57\t57\t54\t51\t51\t51\t51\t51\t48\t51\nFrequency: .... 128\t144\t151\t158\t166\t175\t175\t186\t196\t196\t196\t196\t196\t208\t196\nu ........................................... w........................ e\n48 48 48 48 48\t48\t48\t48\t48\t48\t51\t51\t54\t51\t54\t67\t57\t57\t54\n208 208 208 208 208\t208\t208\t208\t208\t208\t196\t196\t185\t196\t185\t175\t175\t175\t185\n57 54\t54\t57 54 57\t60\t57\t60\t60\t57\t57 60 60\t60\t60\t57\t57\t57\n175 185\t185\t175 185 175\t166\t175\t166\t166\t175\t176 166 166\t166\t166\t175\t175\t175\nl.. :................................ h ....................................\n54 54\t57\t57 57 57\t54\t67\t67\t57\t57\t57 57 63\t63\t60\t69\t69\t66\n185 185\t175\t175 175 175\t185\t175\t176\t175\t175\t175 175 158\t158\t166\t144\t144\t151\ni........................................................ I ................u\n69 66\t63\t66 60 60\t63\t63\t63\t63\t63\t63 60 60\t63\t60\t63\t72\t66\n144 141\t158\t151 166 166\t158\t158\t158\t158\t158\t158 166 166\t158\t166\t158\t138\t151\n......................................................... ks\n69 66\t69\t72 75 72\t72\t72\t75\t72\t78\t84 84 84\n144 151\t144\t138 133 138\t138\t138\t133\t138\t128\t119 119 119\n9.\tI\u2019 ve done all I can.\nSound: .................... ai............................................\nPeriod [or duration] in 0.00013:\t116\t97\t84\t78\t78\t81\t84\t84 84 84 87\t87\nFrequency: ...................... 86\t103\t119\t128\t128\t123\t119 119 119 119 114\t114\n......................................................... v ............\n84 87 87 87\t87 89\t87\t87\t87\t84\t87\t84\t87\t87\t89\t95 101\t104\n119 114 114 114\t114 112\t114\t114\t114\t119\t114\t119\t114\t114\t112 105 100\t95","page":613},{"file":"p0614.txt","language":"en","ocr_en":"614\nB. W. Scripture.\nd.......a..................................................... n .............\n[333...]\t95\t92\t92\t95\t98\t95\t95\t95\t95\t92\t95\t98\t95\t95\t95\t95\t92\n105\t108\t108\t105\t102\t105\t105\t105\t105\t108\t105\t102\t105\t105\t105\t105\t108\na.............................................................................\n95 92\t89\t89\t92\t95\t101\t89\t87\t87\t84\t78\t78\t78\t69\t75\t72\t69\t72\n105 108\t112\t112\t108\t105\t100\t112\t114\t114\t119\t128\t128\t128\t144\t133\t138\t144\t138\n72 69\t69\t66\t66\t66\t63\t63\t63\t63\t63\t60\t60\t60\t60\t60\t58\t58\t58\n138 144\t144\t151\t151\t151\t158\t158\t158\t158\t158\t166\t166\t166\t166\t166\t172\t172\t172\n.... I ............................................ ai...........................\n58 55\t55\t55\t55\t58\t58\t58\t58\t58\t55\t55\t58\t55\t55\t58\t58\t58\t58\n172 181\t181\t181\t181\t172\t172\t172\t172\t172\t181\t181\t172\t181\t181\t172\t172\t172\t172\n58 58\t60\t60 60\t60\t60\t60\t60\t60\t60 60\t60\t60\t60\t58\t58\t58\t60\n172 172\t166\t166 166\t166\t166\t166\t166\t166\t166 166\t166\t166\t166\t172\t172\t172\t166\n......................................k....... \u00e6 ..............................\n58 58\t58\t58 58\t58\t52\t58\t58\t[1494...] 84\t89\t92\t92\t92\t95\t98\t98\n172 172\t172\t172 172\t172\t192\t172\t172\t119\t112\t108\t108\t108\t105\t102\t102\n___n .........................................\n104 104\t104\t104 107\t107\t110\t110\t113\t113\t116\n98 98\t98\t98 95\t59\t90\t90\t88\t88\t85\nte\n10. I wish you\u2019d let me alone.\nSound: .................... ai............................................\nPeriod [or duration] in 0.0001s :\t78\t75\t72\t72\t72\t72\t72\t72\t72\t75\t75\t72\nFrequency:............. 128\t133\t138\t138\t138\t138\t138\t138\t138\t133\t133\t133\n.................................................................. w -----\n72 72 72 69\t72\t69\t69\t72\t69\t72\t69\t69\t72\t69\t69\t72\t69\t66\t63\n138 138 138 144\t138\t144\t144\t138\t144\t138\t144\t144\t138\t144\t144\t138\t144\t151\t158\n63 63\t63\t60\t58\t55\t55\t52\t49\t49\t52\t49\t49\t46\t46\t46\t43\t43\t43\n158 158\t158\t166\t172\t181\t181\t192\t204\t204\t192\t204\t204\t217\t217\t217\t232\t232\t232\n............................................... i...........J................. 9 \u2022\n40 43 46\t49\t46\t49 49 49\t49\t49\t49 [1079...] 84 75 75 87\t87\n250 232 217 204 217 204 204 204 204 204 204\t119 133 133 114 114\n.................................................................A...............\n87 87\t87\t87\t89\t89\t89\t92\t92\t92\t95\t95\t95\t95\t95\t95\t95\t98\t98\n114 114\t114\t114\t112\t112\t112\t108\t108\t108\t105\t105\t105\t105\t105\t105\t105\t102\t102\n.... I............... a............................ t\tm ...................\n98 104 104\t92\t95\t98 98 98\t98\t95\t98 101 [911...] 87 89 89 92\t92\n102 98 98 108 105 102 102 102 102 105 102 99\t114 112 112 108 108","page":614},{"file":"p0615.txt","language":"en","ocr_en":"Studies of Melody in English Speech.\n615\n92 92\t92\t95\t95\t95\t95\t95\t95\t92\t92\t89\t92 95\t95\t92\t95\t92\t92\n108 108\t108\t105\t105\t105\t105\t105\t105\t108\t108\t112\t108 105\t105\t108\t105\t108\t108\n.................................. d.............................................\n92 95\t89\t89\t84\t81\t87\t84\t78\t81\t75\t75\t75 75\t75\t72\t72\t72\t72\n108 105\t112\t112\t119\t123\t114\t119\t128\t123\t133\t133\t133 133\t133\t138\t138\t138\t138\n..................... I..........................................................\n72 69\t63\t60\t60\t58\t60\t58\t55\t55\t52\t52\t52 46\t40\t46\t52\t58\t58\n138 144\t158\t166\t166\t172\t166\t172\t181\t181\t192\t192\t192 217\t250\t217\t192\t192\t192\n\u2022.. ! o................................................. n..............\n58 58\t58\t52\t55\t46\t46\t55\t60\t55\t63\t60\t55 60\t60\t55\t55\n192 192\t192\t192\t192\t217\t217\t181\t166\t181\t158\t166\t181 166\t166\t181\t181\n11. Will you do as you\u2019 re told!\nSound:.......................wi...............................................\nPeriod [or duration] in 0.0001s; 60 60 54 54 54 54 54 51 51 51 48 48 Frequency: .................. 166 166 185 185 185 185 185 196 196 196 208 208\n.......................................................... I..................\n51 48\t45\t48\t45\t51\t48\t48\t48 48\t48\t48\t51\t51\t51\t51 61\t54\t54\n196 208\t222\t208\t222\t196\t208\t208\t208 208\t208\t208\t196\t196\t196\t196 196\t1^3\t185\n\u25a0 3.......................... 9...........................................\n54 51\t60\t60\t67\t54\t57\t57\t66 66\t69\t69\t69\t72\t69\t72 75\t75\t75\n185 196\t166\t166\t175\t185\t175\t175\t151 151\t144\t144\t144\t138\t144\t138 133\t133\t133\nd........................................... u......................\n75 75\t75\t75\t75\t75\t75\t75\t75 75\t75\t75\t75\t78\t84\t78 78\t81\t81\n133 133\t133\t133\t133\t133\t133\t133\t133 133\t133\t133\t133\t128\t119\t128 128\t123\t123\n..............................................................................\n84 84\t84\t81\t81\t81\t84\t84\t84 84\t84\t87\t87\t87\t87\t87 87\t87\t87\n119 119\t119\t123\t123\t123\t119\t119\t119 119\t119\t114\t114\t114\t114\t114 114\t114\t114\n---\u00bb ............................y................a...........................\n90 93\t93\t93\t93\t112\t112\t112\t96 90\t87\t84\t90\t90\t90\t90 93\t90\t90\n111 107\t107\t107\t107\t90\t90\t90\t104 111\t114\t119\t111\t111\t111\t111 107\t111\t111\n.................... t...........o .......................... I...............\n90 93 90 90 90 [1137...] 90 90 93 90 90 96 96 99 96 96 99 111 107 111 111 111\tm in 107 in in 104 104 101 104 104 101\n\u2022......................................................... d ........\n99 105\t111\t105\t105\t111\t114\t111\t114 120\t114\t111\t123\t105\t108\t105 99\n101 98\t95\t98\t98\t99\t93\t95\t93 83\t93\t95\t81\t98\t90\t81 101","page":615}],"identifier":"lit4579","issued":"1902","language":"en","pages":"599-615","startpages":"599","title":"Studies of Melody in English Speech","type":"Journal Article","volume":"19"},"revision":0,"updated":"2022-01-31T12:33:16.863946+00:00"}