QUANTITATIVE ANALYSIS: APPARATUS, METHODS. 73 



emphatic syllables, the latter being long drawn out; this gives an emo- 

 tional tinge appropriate to the thought. I assume that here the speaker 

 felt the two syllables more or less separately and that each received its 

 natural convex melody; since the whole was fused into one large unit 

 which must have its own convexity, the two components become modified. 

 The second line is also made up of two thought units, namely, " Nor- 

 den" and " kahler Hoh'," each with its own general convex melody. The 

 special minor convexity of " Hoh' " may be due to a tendency to special 

 emphasis or to the changes in articulation around [h]. The unimportant 

 preposition "auf" seems to have its melody fitted to that of "Norden." 



15D_ 



lOL 



-150 



_1D0 



ai nf I x'"''3u fftStu I al nza my 



~an Fichtentiaum stew einsam "''" 



Fig. 06. — Melody of beginning of " Der Fichtenbaum," v. Hagen. 



This melody plot agrees in a general way with those of the same 

 poem by the other speakers, although some of them were from Southern 

 Germany. The melody of conversation in' Southern Germany is asserted 

 to be the reverse of that of Northern Germany; since no records of 

 German sentence melody have ever been published, the experimental proof 

 is lacking. In spite of this direct reversal of high and low in ordinary 

 speech, the records for "Der Fichtenbaum" agree in the general outline of 

 melody; we can say, therefore, that "Der Fichtenbaum" has a "speci- 

 fic melody" of its own. This may be explained as follows. Owing to 

 surroundings (family, school, etc.) each vowel, each word, each sentence, 

 each combination is spoken with the same average forms of melody by 

 the speakers of each dialect. The specific melodies for conversation differ 

 greatly in various parts of Germany; a perfectly natural conversation would 

 not show a specific melody for all Germany, but a set of specific melodies 



