QUANTITATIVE ANALYSIS: APPARATUS, METHODS. 



71 



concerning the change in emotional effect which such a phrase would 

 undergo with changes in the melody. We know, however, that if the even 

 melody had not the steady rise and had fallen at the end, the phrase would 

 have had a religious intonation (see the researches on the Lord's Prayer 

 already referred to) . If the evenness had been replaced by fluctuations, the 

 melody would have lost its solemnity, even if it had retained the other 

 characteristic of solemnity, namely, the general low pitch. 



My an-ces-tors, ha-ving ar-rived in this coun-try a-mong the ear-ly sett-lers 



: K I I I , . I I I I I I .. . r^ h I h ^ 



on the one side in New York on the oth-er In New En3-land, and ha-ving fall-en in 



love. 



and mar-ried in the old fash-ioned way. 



Fig. 65. — Musical notation for plate xii. 



The phrase is followed by a considerable pause. As a peculiarity, we 

 notice the sharp convexity for [b\, due presumably to its position between 

 two surds. 



The second line comprises a long phrase. There is the usual rather 

 sudden rise at the beginning. Thereafter the pitch of the voice steadily 

 ascends to the end. Minor fluctuations are seen, especially around surds. 

 The second pause is indicated at the beginning of the third hue. The 

 third and fourth phrases show the same type of melody. The pause after 

 the third phrase is very brief; that after the fourth is longer. The emo- 

 tional effect of all four phrases is the same. 



In the fifth phrase the melody is of a different kind. There is more 

 flexibility and the convexity is completed by a low fall. In the sixth phrase 

 there are four strong subordinate convexities for the four emphatic units, 

 " married," "old," " fashioned," " way." These are fused to a phrase with 

 very flexible melody. The phrase ends with a fall in melody and a pause, 

 although it needs the words "without regard to race or creed" to com- 

 plete it. The last two phrases are in contrast to the first four. The 

 evenness is replaced by great flexibility, the rise at the end is replaced 

 by an exaggerated fall. The entire effect of such a melody is distinctly 

 humorous — an effect that is increased by the very low tones employed, 

 especially at the end (going as low as nearly 50 vibrations a second). It 

 is a common device of humor to imitate solemnity in its chief traits and 

 to change one of them into an inconsistency. Here the effect is that of 



