1872.] Music of Speech. 283 
breath, we obtain the desired orotund quality of voice. We 
have artificially placed our vocal organs in the position 
assumed by those of an experienced speaker. We have, 
too, found that there are two distinct forms of respiration— 
the one continuous, in which the orotund is first produced ; 
in the other the breath issues in interrupted jets. In con- 
tinuous breaths we sigh, groan, and sneeze. The interrupted 
jets of breath are employed in speech, in laughing and 
crying. Having acquired a continuous orotund vocality—a 
child first cries in long wails—the student must learn to 
interrupt this continuity and to speak in the orotund voice, 
soon as easy to him as his colloquial speech. Thus a 
thoughtful investigation gives immediately that which in 
long years even assiduous practice may fail to accomplish 
by mere imitation. 
The terms usually employed to denote variation in degrees 
of force are also self-descriptive. 
Mr. Millard,* who with Professor Bell, of University 
College (Lond.), has devoted considerable attention to the 
scientific study of vocality, very clearly subdivides the 
time or duration of the voice into— 
I. Quantity or sound heard ; 
Ze Winates 
3. Pause or rest. 
“By quantity is meant the length of sounds heard 
separately; by rate the pace of sounds heard in succession; 
and by pause the measure of silence or rest.” Mr. Steele, 
in his ‘‘ Prosodia Rationalis” (1779), gives examples of an 
application of the symbols of music to his idea of the time 
of discourse. But these are constituents of speech each 
worthy a separate volume to consider and exemplify. 
Exception might, perhaps, be taken as to the correctness 
of giving a specific division to abruptness; but Dr. Rush 
thinks this a mode of the voice quite distinct from that of 
force. It is perhaps a delicate point. Abruptness is 
analogous to the staccato of the ~musician. We come 
now to the most subtle and the least understood constituent 
of speech, variation in pitch or the variations of the voice 
between gravity and acuteness. And here we must assume 
that the reader has a slight acquaintance with the intervals 
of the notes of music. ‘‘As music and speech,” says Dr. 
Rush, ‘“‘ when regarded under the mode of pitch, are sub- 
divisions of the general science of tunable sound, the reader 
will perceive the necessity of designating and explaining 
* A Grammar of Elocution. Longmans, 
