1872.] Music of Speech. 285 
the voice, the positions of the notes, represented by the 
black discs, will distinguish the discrete progress in singing 
or on the pianoforte. While the progress between two notes 
of music may be represented by two discs, 2 the progress 
of the voice in speaking may be well represented by 4 or 
more elegantly thus— oS ° denoting the full, rotund opening 
and the delicate attenuation of the inflection. This ex- 
planation of the manner of concrete and discrete progressions 
in an upward dire¢tion is to be understood of the downward 
course, under a reverse movement of the gradual slide on 
7th 
) 
Tone 
6th : 
Tone a 
in | 
Tone 3 \ a /\\ 
th 2 Interval of a fifth. 
: ° 
Semitone = 
3rd | e /\\ 
Tone o Of a third: 
2nd | 
Tone i) Of a second, 
Ist \7 \V \Y or tone. 
the string. The variations of pitch on most musical in- 
struments are discrete. The violin and its varieties derive 
much of their expressive power from being susceptible of 
the concrete movement, this movement being one of the 
great sources of expression in the human voice. Having 
thus pointed out the distinction between the discrete move- 
ments of the voice in singing and the concreted movement, 
also termed the slide or inflection in speaking, we may at 
once proceed to analyse these movements of the speaking 
voice, and to ascertain their corresponding mental conditions. 
We shall see that each mental state—enquiry, surprise, 
assertion, command, remonstrance, threatening, scorn, and 
sarcasm—has a corresponding mode of inflection, these modes 
collectively forming a natural language intuitive alike to all. 
It is the perversion or disconnection of the tone of voice 
