The second criterion is that of Pitch. By Pitch is meant everything that has to do with the acuteness or gravity of the tone,—in other words, with keys, melodies, inflections and modulations. Again we are indebted to Professor Raymond for a clear statement regarding this most subtle of all the elements of expression. His words are as follows: “The melody of the movement taken by the voice represents, therefore, like the melody in music, the mind’s motive,—indicates its purpose in using the particular phraseology to which the melody is applied; and because pitch, through the kinds of inflections and melody chosen, reveals the motives, we shall find that the use of this element in ordinary conversation is constantly causing precisely the same phraseology to express entirely opposite meanings.” Before proceeding further, it may be well to illustrate this principle, in order that the reader may follow more clearly the subsequent discussion.
Let us suppose some one to ask the question, “Do you think Mr. Jones is a good teacher?” and that the reply is given, “Oh, yes,” with a melody that virtually says, “Oh, I suppose so; he is not a very great teacher; in fact, there are many things about his teaching that might be a great deal better, but he manages to get along.” Now, all of this paraphrase, which reveals the motive, is manifested in the significant melody upon the two words, “Oh, yes.” Let us suppose further that a few days later Mr. Jones comes to us and calls us to account for speaking disparagingly of his teaching. “What,” we reply, “we say anything against your teaching! Why, when Smith asked us whether we considered you a good teacher, we said in the most unequivocal manner, ‘Oh, yes’!” And this time we utter the words with strong, positive assertiveness. The words in both cases are the same, but the different melodies indicate entirely opposite motives behind the words.
Read aloud such a sentence as, “John rode to the park last Christmas,” changing the meaning by transferring the significant inflection successively to all the important words, thus:
John rode to the park last Christmas.
John rode to the park last Christmas.
John rode to the park last Christmas, etc.
Does it not appear that, with each change in the motive, the melody changes?
We often hear it said that in such cases as the last we have been changing the emphasis. This is true. But emphasis is a broad term, and one often confused with force. As a matter of fact, the changes in the successive readings were changes of melody due in every case to changes of motive.
Again, “When we are in our graves our children will honor it. They will celebrate it with thanksgiving, with festivities, with bonfires, with joy.” The inflections on the last four nouns would probably be falling. Why? Because each would be held to be of sufficient importance to be emphasized by itself, and cut off from the others. To read them with rising inflections would be to manifest the fact that the mind was thinking of them in the aggregate. Once again, the melody shows the motive.
The melody is an indubitable sign of the discriminative ability of the reader. It is the severest test of his power to perceive sense, or logical, relations. So important a feature of the work is this that it appears necessary to emphasize it and to illustrate it in many ways.