“Dead” marks the crest of the wave of tension in the following. Observe how the melody rises to that word and descends after it:
As vapors breathed from dungeons cold strike pleasure dead,
So sadness breathes from out the mould where Burns is laid.
For those who have no musical ear, it may be somewhat difficult to catch these speech melodies. But, fortunately, in most cases, an acute musical ear is not necessary. Melody takes care of itself. When we have determined the principal word in each phrase, the melody will rise or fall from that without any effort on our part. And furthermore, even those without an ear for tune recognize instinctively the appropriateness of a given melody which they may be unable to analyze in detail. Nevertheless, the ability to analyze speech tunes is a great aid to the teacher; and it is to be hoped that the foregoing explanation will materially assist him in his work of developing the logical acumen of his class.
Melody is made up of skips and inflections. The inflection needs no definition; the skip is simply a discreet passage from one note to another. As the violinist draws his bow over the string and simultaneously runs his finger up or down the string, we have the analogy of the inflection. The pianist cannot do more than skip from one note to another, although there is an approximation to the glide, or inflection, in legato playing. The skip is found in such a sentence as this:
Give Brutus a statue with his ancestors?
The psychology of the skip is precisely that of the inflection, i. e., transition from less to more tension, or the reverse. In such an exclamation as, “Thou tattered upstart!” it is next to impossible to use the wide rising inflection that would be natural on the first syllable of “upstart,” owing to the nature of the syllable. Hence, there would be a skip between “up” and “start.” But let it be carefully observed that, including the skip, the voice traverses exactly the interval it would have passed through had it been possible to use one inflection, as, for instance, on “boy” in “Thou tattered boy!” Our attention may now be turned to inflections.
Inflections are not a matter of accident, nor are they a conventional device. Their meaning is definite and fixed, and their force instinctively recognized by all. Although we do not stop to analyze them, they convey to all alike a distinct shade of thought. And further, the same shade of thought will always find expression through the same inflections. We must bear in mind that it is not claimed that all will be moved in the same way by the same stimulus, nor that all will take the same meaning from a given passage. What is claimed is, that the same purpose will find expression, with all, in fundamentally the same melody (of which inflections form the larger part). If this were not so, how should we understand one another? We discern a speaker’s purpose quite as much in his melody as in his words. For example, if one were to ask, “Are you going out?” with the object of acquiring information, he would use instinctively a rising inflection on “out.” If he were surprised at our intention to go out, he would use a wider rising inflection. And if he had asked the question several times without receiving a reply, and were now insisting on an answer (his motive now being to assert his right to an answer) he would use a wide downward inflection on “out.” And so should we all under like conditions, and the meaning of all would be alike understood by all. We need enlarge no further on this. Let it suffice that if given inflections had not always the same meaning and were not always instinctively used to express the same purpose, conversation would be impossible.