The Ontario Readers: The High School Reader, 1886 | Page 7

interval will be the result. The more the surprise is emphasized, especially if indignation be conjoined with it, the greater will be the interval that the voice passes through in uttering the concrete. If the word "lie" be given immediately after the pronoun with the same intensity of feeling, the voice discretely descends from the high pitch heard at the end of the utterance of the pronoun, and in uttering the next concrete, again ascends through an interval, of less or more extent according to the emphasis which is imparted to it.
Again, in speech of sorrow, murmuring, piteous complaint, and the like, concrete intervals of less extent than those used in ordinary discourse are often heard. Thus, if the sentence "Pity me, kind lady, I have no mother," be uttered with a plaintive expression, concretes with small intervals will be distinctly noticeable; but it will be also noticed that with respect to one another the syllables are discretely uttered, just as in the sentence where the concrete intervals were much greater.
Without intending a scientifically accurate and rigid statement, it may be said (again borrowing the terminology of music) that in ordinary speech the concretes are uttered with intervals of a second, or at most a third; that in very expressive or impassioned utterance intervals of a fifth or an octave are frequently used; and that the mode of progression from syllable to syllable is diatonic, that is, not concretely, but discretely from tone to tone; and further, that in plaintive language, the syllables are uttered concretely with intervals of a semitone only, but that the mode of progression from syllable to syllable is still discrete.
Sometimes, but rarely, syllables are uttered tremulously, or with a tremor; that is, with constituent intervals of less than a semitone, uttered discretely in rapid succession, and passing, in the aggregate, through an interval of more or less width. An exaggerated form of this utterance may be heard in the neighing of a horse.
EXERCISE.--1. Utter the syllable p? as a concrete, with rising and falling intervals, severally, of a second, third, fifth, and an octave; also with intervals of a semitone; also with a tremor. Let the exercise be varied so as to include many degrees of initial pitch. Use a diagram of a musical staff for reference.
2. Read with exaggerated impressiveness, "Am =I= to be your slave? =No!="
In the pronunciation of the letter [=a], as in pate, two sounds are heard: the first is that of the name of the letter, which is uttered with some degree of fulness; the second is that of [=e] in mete, but, as it were, tapering and vanishing;--in the meantime the voice traverses a rising interval of one tone, that is, of a second. The utterance of these two sounds, although the sounds themselves are distinct, is completely continuous, from the full opening of the one to the vanishing close of the other, and it is impossible to say where the first ends and where the last begins. It is essential, however, to consider them separately. The first is called the =radical movement=, and the second the =vanishing movement=; and these together constitute the entire concrete.
All the vowels do not equally well exemplify in their utterance a distinction of sound in their radical and vanishing movements, because some vowel sounds are less diphthongal than others, and some, again, are pure monophthongs; but these two movements and the concrete variation of pitch, the result of one impulse of the voice, are the essential structure of every syllable, and are characteristic of speech-notes as contradistinguished from those of song.
When the radical and vanishing movements are effected smoothly, distinctly, and without intensity or emotion, commencing fully and with some abruptness, and terminating gently and almost inaudibly, the result is the =equable concrete=. This of course may be produced with intervals, either upward or downward, of any degree--tone, semitone, third, fifth, or octave. It must be said, however, that some syllables, and even some vowels, lend themselves more easily than others to that prolonged utterance which is essential to the production of wide intervals and the perfectness of the vanishing movement.
The equable concrete is the natural, simple mode of utterance; but under the influence of interest, excitement, passion, and so on, the utterance of the concrete may be greatly varied from this by means of stress, or force applied to some part or to all of its extent. The different variations may be described as follows:
(1) =Radical Stress=, where force is applied to the opening of the concrete. (It should be said that a slight degree of radical stress is given even in the equable concrete, producing its full, clear opening.)
(2) =Loud Concrete=, where force is applied throughout the whole concrete, the proportion of the radical to the vanish remaining unaltered.
(3) =Median Stress=,