There is a duality existing between metre and rhythm: the former is voluntary, the latter involuntary. Thus, also, is there a duality between emphasis and accent, of which the former is voluntary, the latter involuntary. Every voluntary factor, not only in vocal utterance, but every voluntary factor in any artistic performance of whatsoever nature, being sustained by an involuntary counter-factor; the same as voluntary and involuntary muscles complement and sustain each other. Not only every artistic performance, but I dare say _every_ act or action of any kind, is of a dual nature. Every separate duality, again, being sustained by a counter-duality, every performance is sustained by four different factors. When an act is of a material nature and belongs to the hemisphere of the abdomen, it is sustained by four counter-factors belonging to the thorax. When it is of an immaterial nature and belongs to the hemisphere of the thorax, it is sustained by four counter-factors having their seat in the abdomen. Thus every act or action consists of eight movements, or an _octave_ of movements. SIGNIFICANCE OF THE WORD "SCHOOL" IN CONNECTION WITH THE ART OF SINGING Having established the fact that the rhythmic movements for English and German vocal expression are directly opposed to each other, the one being represented by the iambic, the other by the trochaic measure, there is still a wide field open for investigation as to the idiomatic expression of other languages. This it should not be difficult to determine; personally, I cannot devote the necessary time to this subject even as far as I might be able to do so in connection with other languages of which I have some knowledge. The differences in other tongues, of course, must be embodied in either of the two measures named, as these embrace all others. Whatever may constitute a nation's idiomatic expression must spring from a variation of either of these. While the precedence is given to the abdomen in some and to the thorax in others, the point of gravitation, which according to its location calls for the special manner in which we inspire into and expire from either the one or the other, establishes such variation in the idiomatic expression of _all_ tongues. All that is said about an Italian, a German, or any other "school" (with the exception, perhaps, of what may constitute the difference between what is called "the _old_ and the _new_ Italian school," and which covers issues of a nature foreign to these investigations) has its proper significance right here: There is no "school" in the sense in which this word is ordinarily used. There are nations and there are languages belonging to such nations. Each nation's language is that nation's "school," and no one nation can go to school with any other nation.