(1) The teaching of the grammarians on the subject of accent points to this conclusion. Our habit of using Latin translations of the terms of Greek grammar has tended to obscure the fact that they belong in almost every case to the ordinary vocabulary of music. The word for 'accent' ([Greek: tonos]) is simply the musical term for 'pitch' or 'key.' The words 'acute' ([Greek: oxys]) and 'grave' ([Greek: barys]) mean nothing more than 'high' and 'low' in pitch. A syllable may have two accents, just as in music a syllable may be sung with more than one note. Similarly the 'quantity' of each syllable answers to the time of a musical note, and the rule that a long syllable is equal to two short ones is no doubt approximately correct. Consequently every Greek word (enclitics being reckoned as parts of a word) is a sort of musical phrase, and every sentence is a more or less definite melody--[Greek: logôdes ti melos], as it is called by Aristoxenus (p. 18 Meib.). Moreover the accent in the modern sense, the _ictus_ or stress of the voice, appears to be quite independent of the pitch or 'tonic' accent: for in Greek poetry the _ictus_ ([Greek: arsis]) is determined by the metre, with which the tonic accent evidently has nothing to do. In singing, accordingly, the tonic accents disappear; for the melody takes their place, and gives each syllable a new pitch, on which (as we shall presently see) the spoken pitch has no influence. The rise and fall of the voice in ordinary speaking is perceptible enough in English, though it is more marked in other European languages. Helmholtz tells us--with tacit reference to the speech of North Germany--that an affirmative sentence generally ends with a drop in the tone of about a Fourth, while an interrogative is marked by a rise which is often as much as a Fifth[1]. In Italian the interrogative form is regularly given, not by a particle or a change in the order of the words, but by a rise of pitch. The Gregorian church music, according to a series of rules quoted by Helmholtz (_l. c._), marked a comma by a rise of a Tone, a colon by a fall of a Semitone; a full stop by a Tone above, followed by a Fourth below, the 'reciting note'; and an interrogation by a phrase of the form _d b c d_ (_c_ being the reciting note).