PREFACE. In the following attempt to ""noint" the Cantiales and NOTE. In Ps. xxiv. 5, civ. 17, and cxi. 5, a vertical line has been misplaced; in Ps. xviii. 51, xxxvi. 7, and lxxxvii. 7, a capital letter has been inserted by mistake, and in Ps. vii. 18, ix. 7, xxv. 6, 8, xxii. 25, l. 4, 6, and cxxiv. 1, a capital has been accidentally omitted. In Ps. xl. 13, the dim in the margin belongs properly to verse 14. In the note on Ps. cxiii. 8, the word Hagar should either be left out, or coupled by the conjunction and to the name which follows it. The Reader is earnestly requested not to shrink from a careful study of the Preface; and especially to bear in mind, on his first glance at the pointing itself, that the system here adopted presupposes a method of chanting very considerably slower and more distinct than the method usually employed. reader would cause his emphasis to fall; and, wherever a stress is laid in reading, common sense requires that a musical accent should also be given when the words are sung. In chanting the Psalms, this accent can be obtained only in one way the emphatic syllable must be placed in the accented part-i.e., the beginning of the Bar; and we shall have as many emphatic positions as the Chant has Bars. .* *The theory of Syncopation, by which another kind of accent is obtained, belongs to a different order of composition, and does not concern our present inquiry. It is important to notice this, because many persons are in the habit of speaking as if the laws of musical accent were arbitrary, and might be suspended at pleasure, PREFACE. In the following attempt to "paint" the Cantialeg and. NOTE. In Ps. xxiv. 5, civ. 17, and cxi. 5, a vertical line has been misplaced; in Ps. xviii. 51, xxxvi. 7, and lxxxvii. 7, a capital letter has been inserted by mistake, and in Ps. vii. 18, ix. 7, xxv. 6, 8, xxii. 25, 1. 4, 6, and cxxiv. 1, a capital has been accidentally omitted. In Ps. xl. 13, the dim in the margin belongs properly to verse 14. In the note on Ps. cxiii. 8, the word Hagar should either be left out, or coupled by the conjunction and to the name which follows it. The Reader is earnestly requested not to shrink from a careful study of the Preface; and especially to bear in mind, on his first glance at the pointing itself, that the system here adopted presupposes a method of chanting very considerably slower and more distinct than the method usually employed. reader would cause his emphasis to fall; and, wherever a stress is laid in reading, common sense requires that a musical accent should also be given when the words are sung. In chanting the Psalms, this accent can be obtained only in one way the emphatic syllable must be placed in the accented part-i.e., the beginning of the Bar; and we shall have as many emphatic positions as the Chant has Bars. * *The theory of Syncopation, by which another kind of accent is obtained, belongs to a different order of composition, and does not concern our present inquiry. It is important to notice this, because many persons are in the habit of speaking as if the laws of musical accent were arbitrary, and might be suspended at pleasure, |