MODES OF ENUNCIATION, ETC 165
(Three of Colombat's " orthophonic n exercises are
given on the following pages.)
Colombat also practised his pupils on. articulatory
exercises and alliterative sentences. Most of this
work was performed to the measured beats of a met-
ronome—or "muthonome," as Colombat preferred
to call his instrument.
Rhythmic utterance has been the basis of perhaps
30 to 40 per cent of the various systems introduced
since the time of Colombat. Rhythm was employed or
recommended by Cull, Klencke, Katenkamp, Gutt-
mann, Rosenthal, Lehwcss, Krcutxer, GUnther, Shuld-
ham? and a dozen other of the older teachers and writers.
The following typical indorsements of rhythmic
speech are from three different sources:
"We chant over a line of the multiplication table, dividing
the sentences into metrical feet, and marking the accented
syllables with a gesture as if beating time; then again in a
natural manner, but distinctly marking the rhythm, accent
and emphasis, In a few minutes he (the pupil) repeats the
whole table without hesitation. We gelect a stanza of poetry,
or a in prose resembling i>ot*try in the rhythm and melody
of its style; divide it into metrical feet, and first chant it, read
It in concert, with ft marked expression of the rhythm, accent
and emphasis, and a free, natural expression of the sentiment.
He now readily reads it by himself."
And thus another writer:
"By the way, this charming fx>t*m of Nuremberg1 is most
suitable reading for stammerers, as the rhythm in it is so weU