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Rh of that before the Exile. It does, however, neither the one nor the other. The accents are only musical, and indirectly interpunctional, signs for the chanting pronunciation of the synagogue. And moreover we no longer possess the key to the accents of the three metrical (i.e., consisting of symmetrical stichs and strophes) books as musical signs. For the so-called Sarkatables (which give the value of the accents as notes, beginning with Zarka, זרקא), e.g., at the end of the second edition of Nägelsbach's Gramm., relate only to the reading of the pentateuchal and prophetic pericope, - consequently to the system of prose accents. In the German synagogue there is no tradition concerning the value of the so-called metrical accents as notes, for the Psalms were not recited according to the accents; but for all the Psalms, there are only two different modes, at least in the German ritual, viz., 1) the customary one according to which verse after verse is recited by the leader and the congregation, as e.g., Psa 95:1; Psa 29:1 every Friday evening; and 2) that peculiar to Ps 119 in which the first seven verses of the eight are recited alternately by the leader and the congregation, but the eighth as a concluding verse is always closed by the congregation with a cadence. This psalmody does not always follow the accents. We can only by supposition approximately determine how the Psalms were to be recited according to them. For we still possess at least a few statements of Ben-Asher, Shemtob and Moses Provenzalo (in his grammatical didactic poem בּשׁם קדמון) concerning the intonation of single metrical accents. Pazzer and Shalshéleth have a like intonation, which rises with a trill; though Shalshéleth is more prolonged, about a third longer than that of the prose books. Legarme (in form Mahpach or Azla followed by Psik) has a clear high pitch, before Zinnor, however, a deeper and more broken tone; Rebia magnum a soft tone tending to repose. By Silluk the tone first rises and then diminishes. The tone of Mercha is according to its name andante and sinking into the depths; the tone of Tarcha corresponds to adagio. Further hints cannot be traced: though we may infer with respect to Ole we-jored (Mercha mahpachatum) and Athnach, that their intonation ought to form a cadence, as that Rebia parvum and Zinnor (Zarka) had an