The article deals with segmentation and stress in early Germanic. An attempt is made to isolate minimal prosodic units of Germanic, not traditional syllables. These units are then analyzed in terms of morae and phonemes. Alternations by the Akzentumsprung and Verner's law are interpreted as indicating that early Germanic had sentence rather than word stress.

Traditionally, noun modifiers in German fall into two classes, the so-called der- and ein-words, and descriptive or attributive adjectives. In the noun phrase, members of these word classes are inflected by the addition of one or another of two sets of endings, i.e., the primary, strong, or pronominal endings, or the secondary, weak, or nominal endings, in highly predictable combinations. In the data collected by Ljungerud (1955), however, sequences of endings in noun phrases containing nine modifiers occur with noticeable departures from the norm, i.e., folgend, sämtlich, ander-, einig-, viel-, manch-, welch-, irgendwelch-, and solch-. It is concluded that the anomalous sequences of endings in phrases containing these modifers are motivated by the growing association of certain sequences of endings with the feature +/-Generality as a component of the meaning of the noun phrase as a whole.

Notker's short five-section treatise De musica was written exclusively in Old High German, except for the retention of technical terms in Latin and pseudo-Greek, with De mensura fistularum organicarum being the last. In De musica Notker abandoned his practice of giving the Latin text before each part of the German translation, for the discourse was no doubt intended as a manual for organ builders, of whom Latin could not be required. In this study relevant passages from the Latin texts alternate with Notker's translation. Then the four manuscripts preserving the fifth section in full or in part are compared in their fidelity to Notker's accentuation and allophones of initial consonants. Finally, the twelve terms retained in Latin and pseudo-Greek are enumerated.

On the basis of certain compositional features introduced into the Tristan story by Thomas of Brittany, it has been established that the many Tristan reminiscences in Old Norse literature stem from Tristrams saga (Schach 1965). In this paper it will be argued that Tristrams saga provided the structural model for Egils saga.