One word which does not conform is the first word , where the music has a low note despite the acute accent. Another example of a low note at the beginning of a line which has been observed is in the 2nd Delphic Hymn. There are other places also where the initial syllable of a clause starts on a low note in the music. Another apparently anomalous word is 'is', where the music has a higher pitch on the first syllable. However, there exists a second pronunciation , which is used "when the word expresses existence or possibility (i.e. when it is translatable with expressions such as 'exists', 'there is', or 'it is possible')", which is evidently the meaning here. Stigmai The musical notation has certain dots above it, called stigmai (), singular stigmē (), which are also found in certain other fragments of Greek music, such as the fragment from Euripides' Orestes. The meaning of these is still uncertain. According to an ancient source (known as the Anonymus Bellermanni), they represent an 'arsis', which has been taken to mean a kind of 'upbeat' ('arsis' means 'raising' in Greek); Armand D'Angour argues, however, that this does not rule out the possibility of a dynamic stress. Another view, by Solomon, is that the stigmai "signify a rhythmical emphasis". According to Mathiesen, A stigme appears on all the syllables of the second half of each bar as it is printed above (for example on ). If the Anonymus Bellermanni source is correct, this implies that whole of the first half of each double-foot bar or measure is the thesis, and the whole of the second half is the arsis. Stefan Hagel, however, argues that this does not preclude the possibility that within the thesis and arsis there was a further hierarchy of strong and weak notes. An alternative rhythmization A possible alternative way of rhythmizing the Seikilos song, in order to preserve the iambic ('rising', di-dum) feel of the rhythm, was suggested by Armand D'Angour, with the barlines displaced one quaver to the right, as in the following transcription: Stefan Hagel, discussing an example in the Anonymus Bellermanni, suggests the possibility of a similar transcription with displaced barlines of a line of music with this same rhythm. This hypothesis is however based on an unfounded assumption about ancient rhythmical theory and practice, namely that "the regular iambic environment precluded accented shorts altogether;