Recitation -- musical shapes and patterns

I would like to test the possibility of finding a characteristic hand of different composition techniques among the ancient musicians. Are there clues to method for the musicians who first put in these marks of taste? Can we converse with some ancient musicians? Is there then confirmation in technique as to the author of the Psalms with designated named people in the inscription? Here is a first cut test graph of the lengths of recitations by recitation pitch for the Psalms for four different non-overlapping groups of psalms. Compare them with each other and to the short prose books in the graph following.

Recitation length usage expressed as a percentage in the Psalms by reciting note
galgal, silluq, mercha, tifha, atnah, munah, mahpakh

Recitation length usage in Ruth and the Song expressed as a percentage by reciting note
very low usage of darga (c) and galgal or tevir (d); higher usage of mahpakh or yetiv (C)

These musicians whether writing for prose or poetry have some things in common: The mid-verse rest(s) and pauses. A common scale. The lower part of the octave from c to g, the rest note, A, the subdominant (as measured from e), and two notes above it, B and C. They also have a number of ways of elaborating the musical line. f and g are differently sharpened to reflect the default mode. Judging the mode is curiously difficult. The default work very well in what I have heard.

It seems that there is little significant difference in recitation note usage frequency between psalm groups but there is a difference between poetry and prose. The psalms peak usage tends to be A and f# with e g and B not far behind. David is marginally distinguished from the others, more syllables on f# and fewer on g. The prose shows peaks at e and B. Tones f and A are significantly lower than poetry and C is higher: 15% of syllables rather than 5 to 7%. The high recitation level on g# in the Song would indicate to me that a mode other than the default mode would be suitable. 

But the significant difference between Ruth and the Song is one of pace. Sing through both of the first chapters. And notice how many verses there are in the Song without an inner cadence. There is no rest for the sense of desire. Contrast in Ruth, the poignancy of the opening dialogue with its fullness of both bitterness and commitment.

Overall, based only on recitation note usage, it looks as if everyone is operating from the same playbook. Was this an old technique or a technique later imposed once the canon was formed? Probably a bit of both. 

Technical note. This algorithm I developed uses the somewhat random data of a trace I wrote over a dozen years ago to help debug the music program. I take measurements for every note in order to produce the Music XML. I had a difficult time reconciling conflicting syllable counts, but I have succeeded in getting two of the three sources to agree, and the third is generally only off by one once in a while. So I am able to use this trace to capture the musical process as well as the end product of the score. Of course my current syllable counts have changed since my first posts on 'tenor' of recitations from several months ago because I have corrected a number of errors in the text as previously described.