There has been an attempted reconstruction of the original melody by Suzanne Haïk-Vantoura, on the basis of the shapes and positions of the marks and without any reference to existing melodies, as described in her book "La musique de la Bible révélée" and her records. That reconstruction assumes the signs represent the degrees of various musical scales, that is individual notes, which puts it at odds with all existing traditions where the signs invariably represent melodic motives; it also takes no account of the existence of older systems of notation, such as the Babylonian and Palestinian systems. Musicologists have rejected her results as dubious and her methodology as flawed. A similar reconstructive proposal was developed by American composer and pianist and posthumously published in 2011.