es. A correct style in singing consists
in the careful observance of the principles of Technique; a perfect
Diction; the appropriate Colouring of each sentiment expressed;
attention to the musical and poetic Accents; judicious and effective
Phrasing (whether musical or verbal), so that the meaning of both
composer and poet may be placed in the clearest light.

* * * * *

Let us analyze Style in its three principal aspects: Colour, Accent,
and Phrasing.

COLOUR

Of all the elements of Style in singing, the most potent and
effective--the one, indeed, that is essential for the success of the
lyric artist--is the ability to vary the vocal timbre; that is, to
sing with Colour. This desideratum of varied tone-colour is sought
even by instrumentalists. Nay, the instrument itself is sometimes
constructed with this object in view. Witness the invention of the
"soft" pedal, which is intended not solely to reduce the intensity of
tone in the pianoforte--that may be accomplished by a modification of
force in striking the note--but to give the tones a darker, more
sombre quality, or colour. To vary the tone-colour, a violinist or
'cellist draws the bow across the strings close to, or distant from,
the bridge, in accordance with his desire for a reed-like or
flute-like quality of tone. Anyone who has listened to the performance
of the slow movement in Paganini's Concerto in _D_, by an Ysaye or a
Mischa Elman, will have remarked how the skilful use of varied tone
colour and other devices imparts a wonderful charm to music
intrinsically of but mediocre value.

A singer may have a good quality of voice; but that is normal. If he
can vary it only in degrees of loudness (Intensity) and not in
differences of timbre (Colour) he cannot be ranked as an artist. No
matter how great the natural beauty and sonority of his voice, his
performance will always be monotonous, if he has only one tint on his
vocal palette. In speech--from which the effect is borrowed--utterances
of grave and serious meaning, and those of gayer import, are not made
with the same colour of voice. A brighter quality (_voix claire_) is
used instinctively for an ejaculation uttered by one to whom pleasant
or joyful news has been communicated. On the contrary, should it be
the cause of sorrow or grief for the listener, he will use--should he
have occasion to reply--a darker quality of voice (_voix sombre_).
Such phenomena are physiologi