ssion on their public? Why, for
instance, did the late Mme. Tietjens, when singing the following
passage in Handel's _Messiah_, always begin with very little voice of
a dulled quality, and gradually brighten its character as well as
augment its volume until she reached the high _G_-[sharp] which is the
culmination, not only of the musical phrase, but also of the
tremendous announcement to which it is allied?

[Music: For now is Christ risen, for now is Christ risen.]

This last tone was delivered with the full force and brilliance of her
magnificent voice, and was prolonged until the thrill produced in the
listener became almost painful in its intensity. Again I ask, why did
this world-famous singer perform this passage _always_ in the same
way? Unreflecting people may reply vaguely that it was because the
artist "sang with expression." But what constitutes "expression" in
singing? No great artist--no matter what the vehicle or medium through
which his art finds manifestation--does anything at random. "The wind
bloweth where it listeth" only in appearance; in reality, it is
governed by immutable law. Similarly, the outward form of an art is
only apparently dictated by caprice and freedom from rule. The
effective presentation of every art is based on well-defined and
accepted principles. And it is with the earnest desire to throw light
on this most important phase of vocal art, that I present the
principles of "Style in Singing."

CONTENTS

PAGE

PREFATORY NOTE v

INTRODUCTION vii

CHAPTER I: Elements of Vocal Training 1

Emission of Voice 2

CHAPTER II: The Value of Technique 7

CHAPTER III: Analysis of Style 12

Colour 14

Accent 21

Intensity 27

Phrasing 32

Portamento 37

Variations of Tempo 41

CHAPTER IV: Tradition