be
regarded as a means of characterization.

This use of accent for characterization is also quite distinct from
its use with "accidentals," or tones foreign to the prevailing
tonality. In the former case, sentiment dictates its employment; in
the second, the accent guarantees, as it were, the accuracy of the
singer's intonation. By the faint stress laid on the foreign tone,
the listener is assured that the executant is not deviating from the
true pitch. In the following examples, the tones marked [accent
symbol] are "accidentals," and for that reason should receive a faint
stress. The first example is from _La Forza del Destino_.

[Music: Verdi

Madre, Madre, pietosa Vergine, perdona al mio peccato, m'aita
quell'ingrato]

[Music: "Je dis que rien"

Carmen: Act III

Bizet

Vous me protegerez, Seigneur!]

These different uses of accent are well illustrated in the following
example.

[Music: "Come unto Him"

Messiah

Handel

Take His yoke upon you, and learn of Him.]

The tone allotted to the second syllable of the word "upon" is
accentuated to affirm the accuracy of the singer's intonation; the
slight emphasis of the word "Him" brings into relief the meaning of
the text. This latter, then, is an illustration of Verbal, or
"Poetic" accent which, I repeat, throws into relief, without
consideration of its musical value or position, some word of special
significance in the verbal phrase. To render the poetic meaning of the
text clear to the listener, a correct use of verbal accent is
imperative. Its importance and effect, particularly in recitative and
declamatory singing, are analogous to the importance and effect of
emphasis in spoken language. The example is from _Samson_ (Handel):

[Music: O loss of _sight_, of _thee_ I _most_ complain.]

Here I may point out that in _cantabile_ phrases the stream of sound,
notwithstanding its division into syllables by the organs of
articulation--lips, tongue, etc.--should pour forth smoothly and
uninterruptedly. The full value of each tone must be allotted to the
vowel; the consonants which precede or end the syllables are
pronounced quickly and distinctly. In declamatory singing, on the
contrary, the consonants should be articulated with greater
deliberation and intensity.

[Music: Handel (Messiah)

I _know_ that my Redeemer liveth.]

Here an emphatic accent on the consonant "n" irresistibly suggests the
idea of knowledge; that is, of absolute certainty, no