Style in Singing

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_TO MY PUPILS_


STYLE IN SINGING


BY

W.E. HASLAM


NEW YORK: G. SCHIRMER
1911

Copyright, 1911
By G. SCHIRMER

22670




PREFATORY NOTE


"Of making many books there is no end." Surely, the weary observation
of the sage must have an especial application to the literature of
Song.

One could not number the books--anatomical, physiological,
philosophical--on the Voice. A spacious library could easily be
furnished with "Methods" of Singing.

Works treating of the laws governing the effective interpretation of
instrumental music exist. Some of them, by acknowledged and competent
authorities, have thrown valuable light on a most important element of
musical art. Had I not believed that a similar need existed in
connection with singing, this addition to vocal literature would not
have been written.

In a succeeding volume on "Lyric Declamation: Recitative, Song and
Ballad Singing," will be discussed the practical application of these
basic principles of Style to the vocal music of the German, French,
Italian and other national schools.

W.E. HASLAM.

2, rue Maleville,
  Parc Monceau, Paris,
    July, 1911.




INTRODUCTION


In listening to a Patti, a Kubelik, a Paderewski, the reflective
hearer is struck by the absolute sureness with which such artists
arouse certain sensations in their auditors. Moreover, subsequent
hearings will reveal the fact that this sensation is aroused always in
the same place, and in the same manner. The beauty of the voice may be
temporarily affected in the case of a singer, or an instrument of less
aesthetic tone-quality be used by the instrumentalist, but the result
is always the same.

What is the reason of this? Why do great artists always make the same
effect and produce the same impression 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                                               44

    Pointage                                                        61

CHAPTER V: Repertoire                                               91

CHAPTER VI: Conclusion                                              98




STYLE IN SINGING




CHAPTER I

ELEMENTS OF VOCAL TRAINING


If the practical education of the singer be analyzed, it will be found
to comprise four fundamental elements:

(1) POSE: or Emission of voice;

(2) TECHNIQUE: or the discipline of the voice considered as a musical
instrument;

(3) STYLE: or the application of the laws of artistic taste to the
interpretation of vocal music;

(4) REPERTOIRE: or the choice, in the literature of vocal music, of
works most suited to the voice, temperament and individuality of the
particular singer.

I have classed these four elements in their relative order.