Style in Singing

Style in Singing, by W. E.
Haslam

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Title: Style in Singing
Author: W. E. Haslam
Release Date: May 9, 2007 [EBook #21400]
Language: English
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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. They are,
however, of equal importance. Until the Pose and