Style in Singing

Transcriber’s Note: This e-text contains musical symbols, which may appear as boxes in some browsers. Hover the mouse over the box for a pop-up text explanation of the symbol, e.g., G ♯.
NEW YORK: G. SCHIRMER 1911
Copyright, 1911 By G. SCHIRMER 22670

“O F 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.

I N 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 æsthetic tone-quality be used by the instrumentalist, but the result is always the same.