Style in Singing

by W. E. Haslam

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

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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):

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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.

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Here an emphatic accent on the consonant “n” irresistibly suggests the idea of knowledge; that is, of absolute certainty, not of mere belief.