Part 2 (1/2)
Voice, as we have seen, possesses five generic properties, pitch, force, quality, time, and abruptness; and, in every spoken word, it must assu then_, as it is called, should be the appropriate expression of the thought and feeling of which the word, in its place in the sentence, is the _graphical sign_ Hence, as each word in a sentence n, so each variety of diction may be said to have its appropriate vocal expression,--a latitude of choice in the constituentexpression, being, of course, always conceded
The appropriate vocal expression for the diction of discoursemodes:--normal pitch, simple intonations, and waves of a second, ht radical stress, in quality the naturalto effect clear articulation, and in time a moderate rate with effusive utterance
As the diction rises above this plain unimpassioned character, and beco and sentins, and hence the whole vocal expression, become more and more expressive In pitch there is frequent variation: in expressions of joy, astonishment, or for coher elevation; and with equal naturalness it descends below its norrave, soleain, inasmuch as the interval of the second is the plainest and simplest within the co, intervals of a third, a fifth, or even an octave, may be heard, both in simple intonations and in waves
Force, too, will not be unvaryingly applied, but will be greater or less according as energy or passion ive place to the radical or to the final, to express energetic resolve; or, in the language of pathos, exaltation, reverence, supplication, and so on, to the median--the most effective of allas is compatible with slow utterance In time the rate of utterance will vary with the syllabic quantities, these being short and crisp in the language of vivacious conversation, but extended, and with distinct, attenuated vanishes, in grave and iue In quality, whenever the diction, departing from its simple character, becoive place to the orotund And while effusive utterance is always the prevalent ive place to the expulsive ht or force of passion requires it so
Thus, _as the diction rises_ fro, _the appropriate vocal expression gathers intensity and becohter colors and displays greater contrasts; and so, in the third class of diction, the diction of passion, it displays its intensest and htest colors, its deepest contrasts
As it is in a general sense only, that diction can be understood to be referrible to three classes, so also, in a general sense only, can it be understood that any particular sentence or passage has its appropriate vocal expression All that is intended is sie, or selection, gives to the careful student a certain conception of the quality and intensity of the feeling or passion that pervades it; this is to be interpreted, as well as ns possible--the whole constituting the vocal expression suitable to the piece In respect to its pervading eeneral tendency, towards one of those states described as characteristic of the diction of discourse, the diction of feeling, and the diction of passion, respectively; and it is the business of the reader to watch for this drift, which of course e, from sentence to sentence, and sometimes from word to word, and to interpret it as best he may
To indicate what modes of voice utterance are naturally most appropriate to the expression of these various emotional states and drifts, it will be best to take up, one by one, the different properties of the voice, and the several modes in which they are eneral terms, the emotional state or drift of which it is an appropriate expression (With respect to quality and abruptness this will be sufficiently done indirectly) The student then must for hi of any selected passage, first by analysis ascertain what are the e drifts, then in respect to each property of the voice choose the suitable mode for the interpretation of these several states or drifts, conjoin the selected ns, and with these form the vocal expression that suitably interprets the whole passage _The teacher, or the teacher and student together, should select froes that fitly exemplify the different modes; these should be written upon a black-board, or in some other way preserved, and be referred to frequently for practice both in voice culture and in vocal interpretation_
I PITCH Pitchto the prevailing elevation of tone assue, or selection, called _general_ or _sentential pitch_; second, as referring to the degree of elevation assu, or radical, of any syllable, called _initial_ or _radical pitch_; third, as referring to the tone-width of the intervals in the utterance of the syllable concrete
=Sentential Pitch= in its various eneral position in the scale taken by the tones of the voice in uttering a sentence or passage It h_, and _low_
=Medium Pitch= should correspond with the _normal pitch of discourse_ previously described It is natural to the expression of all uniht, and also of all emotions, except the livelier, and the deeper and h Pitch= and =Low Pitch= are only relative terms They do not represent fixed and definite modes of utterance; and all that can be said is, that for the interpretation of what s and emotions, such as cheerfulness, joy, exultation, interest, and so on, also for the expression of raillery, facetiousness, huhter, and the like, sentential pitch of a degree soher than normal pitch is appropriate; and, on the other hand, for the interpretation of what s, such as awe, reverence, hurief, and ust, loathing, horror, rage, despair, as well as for the expression of all very serious and iree soree of elevation and depression ood taste of the reader; but it e to passage, and from sentence to sentence, and even from phrase to phrase
In every style of diction, no matter how unies in the train of thought, and frequent changes in the intensity of feeling; to represent these changes there should be corresponding variations, or =transitions in sentential pitch= These transitions also serve another purpose, namely, to indicate an interpolated or parenthetical idea In eneral law of all vocal interpretation; strong contrasts in thought and feeling are marked by transitions of wide intervals, and lesser contrasts by lesser intervals
_Transitions in pitch are naturally accoes in force, rate of utterance, and phrasing_; and, like all other modes of expression, these receive their color fro of which they are the sy of a parenthetical clause (since, as a rule, the thought expressed in the parenthesis is of less gravity than the thought in the hter force and generally in quickercolors; but whether the pitch be raised or lowered depends upon the sentential pitch appropriate to the main sentence,--it should be in contrast with that And itof the parenthesis should end with a phrase melody similar to that appropriate to the words immediately before the parenthesis, so that the ear may naturally be carried back to the proper place in the main clause for the continuation of the expression of the principal thought
=Radical Pitch=, that is the pitch hich the opening of a syllable is uttered, is, in respect of appropriate e; but all that can be done here, is to call attention to this, and leave the student to exercise his taste and judgard to its use The i radical pitch so as to impart melody to continued utterance will be seen at once if a si_”) be read, first in thatradical pitch) so often heard in the labored reading of i children, and then with those appropriate intonations heard in animated colloquy When properly rendered, even if read with but little anih an interval of a second, and the several syllables are discretely uttered; but the _radical pitch varies fro a diatonic iven sentence in appropriate diatonic melody, positive direction as to the order of succession in respect of radical pitch cannot be given_; the same words may be uttered with equal appropriateness inof this fact has led to the roup of two or three syllabic concretes is called a =phrase of melody=; and as phrases vary with respect to pitch, in the order of succession of the radicals of their constituent syllables, they receive different names: such as the _monotone_, in which the radicals are all on the saroups of two tones and three tones respectively, with radicals of different pitch; and, again, the concretes in these phrases may have upward or doard intonations: but fixed rules cannot be laid down for their use The reader must bear in mind, however, that it is upon the tasteful use of phrases and cadences, that is, upon the tasteful employment of variation in radical pitch, that the e depends; and that if it be devoid of this melody, it is both wearisome and unimpressive to the hearer
The intonations of the voiceintervals, and there is a generic difference in theinterval= is heard naturally at the end of a direct question; that is, one to which ”_yes_” or ”_no_” is an expected answer, as ”_Are you going home?_” The suspensive tone which the voice assuation is indicative of incoht; and _indication of inco intervals_
=The falling interval= is heard naturally at the close of a complete state completeness, positiveness, resolution, are appropriately uttered with doard intervals_ In effecting a doard intonation the voice operates in one of tays: either the _weaker mode_, in which it descends from a radical pitch at or near the current tone to a lower pitch; or the _stronger mode_, in which it assumes discretely a radical pitch as much _above_ the current tone as the emphasis requires, and descends concretely either to the current tone or below it
As every sentence isintervals are the rule in intonation, and falling intervals the exception_, and it is this infrequency of use which gives to the falling movement its value as a mode of emphasis But where the eation, the suspensiveness of these e intonations; and hence, too, in all sentences in which the interrogative ele interval should characterize every syllable in it, and the sentences be uttered with interrogative intonations throughout If in any such sentence, a particular word is to be especially e to the word a low radical pitch and retaining the rising interval indicative of interrogation
=The width of the interval= depends, as is natural, upon the intensity of the thought or emotion of which the concrete is intended to be an expression For example, suppose the statement, ”=You= _are the culprit_,” be answered by the surprised and indignant interrogation, ”=I?=” The emphatic words here used may be appropriately uttered with intervals of a tone, a third, a fifth, or an octave, according to the emphasis supposed necessary
=The Semitone=, as has been said before, is an interval sorief, sorrow, tenderness, compassion, pity Occasionally it is introduced in diatonic le word; as, for example, ”_Other friends have flown before; on the morrow_ HE _will leave me_”
At times diction may assume what may be called a _pathetic drift_, and for the suitable interpretation of this drift seression cease for a space to be diatonic and become semitonic, or _chromatic_, as it is called
=The Wave= is one of the most impressive of the elereat flexibility in the vocal organs and a high degree of taste in the reader Like all other unusual modes, its employment lends color and contrast to utterance; that is, it makes it more effective for the purposes of emphasis or distinction The wave, as has been described, is a concrete with an upward and a doard movement united; but its last constituent is that which er iiven with a wide interval, _its dominant characteristic will be that of the second movement_; for example, if the second led with surprise or scorn; if the second led with indignation The intervals which are given to the wave depend upon the diction to which it is applied To express great surprise or veheh a fifth or a whole octave In these extreiven a wider interval in the second movement than in the first_, and its effect intensified by the appropriate use of stress, and (for the expression of such emotions as scorn, contempt, irony, ridicule, and so on) of the impure qualities of voice When used with intervals of the second, the characteristics of direct and inverted forree the wave is effectively used to put into relief occasional words, or, with ive to the otherwise short and tripping character of the second a dignified and i of all serious and important diction that is not ienerally employed when time, or syllabic quantity, is needed as an elee of complaint or pathos The effect is much the same whether it be direct or indirect
=The Trerief, supplication, tenderness, in which the interval through which it ranges may be wide, or, for a more plaintive effect, be limited to the semitone With constituent intervals other than the seh an aggregate interval of less or greater width, it hter; as, for example, in the utterance of the syllables ”_ha_, _ha_, _ha_, _ha_, _ha_,” which, when rapidly effected, resembles one syllable uttered with discrete intervals Couttural vibration, in suitabletone may be made to express scorn, derision, exultation, triumph, and so on
II FORCE Force ree of its intensity_ in the utterance of syllables, words, phrases, and sentences; and second, as to the _form of its application in the utterance of the concrete_ When the term is used without qualification, the first of these considerations is intended; when the second is intended, force is generally spoken of as =stress=