We must, therefore,
know first the general definition of these elements, their cause and
their theoretical history, which constitutes phonology or the
preparatory study of the voice.
Secondly, we must know the physical order in virtue of which these
phenomena may be acquired or developed. The various special exercises
and the vices to be avoided constitute phonation or the practical study
of the voice.
Thirdly, we must know and appreciate the physiological, intellectual and
moral meaning of these elements, the different relations of resemblance,
of opposition and of identity which exist between these different
phenomena.
The modes of application or principles of style form the transcendent
study or aesthesiophony, that is, the voice applied to feeling, etc.
_What the Register is._
The register is an intrinsic modification of the sound; a modification
which is produced in the larynx itself and which does not belong to the
mouth. Now, we may say of registers that they are to the larnyx what
emissions are to the mouth. Thus registers form a physiognomy which the
sound assumes in the larynx, and emissions form the physiognomy which
that same sound takes on in the mouth.
_On Shading._
Light and shade are not, as has been asserted, subject to the
arbitration or inspiration of the moment. They are ruled by laws; for in
art there is not a single phenomenon which is not subject to absolute
mathematical laws.
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