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Updated: May 13, 2025
These movements change the overtones, of which the vowels are made up, and hence it is that the human voice is capable of an infinite variety of tone-color, compared with which Wagner admits that even "the most manifold imaginable mixture of orchestral colors must appear insignificant."
And hence the strangeness of the musical experience the fact that we feel so deeply over nothing. The second cause for the concreteness of the musical experience I take to be certain emotions and feelings which are aroused by association, not with the rhythmic elements of music alone, but with the tone-color, intensity, and melody also.
What a glow of tone-color there is in all this harmonic re-enforcement, and who would now say that the pedals should never be used? By their proper use, the student's ear is educated to a refined sense of distinction of consonance and dissonance, and the intention and beauty of Chopin's pedal work becomes revealed.
This ornamented prose, elaborated by Greek and Roman rhetoricians, and constantly apparent in the pages of Cicero, heightened its rhythm by various devices of alliteration, assonance, tone-color, cadence, phrase and period. Greek oratory even employed rhyme in highly colored passages, precisely as Miss Amy Lowell uses rhyme in her polyphonic or "many-voiced" prose. Oxford, 1913.
Poe's "Ulalume" is a masterly display of tone-color technique, but exactly what it means, or whether it means anything at all, is a matter upon which critics have never been able to agree. It is certain, however, that a poet's words possess a kind of physical suggestiveness, more or less closely related to their mental significance.
It remains as true of verse as it is of prose that the "literary" values of words their connotations or emotional overtones are too subtle to be indicated by any marks invented by a printer; but the alternation or succession of long or short syllables, of stressed or unstressed syllables, the nature of particular feet and lines and stanzas, the order and interlacing of rhymes, and even the devices of tone-color, are sufficiently external elements of verse to allow easy methods of indication.
I will speak, therefore, of these fundamental forms and not of musical works of art, for by means of what one might call, by way of comparison, musical natural beauty, by means of the prototypes of the high or low tones, of tone-color, of time, of rhythm, etc., we can test most clearly the unconscious transformation of the musical ear in contrast to the conscious development of artistic taste.
That so many literary men and women have vaguely suspected the alluring tone-color of the word "gossip" is proved by: A Gossip in Romance, Robert Louis Stevenson; Gossip in a Library, Edmund William Gosse; Gossip of the Caribbees, William R. H. Trowbridge, Jr.; Gossip from Paris During the Second Empire, Anthony North Peet; Gossip in the First Decade of Victoria's Reign, Jane West; Gossip of the Century, Julia Clara Byrne; Gossiping Guide to Wales, Askew Roberts and Edward Woodall; Gossip with Girls and Maidens Betrothed and Free, Blanche St.
A fairer test of tone-color may be found if we turn to frank nonsense-verse, where the formal elements of poetry surely exist without any control of meaning or "sense": "The Jabberwock, with eyes of flame, Came whiffling through the tulgey wood, And burbled as it came!
As a rule, nasal placement should be avoided by all but the most experienced singers, and even by them employed only sparingly and only for passing effects in tone-color. The individual formation of the lips would seem to have much to do with their position in singing.
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