Voice (music)

Definition and stakes

Edmund J. Myer,  The Renaissance of the Vocal Art

“ Unquestionably the singer must have control of the physiological and technical possibilities of his voice. No one can make words and music mean anything while he is wondering what his voice may do next. Developed intelligence, emotional richness and refinement, musical knowledge, a properly placed voice capable of flexibility and color, distinct articulation, polished diction, these are some of the preliminaries to successful interpretation in song. ”
Source: Gutenberg

H. Ernest Hunt,  Spirit and Music

“ Seeing that song, then, is to be the vehicle for emotion, even though that emotion be so tenuous as almost to defy verbal expression, for the most part we ally words and music. The timbre of a voice, singing tones without words, might carry a message to the sensitive, just as the inflection of a voice may be exquisite joy or suffering to a lover: but it would be insufficient to move the average hearer to any response. The reason is that there is always a dual process at work in mind: there is the sense-perception of the actual sound, and a brain-recognition of its meaning. ”
Source: Gutenberg

Portrait of Herbert Spencer Herbert Spencer,  Essays on Education and Kindred Subjects

“ An unusually emotional nature being thus the general characteristic of musical composers, we have in it just the agency required for the development of recitative and song. Intenser feeling producing intenser manifestations, any cause of excitement will call forth from such a nature tones and changes of voice more marked than those called forth from an ordinary nature—will generate just those exaggerations which we have found to distinguish the lower vocal music from emotional speech, and the higher vocal music from the lower. ”
Source: Gutenberg

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