stitute 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. A knowledge of these laws is important, the art of
shading forming the basis of style.

The opinion which makes the ascending phrase progressive is false six
times out of seven. It is only correct in the following cases:

1. If an ascending phrase encounters no repeated and no dissonant note
it is progressive, and the culminating note is the most intense. It has
one degree of intensity.

2. If we find a note repeated in the ascending phrase, that note, even
if it be the lowest of all, must be made more important than the highest
note and will have two degrees of intensity. In this case, the higher
the voice rises the softer it must become; for there cannot be more than
one culminating point in a musical phrase any more than in a logical or
mimetic phrase. All sounds must, therefore, diminish in proportion to
their distance from this centre of expression, from this repeated note.
The reason of the intensity of a repeated note lies in the fact that we
repeat only that thing which we desire, and this intensity gives it a
greater value.

3. If the repeated note be at the same time the culminating note, it
will require a new degree of intensity. It will have three degrees of
intensity.

4. We may possibly find a dissonant note in the ascending phrase, with a
repeated culminating note. (This note would, then, be more than an
indication; it wo