ABSTRACT
Composers approach writing for the voice from various viewpoints. They may be looking for a certain sound, or an opportunity to play with language, or be interested in using the voice as a dramatic vehicle. The composer's own predilections will inevitably color how the voice is heard and seen. This chapter summarizes the various approaches to the voice with the objective of allowing more informed choices to be made. It attempts to sum up many of the strands in earlier chapters of the book, and indicate a few of the inherent possibilities and trends for future development.
