ABSTRACT
The musician must twist his true line of thought if he wants to impose on it a theoretical or speculative slant. A word dense in emotive content, allied to an exalted musical expression, to an interval or an apt and appropriate musical motif, to repetition, implies a whole series of strange roads leading to enchantment and magic. The idea of vocalization obviously brings up the question of the human voice itself, the very best musical instrument; and immediately afterwards, the idea of “singability”, a supreme emblem in an expressive concept of music. The autonomous outline of verse and stanza disappears when faced with the greater freedom and physical dynamism of the musical rhythm imposed upon the body of the poetry. From the fine architecture of poetry, the new symmetries and synthesis of music respect only the simple quantity of the stanza, when not multiplying its verses and constituent elements.
