The Short

manner, perhaps illustrating a more developed consciousness of the stylistic difference between late eighteenth-century
music and that of his own day than was common.
A further aspect of Bériot's treatment of articulation comes in the next section of the Méthode which is headed
‘Syllabation’. Here Bériot observed:
There are rests even slighter than those we have just explained, namely those of syllabation. By this expression we
mean the method of separating words and syllables to give them more force and accent in lyrical recitation.
These nuances, which are entirely in the spirit of the piece, are so delicate that they cannot be classed in the
punctuation. They should be more or less marked according to the sentiment of the song.
Special schools of declamation have been established to teach us to speak well; of lyrical declamation and singing to
teach us how to deliver melody. These vocal studies are great helps to the violinist, whose bow should render the
accents of the soul.
In music as in literature, these little rests of syllabation cannot be written; the performer should feel them. Hence we
call them the punctuation of sentiment.
The places which these little rests should occupy are indicated in the following examples by a comma. We should
notice that their place is chiefly between a dotted note and the short one which follows it. 293
All three of his examples here are operatic, though the extension to violin music of the French school at this period is
not difficult to make. (Ex. 4.32)
Ex. 4.32. Bériot, Méthode, iii. 231
293 Ibid. 231.
ARTICULATION AND PHRASING 161