While the composer depends on his instrumental writing for providing an expressive context to the actions, it is his use of many different vocal styles that enables a musical characterization of Father Grandier and Sister Jeanne. It is thus through these vocal lines that the characters' moral, mental, and emotional states are judged. The correct literary style of Grandier is emphasized in the opera by the fluency of the recitative, its coherence with speech intonations and subdued expression. In addition, Grandier's use of speech in the second act may be interpreted as representative of the protagonist's sobriety. In contrast, Jeanne's vocal style is very pointillist. The frequent leaps, changes of character, drastic dynamic changes, and glissando, characteristic of Jeanne's vocal part, are emblematic of her hysteria and falseness. Furthermore, Jeanne's demonical possession is underscored by the use of laughter, groans, and electronic distortion of her voice.