| Share page | Visit Us On FB |
|
CHAPTER X |
||
|
CONCEPTS OF INTERPRETATION |
||
|
D
efinition. Interpretation is generally defined as: "an artist's way of expressing ... his conception of the subject of his art/* (W) In singing, interpretation is the final rendering -of a piece of ^-ocal music so that its fullest meaning is intelligible to a listener. [Hen-schel 265, p. 3] The process of vocal interpretation involves a) apprehension, or the faculty by which musical ideas are conceived and understood; sand b) representation, or the act of portraying and imparting these ideas to an audience by means of appropriate audible and visible symbols. Thus, interpretation in singing has its Inception In the proper analysis and absorption of the meaning, intent and mood of a song by the singer iiimself, a subjective process; and it reaches fulfillment in the out-picturing or vivid Indication of these elements in. communicable patterns of expression. [Owsley 441, p. 62]
The terminology of interpretation Is fairly extensive, reaching into many adjacent but non-vocal areas and also into advanced operatic and concert fields that lie beyond the scope of this study. Such general technical terms as grace-notes, syncopation, phrasing, crescendo, tempo-arubato, for example, have general musical connotations that are not peculiar to vocal science and therefore, not within the scope of a vocal terminology. In all, 354 statements are classified as concepts of Interpretation that pertain to the basic training of the singing voice. These are categorically summarized in Table Nine.
Theories of Interpretation
general considerations
The nature and importance of interpretation. "If I were asked to define the singer's art," says Frieda Hempel, "I should not explain it In terms of vocal technic I should say that it lies In the ability to move an audience." The singer who only performs notes is merely a technician. [239] The art |
||