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TRAINING THE SINGING VOICE |
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Methods of Cultivating Interpretational Skill psychological approach
Visualization as a factor. As previously defined (Chapter VIII), visualization is the faculty of forming mental images of conditions or things not actually present to the senses. In the cultivation of interpretational skill in singing, an essential factor is the formation of clean-cut mental concepts of vocal tones and tonal combinations in their proper musical and textual settings. The opinion held by 10 authors is summed up in Stanley's words: "The ability to conceive groups of tones is a vital part of the innate talent for singing. ... If it is lacking, the pupil . . . can never become an artist." [578]
A certain freedom and continuity of expression is acquired by those singers whose interpretations follow a preconceived mental pattern. "You must be singing before you begin!" was maestro Lamperti's motto, according to Brown. Continuity is achieved by entertaining the concept that the music of the song is but the "division of one tone." This concept must be held before the phrase is started and during its complete utterance. In other words, the mind is never silent during the performance of a song. It is always either singing or preparing, so that the mental effect is that of a continuously spinning tone. Thus, the momentum of singing is never arrested, since each succeeding phrase is mentally being prepared while the singer is still on the preceding one. Diction and interpretation should never interrupt the low of tone. [78, pp. 47 and 67] Skiles declares that "the real artist first sings his songs mentally." [557, p. 14] Jessica Dragonette Is of the same opinion. [148] A singer "worthy of the name" will always "know beforehand [mentally] what a passage will sound like." [Hill 272, p. 49] Deliberate and detailed mental planning are always necessary in preparing a song. The success of your Interpretation depends upon it. {Jones 307, p. 11; Williamson 672]
MOTIVATION AS A FACTOR
Motivation Is defined as the mental and emotional excitement aroused In a singer by the recognition of those Ideas and values in a song that appeal to his native Interest and understanding, and that stimulate him to spontaneous and enthusiastic self-expression. This definition, derived from Webster and the Dictionary of Education [706] clarifies the pedagogical Intent of 61 statements that were gathered on the subject of motivation In singing. These statements are grouped in three categories: a) those that emphasize the emotional content of the song; b) those that em- |
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