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TRAINING THE SINGING VOICE |
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5. In order to supply deficiencies in the color of the voice, the teacher
will find it profitable to arouse genuine feelings in the singer's voice. [Samuels 487, p. 38]
6. "The mood of the song is the mood of the singer." [Wharton 655, p. 55; also Austin go]
7. "Only what comes from the heart will go to the heart/' [Samoiloff 485]
8. True feeling puts both warmth and color into voice. [Holscher 281; Abney 2]
Personality' emphasis. Personality (from persona: a mask) is the outward manifestation of individuality, or the sum total of characteristic traits and patterns of behavior that outwardly distinguish one person from another. (W) The concept of personality emphasis in training the singing voice is variously explained by 14 authors. Mursell believes that, because the singing voice really outpictures the singer's personality, the vocal teacher's task is to develop singing personalities, rather than to cultivate routine mechanical skills that are completely dissociated from personality. [411, p. 224 ft] "The same song can be sung with very different conceptions" by different artists, says Lotte Lehmann. "There is no right or wrong way." For, just as personalities (individualities) differ, so wiH the interpretations of a song differ. [338] "When we listen to . . . good singing, we are not enjoying a mechanically perfect device, but the creative utterance of a musical personality. ... It is not the child's voice that sings; it is the child who sings." [Mursell and Glenn 413, pp. 285 and
"¥oice should [always] be the spontaneous expression of [the singer's]
personality," says Jessica Dragonette, in an interview. [146] "Put your whole personality into the song" is Christine Little's advice. [349] Gid-dings holds that individual singing develops the personality of the singer, a worth-while accomplishment. [201] These three authors maintain that the singer has a message that can only be expressed by his personality. Therefore, personality emphasis in singing is paramount. According to Seashore, individual differences in interpretation are inevitable. "After all," he says, "a musical score is a very crude way for a composer to convey all the ideas he wishes to convey. The singer must, of necessity, regard the score as the barest reference pattern." [515] The singer's mental processes contribute as much to the performance as the score markings; and interpretation is therefore always essentially individual. [Herbert-Caesari 269, p. xiv; Greene 209, p. 3]
Interpretation^ emphasis in singing requires the proper subordination |
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