| Share page | Visit Us On FB |
|
228 |
TRAINING THE SINGING VOICE |
||
|
which explains, beautifies, illustrates or clarifies a poem. If it does none of these, it is not worthy to be called a song." [327] Apparently the singer must make the important distinction that song is not merely instrumental music. "It is poetry allied to music; it tells a story," [Bairstow, Dent, et al.
Many classifications of song are mentioned by authors, including the following: oratorio, opera and recitative; concert song, ballad and aria; folk and art song, classical and modem; liturgical mass, hymn and cantata; lieder; operetta; atmospheric, dramatic, romantic and lyric songs; narrative, florid, character and humorous songs; etc. [E.g., Greene 209, p. 201; Stanley 577, p. 215; Kwartin 325, p. 105] A comprehensive analysis and comparison of these song forms is beyond the scope of this study. But the methods of song selection used by teachers in the training of the singing voice have a pedagogical interest since the singing of songs is a widely accepted medium of vocal study. Suggestions embodied in the 20 statements gathered on this subject are represented in the following concepts:
1. The very first requisite for selecting a new song for study is that "it shall so lie within the singer's vocal compass that he or she can sing its every tone without the least effort or constriction.** [Bellporte 43; El-verson 161] (See also discussion of tessitura in Chapter VI)
2. The tessitura of the student's voice should also match the predominant range (tessitura) of the music sung. [Evetts and Worthington i«7* p. 33]
3. The mental focus in singing must be equivalent to the vocal tessitura hi that the point of major interest (climax) in a song is directly related to the range of vocal movement. [Greene 209, p. 102]
4. "My own preference is to open a program with a slow, sustained
aria or song** requiring full voice. This helps to warm up the voice and
also to overcome nervousness. [Nino Martini 374]
5. Simple songs are an important part of the student's early training. [Allen 7, p. 80]
6. The singer must consider the element of audience appeal in choosing his songs. "Artistry is not voice alone, it is also communication.**
[Armstrong 21]
7. Never sing a song in public that sounds as if it were too difficult
for the singer. [Brines 63]
8. Never allow songs to become stale; avoid boredom caused by lack of variety either in choice of song or in style of rendition. [Jacques 299, p. §7] |
|||