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CONCEPTS OF INTERPRETATION 235
tune without the words, try to express the "spirit of the song" which the words are intended to convey. Ultimately you may add the words to the tune. [335, p. 16; 487, p. 47] Henderson warns the singer not to ignore accented and emphasized words and syllables. "Every word has an accented syllable and every sentence [phrase] an emphasized word.™ [240, p. 68] Finally, Lardizabal lists six obstacles to the easy learning of a song. They are: unattractive material; over-repetition; unhappy or distressed mental set; too much direction and instruction regarding the song; overemphasis of theory (too much analysis); and too many preparatory exercises and vocalises. [334]
PERFORMANCE ASPECTS
Visible factors of performance. The singer's performance is the outward fulfillment of the act of vocal expression, representing a detailed elaboration of musical and interpretative elements as they are conveyed to a listener. (W) In other words, performance is the final achievement of visible and audible communication in singing. In it, the expressive motions of the face and body (gestures) also serve to accentuate the expression of ideas and feelings and as such they provide visible indices of concomitant mental and emotional states occurring during the interpretation of a song. Hence they are significant factors in the training of the singing voice and should be watched. "The personal appearance of the singer is of the greatest importance/* says Bushell, in an essay on poise in singing. "Therefore, an easy, graceful, buoyant position is an essential and should be cultivated in front of a mirror from the very first lesson." [84] Scott's advice is to "let every movement connected with singing be quick and energetic . . . always under control." [501, p. 50] Wagner finds that changes in facial expression affect the changes in tone quality. "Hence/* he says, "facial expression should not be neglected by the student or teacher of interpretation/' [627] Conversely, correct vocal emission is free from accompanying tensions in the mouth, face or eyes. [Shakespeare 517] Mursell and Glenn also emphasize the freedom of the facial muscles (e.g., cheeks, tongue and jaw). They suggest that facial relaxation may be induced "by setting up a pleasurable and interesting situation, to which it is a natural response/' [413, p. 287] Finally, Ciippinger advises the student singer to "look the song" he is singing. "His face is a mirror in which the listener may see the song as definitely as he hears it/' [104, p. 5]
Criteria of artistic performance. According to Webster, the artist is one in whom "imagination and aesthetic taste preside over the execution,f |
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