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25$ TRAINING THE SINGING VOICE
complete control of the voice; love of singing; absence of fatigue; excellent diction; ease in ascending or descending scale; articulation does not interrupt the flow of tone; absence of forcing or strain; perfect intonation (pitch); smoothness of legato; facile staccato; perfect messa di voce (Chapter VII); good range; sostenuto; ease of singing resembles ease of speaking; feeling of support. When the pupil can measure up to these standards of technique he is on the road to becoming an artist. [130, p. 2] Sir Henry J. Wood adds to the above criteria the factors of ear training, gift for languages, general physique and pleasing personality [686, p. 11]; while Clippinger adds stage-presence and the mastery of interpretative factors such as mood, phrasing, contrast, balance and unity of effect. [104, p. 5]
SUMMARY AND INTERPRETATION
THEORETICAL CONSIDERATIONS
The 354 statements gathered in this area develop the general principle that the singer's responsibilities extend beyond the technical mastery of his vocal instrument, into the realm of artistic self-expression. In his role as
an artist, the singer is primarily concerned with human values in expression; with the communication of musical ideas through the language of song. The art of singing now acquires attributes that are both technical and psychological: technical, in that certain skills are cultivated through the use of drills and exercises that develop the vocal instrument as a flexible medium of tone production; psychological, in that the singer's portrayal of aesthetic values in expression through the use of tone and text is emphasized.
Also of prime importance in the interpretational phase of vocal training is the emergence of the individuality of the singer, in which he demonstrates his capacity for original and creative expression. The general concept here developed is that interpretation is in itself a never-ending maturation process, requiring years of trial and error learning and abundant listening experience. In this process, the student gradually frees himself from inhibitions and restraints caused by inexperience. Self-consciousness and fear are also banished with the overcoming of technical limitations. "Experience is the soil out of which interpretation grows and young people [singers] are deficient in that." [Glenn and Spouse 705]
The widely held assumption, that interpretations in singing vary with the individual, is supported by the recent investigations of vocal scientists. "No two behaviors of any kind are exactly alike," says Metfessel. |
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