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CONCEPTS OF INTERPRETATION |
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tones. (See also Chapter IX) In staccato singing, vowels are perceptibly disconnected. The attack and release of each staccato tone may be regulated either by diaphragmatic action, as in laughing, or by glottal action, as in coughing. The repeated glottal attack is recommended as an exercise for strengthening the vocal cords.
Variety and tone color. In order to create an illusion of spontaneous and unstudied expression in the interpretation of a song, the singer must capture the whimsicality of thought, the freedom and variability of feeling, the purposiveness and expressional intent of the text. This is accomplished with sufficient flexibility of technique to allow for a varied and colorful interpretation that is both interesting and convincing to his audience. In other words, the singer must play upon those variables of vocal expression that lie within the compass of his voice; through his use of variety and tone color he projects the final characterization of his song.
Song analysis. The interpretation of a song is an involved process, requiring a preliminary structural analysis and a part-by-part study of all its constituent elements. Ultimately, the singer must learn to fuse all musical and textual elements into a fluent continuity of expression in which techniques of tone production obediently subserve the desired artistic interpretation.
Performance aspects. In the final analysis, judgments of a singing performance are largely based on the subjective aesthetic reactions of a listener. [Seashore 506, p. 7] Such intangible factors as originality, sustained effect, self-control, personality (visible and audible) and musicianship, combined with the physiological impressions of the tones heard, help form the final complex impression of the singer's artistic development which is conveyed to an audience during a performance.
THE IMPORTANCE OF FLEXIBILITY AND FREEDOM
In conclusion, the voice training program is composed of various components of singing which are separately featured as technical objectives. Such factors as breath-control, phonation, resonance, range, dynamics and diction form the constituent elements of the vocal act. Hence each provides its own problems of technical development and, where the student of singing reveals limitations such as poor posture, pitch strain, breathiness, lingual ineptitude, etc., it is often felt that each problem requires isolated treatment during the singing lesson. But the art of interpretation represents an integration of all these technical factors in a tonal |
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