Urbana union. [volume] (Urbana, Ohio) 1862-1872, 1869-04-14
For the Urhana Union.
1LU . Z q
no. VII.

come q correct and tasteful vocalist.
The pronunciation Of the words is a
very important item. The singer may
have q pure and perfect voice, but ifthe
pronunciation is bad, the tones Of the
voice are sadly impaired, and the sing
ing will be imperfect and indistinct. We
have to contend with many errors in
/ this respect. This arises from q want Of
observation on the part of the singer,
and also from pronunciations in use in
various parts of the country. Words
ending in js, are sung GUS, IN as eiln,
I hear as hear, Nary as Ifa-i-57i cd as Vd,
/ and errors like the following:
! Sweet IS the work my God my King,
/ SUee-ti8 the ,rirE mi God mi King, lUy
being sung with the stress on 4 clear
ringing Imstead Of al. I could men,
tion many such mi5pronunciations, but
these viii suffice to make plain my
meaning.
This may be rcmcdied by the iudivid-
uaI taking a verse of poetry and singing
/ it slowly, paying strict attention to the
sound of each letter, always remember
/ ing to prolong the first sound Of the
vowel; also keeping the teeth as open as
possible, and while making the conso-
nant distinct, being careful not to make
it hard or prominent. The little errors
in pronunciation We hear every day, are
very noticeable when heard in singing
where the sounds are 50 much prolonged.
It is also indispensable that the singer,
should seperate the sentences and phra-
Ises Of sentences, so as to give the true
meaning of ewords. Take line from
the third verse of the Last Rose of
| Summer.
-''Where true hearts lie-withered,
/ Where true hearts-lie witheTed."
I One line is sense, the other nonsense;
yet the majority of singers, sing in this
manner, as regard, ,sthe proper places for
breathing, or separation of sentences,
causing good poetry to sound ridiculous.
A vocalist, who understands the art
I never sings a song in public until the
language has been studied, and the
/ pathos and expression understood. The
/ singer and the actor stand on the same
ground.
Some Judgment is also required to the
force or power Of the voice. Some seem
to aim only at quantity, regardless Of
= quality; and some would be much i'm
proved by using energy. Many use all
the strength of the chest, to drive from
/ it as much sound as possible, not know
= ing, that to force the voice by muscular
i effort destroys all purity of tone.
d / Take any wind instrument-the flute, o.
. clarfonet, and OVERFLOW il, that is, give
> it more force than is truly required tc
= give it a pure tone, and It sends forth
, nothing but harsh discOrdant sounds.
The organ IS always tuned to press
2 Iure upon the bellows, carefully used
so as not to give too strong current OF
! air through the wind chest TO the pipes,
and lest the Instrument should have too
, much pressure upon the pipes or wind
chest, there is an escape valve to the
bellows. In the same way when a sing
er uses more breath than is necessary to
produce q good tone, and does not open
his mouth sufficiently TO permit the
forced sound to escape, the nose becomes
I the escape valve, and the effect is most
beautiful nasal twang.
So in playing there is a great deal of
strength thrown away, in throwing
: about the arms and hands and making
contortions of the body, producing what
I has been called, pump-handIe playing.
i Fifty years of experience in music, con
/ vinces me that good performer needs
to have very little motion to his body;
but it may be necessary sometimes to
make up in motions and gestures of the
arms and body, what would beothewise,
sadly deficient in feeling and expression.
May point out another error. It s
the common desire ofpupils, and often
of parents to go too soon into tune play
: ing. This not only puts q stop to pres
ent Improvement but the going player in
the attempt to perform agreeably before
having practiced scales and exercises
sufficiently, acquires these, and many
QUIET EELOLSs liz 4EtLh g u LLLE lis
ton book are generally the cleanest
and show fewest marks of use, on those
pages where the most knowledge is to
be obtained. Indeed the Instruction
book itself is considered a great bore.
and though a good one always contains
selections from the best music; many
pupils spend most of their time at the
piano, trying to play the most trashy
productions if they are popular.
Alady not a gTeatwhle ago was playing
for company, and her hearers, being de-
lighted with the music, anxiousiy ell
quired where she obtained that fine
piece From "Hmtcu's Instruction
BoOk," ," was her answer.
Iknew music teacher in Ky. who
after giving lessons to a little girl about
three months, was accosted by her father
with rcproaches because his daughter
had not yet learned to play any tunes.
/ 'tAhr' said Mr.. Y. the was q German
thought you wished me 10 teach your
daughter music, but see what youwish
and if you want TO De humbuggCd l viii
hmbUg. So he proceeded 10 make the
little Miss play tunes,
No good player was ever made ly
such a process, and rest assured that if
pupil disdains the practice of the
scales and exercises. and the beating Of
time, as well as the porseveriug study
of the principles, there is not the least
hope Of success. Neglect ofthcsc thing,
is not always the teachers fault, for the
teacher can ouly point the way t3 im-
provement, but cannot force the pupils
to follow il.
-Rev. Mr.. Gordon for ten wear, %
missionary i'm Northern India, is now in
this country, lcctuTiug ON the customs.
manners and religion of the Hiuda0-.
lie exhibits number of their genuine
idols, implements of agriculture and
fnhTipS of manufacture aI flIu-fr5ffsr.-