New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-28

: ing for our singers II opera In the YER
nacular is 10 become an established insti-
tuition. The contention that English is I'M
/ singablc or i'll adapted 10 song is not heard
as often now as II used to he. II never
had anything to support it in the compo-
! sitions Of the English masters Singers
who veil the words I'm Handles English
oratorios are unfit 90 sing English. ana
ought not 10 be permitted TO sins az all.
We are not hopeful OF soon hearing an
English opera chorus which will he in
telligible. but when our choirs begin 10
make unmeaning sounds in 1.-THE Mes
siah.' Israel in Egypt" or Samson" 1t
will be high time 10 relegate oratorio 10
the limbo Of oblivion True. the day may
come which will bring with II a restora-
ton Of the art Of pure choral writing. but
the tendency Of composition does not in
dictate that il is imminent on the con-
/ trary. the tendency Of even tho best Of the
English composers is 10 force the voice
into the Spanish boots Of the instrumental
STYLE II did not need the recent poor per
| Torrance ofthe MacDowell chorus to make
that fact evident 10 the wayfarinr man.
even though he was fool in music. the
style OF the writing was suffcient.
This style. however. makes study
Of tn, manner IT. which English ought
10 and must be sung all the more
/ imperative and Il is pleasure 10
/ call attention TO two admirable books
dealing with that subject which have
recently been published. one Of these
| Is Lyric Diction for Singers. Actors
and public Speakers" by Dora Duty
| Jones published by Harper & Bros, New
York;. This book, in its most readable
/ and also most suggestive part. is finely
and cogently written treatise on the ne
cessity of intelligently cultyating the
vowel sounds and co-ordinatng and mar
monlzing them with the music OF beautiful
! speech as well as song. so that the woid
may be maintained in its integrity II Is
a. thoroughly modern work perhaps q
, little too modern or futuristc in some oi
| its claims and aims. but It's study cannot
but be beneficial TO the earnest student OF
English song Its theory OF vowel melody
recalls some ancient theories on the sub
iect and reminds us OF the speculations
in the book Of a German iiebraist named
Leopold A. +. Arends C'Ueber den Sprach-
gesang der Vorzeit und die Herstelloar-
keit der Althebraischen Nocalmusik ,. In
il the theory is advanced and presented
with great deal of learning that the mel
odies Of the ancient hymns OF the Jews
were based upon a system OF vowel values.
| AppIying his system experimentally. ne
constructed melodies for portions OF the
Hebrew Scriptures which bear a striking
likeness TO some melodies which have
come down from antiquity by tradition.
! When the author OF Lyric Diction' strays
into the field Of pure intonation and the
abolition Of the tempered scale, however.
she is inviting chaos TO come again In IN
strumental music and the whole structure
Of modern harmony.
A thoroughly practical work for the
singer less concerned with theories and
speculations is English Diction for Sing
ers and Speakers" by Clara Kathleen
Rogers published by the author AT NO
800 Beacon street. Boston,. This book
was written. we believe. for the students
at the New England Conservatory OF Mu-
sic. and is a practical course of study
from the beginning to end. II has COM
panion. which also comes from Boston
/ ,n "French Diction for Singers and Speak
ers." by William darkness Arnold 'Oliver
| Ditson Company. publishers). II. Il. Is.