The sun., 1915-12-19

There no greater horror among
musicians than to sing false" "L'Art
de Bien Chanter," Benigne Bacilly,
Paris. 1858.
The Matter Is now come to that
state that though Song be never
so well made and never SO aptly APP
plyde to the Words yet shall you
hardly find singers to express II as it
ought to be. for most OF our Church.
men $50 they erie louder in he Quire
than their Fellowes) care for no more.
whereas. by the contrarie. they ought
to study how to vowel and sing clean.
expressing their Words with Devotion
and Passion. whereby to draw the
Hearer, as 1t were. in Cha!nes II Gold
by the Eares to the Consideration of
holy Things"-"A Plaine and Easie
Introduction to Practical Musicke,"
Thomas Morley. 1897.
"The best singer in the world con-
t.nues to study and persists In II az
much to maintain his reputation as he
did to acquire t."--"Observations on
the Florid Song" Francesca Tosi 1928.
Briefly defined the singers technic
may be said to consist principally Of
the ability to govern the voice in its
three phases of Pitch. Color and In
tensity. That is. he must be able to
sing every note throughout the COM
pass OF the voice ,Pitch) in different
qualities or timbres Color and with
various degrees of power Intensity.
In short virtuosity may have
changed in form. but IL is SIN one OF
the cornerstones of the singers art
An executive artist Will spare no pains
to acquire perfect technical skill: for
the meter or mechanical elements of
any art can he acquired spontaneous
though the results may sometimes APP
near Its primary use is and should be
20 serve as "A medium of interpreta-
n"---"Style in Singing" w. T.. Has
ian. 1911.
"Technic is easy to acquire: II is
dificult To absorb. The one Is a matter
OF months. the other of years. Technic
IL not uniform and in its rules does
rot apply TO each individual alike. but
any man of intelligence can be taught
the one that suits him hest. Ii Is the
absorption Of that knowledge into his
very system so thoroughly that its
application becomes automatic WHICH Is
the difficulty. The physical use of his
voice must be the unconscious re-
sronse To the play of his feeling. That
is matter of years, and few singers
have the patience to see II through.
-"Interpretation in Song" Harry
Plunkett Greene. 1912.
"How should a song be studied :
Read through the poem carefuliy ana
make mental note of its content. Then
PLAY the melody through slowly.
Specially difficult intervals must he
strongly impressed on the ear. II is
a good plan To pass over gradually
from the speaking tone To the sing
ing tone During this time the song
emerges in nebulous contours hetorc
the students fancy. When the eN-
preston marks are observed the FORM
grows clearer and clearer until. the
accompaniment being added, II gains
It's true colors and well defined
shane. The Technics of l'e'
Can.o." Giovanni Il. Lamperti. 1908.
"For tho singer perfection is only
reached when tone is ever present
when vowel is merged in vowel, word
ioined 20 word without a break @.
when there is. So tn speak, no day
light between orc word and another
IN
preserved as II should be. seeing that II
is separate entity, while the raint
nf the poetic phrase is not lost. -
The Singing of the Future Davlt
Ffrangcon- Davies. 1904.
Here are several quotations from
teachers and singers Of different ma
ionalities, periods and ideals: anC
hey are more or less haphazarc
quotations too. for a little more searcl
might have brought together pas
tases offering more striking resem
,'ances in opinion on the great funda
nentals of the singers art. But il
one matter II seems all the writers
are agreed and that is that "A snge
must interpret songs by singing an'
must acquire technical skill
\ techrical equipment which oper
atas automatically is the machlner!
III which The singer pursues hi
otling.
And when we arrive at the bed rocl
rpon which all rests We find it is tina
on which all executive technic il
every known department OF mus
rests, namely. tone.
The vioinist may try to delude him
Stl WIN lne IdncN IndI ms WORK ]
all done on the fiagcr board. 1t is moi
] in done chiefly with the how. y
marter how accurate and agile hi
finger technic may be, he must max
h.s instrument sing, and he has to d
that with the bow.
The pianist must be able 70 carr
the singing touch into every passag,
no matter how difficult or his per
formance resolves itself into a seric
of audible blows upon an intstrumen
az percussion. And with this come
the death knell of poetic interprcta
zion.
SO the singer must hc "A sinGe
every instant. And in order to be on
he must never cease to keep his tex
swimming in the unsurpassable glor
Of the sea Of tone.
This s all ancient gospel, hut n
: is imperative to preach occasion
ally in the church doctrinal sermons
." is II important In art. Lately ceI
"lin children Of "A recent gcneratiO
nave opened their mouths to spea
.'om the deep conviction that thu
ould wisdom come into the worl
nd 50 we have been told the hoar
I,ble about singers who had no tccl
&c ~ad indeed little voice but in
;n"nsc lnterpretativo abilty. Il,
''"Se questions have yet to he ar
Msral