Contents NEW YORK: G. SCHIRMER 1911 Copyright, 1911 By G. SCHIRMER 22670...

“O F making many books there is no end.” Surely, the weary observation of the sage must have an especial application to the literature of Song. One could not number the books—anatomical, physiological, philosophical—on the Voice. A spacious library could easily be furnished with “Methods” of Singing. Works treating of the laws governing the effective interpretation of instrumental music exist. Some of them, by acknowledged and competent authorities, have thrown valuable light on a most important

I N listening to a Patti, a Kubelik, a Paderewski, the reflective hearer is struck by the absolute sureness with which such artists arouse certain sensations in their auditors. Moreover, subsequent hearings will reveal the fact that this sensation is aroused always in the same place, and in the same manner. The beauty of the voice may be temporarily affected in the case of a singer, or an instrument of less æsthetic tone-quality be used by the instrumentalist, but the result is always the same.

I F the practical education of the singer be analyzed, it will be found to comprise four fundamental elements: (1) POSE: or Emission of voice; (2) TECHNIQUE: or the discipline of the voice considered as a musical instrument; (3) STYLE: or the application of the laws of artistic taste to the interpretation of vocal music; (4) RÉPERTOIRE: or the choice, in the literature of vocal music, of works most suited to the voice, temperament and individuality of the particular singer. I have classed these

B RIEFLY defined, the singer’s Technique may be said to consist principally of the ability to govern the voice in its three phases of Pitch, Colour, and Intensity. That is, he must be able to sing every note throughout the compass of the voice (Pitch) in different qualities or timbres (Colour), and with various degrees of power (Intensity). And although the modern schools of composition for the voice do not encourage the display of florid execution, a singer would be ill-advised indeed to neglec

W HAT is Style? In reality the question is two-fold. One may have Style; and one may have a style. The former is general; the latter individual. The former can be taught and learned, for it is based on certain well-defined rules; the latter is personal—in other words, is not universally applicable. Not infrequently it is a particular application of those rules which gives the impress of originality. But correct taste must first be formed by the study of the noblest creations in the particular ar

T RADITION plays a more important part, perhaps, in the interpretation of the classic composers’ writings for the voice than it does in their purely instrumental works. The old masters left few—sometimes not any—indications as to the manner in which their music should be rendered. Thus its proper performance is largely determined by received oral tradition. The printed scores of the classics, except those that have been specially edited, throw little light on their proper interpretation, or even

A LTHOUGH répertoire forms no integral part of Style, being rather the medium for its practical application, a few words on this important subject may not be out of place. The répertoire necessary for a singer may be divided into two sections, Opera and Concert. The latter includes Oratorio and Cantata. In spoken Drama, a performer may begin his career by playing the youthful lovers, and end it by impersonating the heavy fathers. He may first sigh as Romeo, and later storm as Capulet. Not so in

T HE art of Singing is at present in a period of transition; and all unsettled conditions are unsatisfactory. Former standards are being thrown down; and the new ones are not yet elected, or, if chosen, not yet firmly fixed in the places of the old. All Arts have a period in their history when they seem to reach their culminating point of technical perfection. Perhaps this point is reached when the art is practised for its own sake, without giving much consideration or attributing special import