MENC: The National Association for Music Education

Interpretation in Singing
Author(s): Arnold H. Wagner
Source: Music Supervisors' Journal, Vol. 14, No. 5 (May, 1928), pp. 69-71
Published by: MENC: The National Association for Music Education
Stable URL: http://www.jstor.org/stable/3383325
Accessed: 10/05/2009 03:11

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 MusIc SUPERVISORS JOURNAL 69

ment and elevated to a still higher plane.

Vocal Music Department The task of the interpreter is thus seen
to be a portrayal of the thoughts and
INTERPRETATION IN
feelings indicated by both poet and com-
SINGING poser.
H. WAGNER
ARNOLD In the portrayal of emotion, the student
University of Southern California should learn at the start that singing is
AN interpretative ability in singing primarily an expression of a surplus of
be acquired, or is it an inborn good feelings, a happy condition of the
capacity ? organism. He should learn, too, that
Before attempting to answer the ques- strong emotions have no place in singing
tion, let us consider some of the elements save as a background of experience upon
which enter into artistic singing-what which to draw in his imagination. The
we have to do and to do with in song interpretation of the emotional element
interpretation. of a song, therefore, involves the por-
First, last and throughout, the singer trayal of emotion; in this, the student
should learn to use his imagination. In has to guard against the overthrow of his
the words of Dewey, "The engagement happy state of mind by the strong emo-
of the imagination is the only thing that tion being depicted.
keeps any activity from being more than The interpreter should hear as much
mechanical." artistic singing as possible; he should aim
The text of a vocal composition repre- to make constant use of his intelligence
sents the ideas and feelings of the poet and imagination in his own singing, striv-
on a given subject. In poetry, the feeling ing always to keep his performance from
element usually predominates through its sinking to the level of mere tone produc-
appeal to the imagination and sense of tion. To quote a master of interpreta-
rhythm, for rhythm creates a sort of tion, Louis Graveure, "Most singers'
emotion of its own. minds are so taken up with learning to
Poetry which does not engage the produce one certain kind of tone that they
imagination nor satisfy the sense of neglect learning to do the things that
rhythm, has no universal appeal. On the make singing interesting to an audience."
other hand, persons lacking in sense of Ability to read the text of a song intelli-
rhythm and imagination cannot be ex- gently, dramatically, and to carry over
pected to like poetry; neither can such such a reading into the singing is essential
persons be expected to achieve much suc- to good song interpretation.
cess in song interpretation. One who can do this will not be found
This becomes evident when one con- guilty of breathing in the middle of a
siders that the composer of the setting of word or phrase, or of phrasing so that
a song recreates in his imagination the the sense of the text is not clear. The
thoughts and feelings of the poet, and singer should be able to tell the story of
writes the music in such a way, if the set- the song in such a way that it does not
ting be a good one, that the ideas and lose in meaning by being set to music.
emotions indicated in the text are not Art is play expression; and one who lacks
only preserved but enhanced by his treat- imagination, hence, ability to play, or who
 Music SUPERVISORS
JOURNAL 71

accuracy are signs of musical excellence,

Focal Music Department breaks in the rhythm should be sparingly
used: they tend to destroy unity by sever-
considers such matters as dramatic read- ing the thread that holds the composition
ing or contrasts in facial expression and together, making the performance sec-
tone quality to be foolish or unnecessary, tional. "Keep the march of the song."
has little chance of succeeding as an
Unity, contrast and variety are cardinal
interpreter.
principles of art, and should ever be
In the portrayal of emotional climaxes,
borne in mind by one who aspires to be
observation of the reactions of a crowd
known as an artistic interpreter. In fact,
at a baseball or football contest will serve
one should ever be on the lookout for
the student as an example of how a real
emotional climax is built up. Suppose opportunities to make contrasts in dy-
that a play of importance is under way. namics, tone quality, tempo, etc.-factors
The vocal demonstrations of the crowd which will make the singing artistic and
rise from a low, slow murmur to an ac- interesting to the audience. "Artistic,"
celerated crescendo, ending in a prolonged quoting Seashore, "means deviating grace-
yell. So in singing, the voice in portray- fully from the rigid." This criterion is
ing a strong emotional climax should indeed a valuable one to use in judging
become much more vital in quality, the whether the interpretation of a song is
tempo should quicken, the pitch should good or bad.
rise well above that of ordinary speech. True appreciation is awakened and
Among additional factors entering into developed in the student through the
successful song interpretation should be engagement of his imagination and by
mentioned the ability to keep up the scene attempting, however crude the results
throughout the entire performance of a may at first seem, to portray the ideas
composition. There should be no slump- and feelings expressed by the poet and
ing of interest during prelude, rests, in- composer of a song. Students have to
terludes nor postlude. be reminded constantly to tell the story,
Neither should facial expression be to think what they are singing about, to
neglected by the student nor the teacher express the ideas and feelings involved in
of interpretation. It is obvious that the a vital, interesting manner. While the
emotional reactions of an audience de- study of interpretive singing is a sure
pend on the visible and audible expres- means to appreciation, meaningless sing-
sions of the singer. It is also an easily ing tends to dull the imagination of both
proven fact that with changes in facial performer and listener, making appreci-
expression go corresponding changes in ation impossible to either.
tone quality. Here, as in dramatics, the The development of interpretive ability
interpreter should keep in character and in our students will thus be seen to rest,
keep up the scene. somewhat upon the innate talent of the
In regard to rhythm, also, he should pupils themselves, but probably more on
learn that while holds, ritards, accel- the guidance and inspiration of a teacher
erandos and other deviations from rigid who is versed in the art of interpretation.