So must the teacher and singer learn to
idealize not only the tone or the voice, but everything pertaining to the
singing of a song. This must be done through the manner in which the
sentiment, the thought, the central idea is brought out and presented to
the hearer; through the impressive way in which the story is told.
The elocution of singing depends upon a knowledge and control of all the
principles considered up to this point of study,--a knowledge and control
of physical, mental, and emotional power, of freedom of form and action, of
artistic vowel form and automatic articulation, of the removal of all
restraint, in fact, of all true conditions of tone. To interpret well, the
singer must have mastered the elocution of singing, must be able to bring
out every vowel and consonantal element of the words, must know how to use
and apply tone color and tone character, the impressive, persuasive,
fervent voice. The singer must idealize not only the tone, but the words of
the song; "just as the painter idealizes the landscape, so the musical
artist must use his powers of idealization in interpreting the work of the
composer." To be able to do this, his diction must be as pure, his language
as polished, as that of the most accomplished orator.
The power of word vitality in the singing of a modern song, is one of the
great elements of success, if not the greatest. Not an exaggerated form of
pronunciation, but an intense, earnest, impressive way of bringing out the
thought.
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