: Interpretation In Song (9781406716399) : Harry Plunket Greene : Books
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Interpretation In Song

by Harry Plunket Greene
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Product Details

  • Publisher: Kraus Press
  • Publishing date: 20070315
  • Language: English
  • ISBN-13: 9781406716399
  • ISBN: 1406716391


INTERPRETATION IN SONG BY HAEEY PLUNKET GREENE SCHTTBEBT, Das muss ein schlechter Miil-ler sein, dem nie - mala fiel das Wan-dern ein. THE MACMILLAN COMPANY 1912 CONTENTS PA6X INTRODUCTION ......... ix PART I EQUIPMENT 1 Technique Magnetism Atmosphere Tone colour Style. PART n RULES Main Rule I. 37 Main Rule II 92 Main Rule III. 104 PART Ed MISCELLANEOUS POINTS 145 Styles of Technique The Singing of Recitative Pauses Rubato Carrying-over The Melisma The Finish of a Song Consistency Word-illus tration Expression-marks Conclusion. PART IV THE CLASSIFICATION OF SONGS SONG-CYCLES THE SINGING OF FOLK-SONGS 198 vii CONTENTS PAET V FAGS THE MAKING OF PROGRAMMES 22 3 PART VI How TO STUDY A SONG 233 APPENDIX How TO BREATHE THE CLERGY AND INTONING . 289 INDEX 301 INTRODUCTION IT is a popular fallacy that a beautiful voice is synonymous with a lucrative profession and entitles its possessor to a place among the masters of music. England is full of such voices, uTvarious stages of technical training some full of hope for the career ahead, some despondent and puzzled at the nonf ulfil ment of that hope, and others a vast number for whom hope is dead and the grim struggle for a live lihood the only question. To such it seems incon ceivable that a thing of intrinsic beauty, a great gift like a voice, should count for nothing in the world of music, and the singer in his disappointment attributes his failure to the shortcomings of his manager, the opportunities of his rivals, the personal prejudices of his critics or the relentlessness of the gods to anythbg but the true cause. The explanation is simple enough he has not learned his business. With the minimum of efficiency he has assumed the maximum of respon sibility. While still speaking the language of his childhood, he has ventured out into the world to take his place among men. He has every excuse so to do. Born in the land of cricket and fair play, by the very privileges and responsibilities of his birthright he has become the best fellow of his class in the world but insularity ix x INTRODUCTION has its disadvantages, and the English singer of limited means has no chance to rub shoulders with his col leagues abroad or widen his horizon. The atmosphere of foreign student life has never entered into his soul. He knows no language but his own. For him there is no National or Municipal Opera wherein to hear the masterpieces of music or take his place as interpreter. His outlook is bounded by the conventional oratorio and the popular ballad, and between the respectable oases of the one and the miasmatic swamps of the other he wanders through the desert. During no period of our musical history have technique and invention made such strides as in the last generation. The Wagner score of thirty years ago, the terror of the orchestral player and the wonder of the composer, has become the commonplace of the one and the text book of the other. Each has risen to the level of his responsibilities and played a mans part. The singer alone has stood still. The reasons need not be discussed here. The fact remains that our platforms are overrun with voices half-developed and quarter trained, singers without technique, without charm and without style, to whom rhythm is of no account and language but the dead vehicle of sound, whose ambitions soar no higher than the three-verse song with organ obbligato, and to whom the high-note at the end and the clapping of hands spell the sublimity of achieve ment. The singer with a beautiful voice who has not taken the trouble to learn his business is a commonplace his prototype is to be found in every profession in the world. His standards are perforce on a level with his proficiency. Sufficient unto the song is the singing INTRODUCTION xi thereof, and by his applause he measures his musical stature. But when the song comes to its inglorious end, both song and singer are thrown out together into the worlds rubbish-heap. He has no cause to complain...

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