THE VOCAL ART

Waikato Independent, Volume XXXIV, Issue 3207, 15 September 1934, Page 3

THE VOCAL ART

ADVICE TO COMPETITORS DUNEDIN JUDGE’S REMARKS Mr F. Bullock, of Christchurch, who adjudicated in the vocal sections of the recent Dunedin Competitions, tendered competitors some useful advice in his concluding remarks. “The standard of teaching of vocal art, especially of production,” said Mr Bullock, “seems to have reached a high locel in Dunedin. I have been impressed by, the naturalness of most of the voices. Thei’e was an absence generally of exaggerated forced tone and distorted vowel sounds. Even the contraltos and basses, usually the chief offenders in this respect, were very mild compared with what I have heard in other centres.” Faulty intonation, Mr Bullock added, had been a very common occurrence, but ho would blame nervousness and inexperience rather than bad production. Much bad intonation, he considered, was due to lack of musical knowledge on the part of singers, particularly non-recognition by them of the scale intervals. It had been noticeable that the leading note of the scale had often slightly flattened, causing the displacement of the lower notes. It had been evident also that many singers did not listen carefully to the accompaniment. This was a very important point, and had also an influence on the rhythm. The singer should sing mentally through the rests and piano interludes, so that he took up the song again wthout loss Of rhythmic onwardTLCSS. ' ‘ ‘ The necessity- for greater accuracy is another point I would like to stress” lie added. “I fail to sec why a singer should bo less accurate than an orchestral . wood-wind player. The instrumentalist has to • breathe between phrases, and yet must not hold up the whole orchestra while he does so. Many singers think nothing of putting in an extra half-beat or more, thus breaking the song into a series of short phrases and ruining the effect of the song as a whole. It is my belief that singers’ breathing methods are largely responsible for this weakness, so singers should seek an automatic style of breathing by which breath may be taken noiselessly and in the shortest possible time. Some singers also exaggerate tenuti and rubati so much that the melodic structure is pulled awry. I believe that the music is the thing> and the singer’s duty is to perform that' music to its best advantage, and use it as a~ means of physical selfexpression. ’ ’ ■ ;!These faults were fatal to rhythm, and music without rhythm was dead — the soul had gone out of it. On the other hand, he had heard some very fine artistic singing in all the adult classes. Some competitors had achieved a very high standard indeed. In the; juvenile section the singing had not been so satisfying, Mr Bullock added. Very few 'of the' young folk—at any rate those under 16—had had well-placed voices, too much being made of enunciation and hot enough of tone. “Chesty” tone had been prevalent, and he would advise those who were training children to study books on voice culture for children, such ,as that by James Bates, or other standard works. These could be obtained from any music dealer. With regard to songs in character, he felt that some performers went far too niuch for character and actions and not for good singing. The song must come first, and good effects and actions could not erase the impression made l>v poor singing.. • Simplicity and naturalness should be the keynote of such items. Many competitors had had these virtues, but many had not. “Taken as a whole,” Mr Bullock concluded, Uthc vocal side of the festival was very interesting, and showed plainly, I think, the value of such competitions in encouraging young people to improve their music from every

point of view. Dunedin is very fortunate in possessing such a solid and virile competitions-society.” _