5. The singer must feel the mood of each song, and must sing as he feels, if he is to perform with real expression. This is a much more vital matter in song interpretation than the mere mechanical observation of tempo and dynamic indications.
6. The text must be enunciated with sufficient clarity to enable the audience to catch at least the most important ideas presented. This involves not only the complete pronunciation of each syllable instead of the slovenly half-pronunciation so commonly heard; but implies as well that the sounds be formed well forward in the mouth instead of back in the throat.
If the singing of a soloist or a chorus can meet the test of these requirements, the singing may be called good.
CHAPTER XIV
The Art of Program Making
THE PROBLEM STATED
In constructing a concert program for either a solo or an ensemble performance, and in the case of both vocal and instrumental music, at least five important points must be taken into consideration:
- 1. Variety.
- 2. Unity.
- 3. Effective arrangement.
- 4. Appropriate length.
- 5. Adaptability to audience.