5: Style and interpretation
We have already stated that interpretation is the realisation
of what the composer has written and as exactly as is possible.. We
made the obvious comparison between translating one language into another.
It is lamentable that singers, and other performers
'mess about with' the material and 'do it their way'. If the composer
wanted it done their way he would have written it their way.
Imagine you are a painter and have produced a painting
which you consider to be very good. But someone comes in and says that
you should have done this and that and takes up a paint brush and makes
some alterations. How would you feel? The unwelcome interfering person
interpreted the work differently from you but what he has done is ruined
your painting , insulted you deeply and caused criminal damage..
The word style, sadly, covers a gamut of notions.
Simply, it means type or sort. We talk about an elegant
style of a house. This also means that some houses do not have an elegant
style. It means that there are various sorts of houses.
In music there are many styles. Some people stupidly
lump together all music that is not pop or easy listening as classical
or serious. But that simply is not true. There is medieval music, renaissance
music, classical music, romantic music, impressionistic music, contemporary
music and so on all of which be called serious music.
If your choir is singing a Tudor anthem by Byrd or
Tomkins you cannot sing it as jazz or as a blues although we have to
lament the modern trend to jazz up works of previous generations. This
is the same as that person adding to your painting which you and others
admired before he ruined it!
This point highlights the second definition of style
which is the manner in which it is written and their are distinctive
styles within certain artistic schools or periods of history. As we
have said Tudor anthems cannot be sung as jazz or the blues. Historically
and artistically it would be very wrong.
Style also refers to superior quality. We talk about
some fashion as having style.
But the real meaning of style in music means the correct
way of production, to perform in the specified and designated way. In
other words, to perform what is written as it is written and to take
no liberties with what is written.
Of course, there are styles that are not serious music
as, for example, jazz and the blues. These have a style quite different
from serious music. but the singer should still follow the composer's
written instruction, namely the music.
Pop music lacks style. The singers and groups who perform
this material are not concerned with accuracy, beautiful sounds and
singing. Take Lulu's song Shout in which she does not sing but
bawl, shout, scream and screech. Listen to the group Oasis who never
make a pleasant sound but sound dreadfully nasal. Listen to other singers
and groups and note the shocking breath control. So many pop singers,
singers of ballads and folk music have no idea of diction and many cannot
sing in tune. Some singers strain and made other hideous noises. That
is not singing!
But, it will be said, how do we make a song our own?
First we must remember that the music of a song belongs
to the composers. Not to us.
How we make it our own is largely due to our faithfulness
to it.
I was an adjudicator at a singing festival on one occasion.
We had to listen to eight sopranos sing Roger Quilter's Go lovely
rose.
One girl had a voice 'to die for'. Another contestant
did not have such a good voice but she sang perfectly in accordance
with every note and instruction on the printed page. There was every
crescendo and diminuendo, every staccato and rallentando. Every phrase
was shaped exactly right. Her breath control, her diction, her commitment
was absolutely spot on. She knew the song inside out. She sang from
memory. The girl with the voice 'to die for' did not follow all the
composers instructions but her voice had a clearer sound.
Who did we select as the winner?
The best voice or the best performer?
Style and interpretation overlap in definition. But
what we have said is sufficient for each honest singer to put these
vital points in practice.
You look at a new song and discover its style. Is it
medieval, renaissance, classical, jazz or a blues? Once that is established,
you learn it as written and your interpretation of it is to be as close
as possible to the text.
1.
Introduction
2. General information
3. A Brief Introduction to the anatomy of the voice
and how we breathe
4. Ranges and register; Diction and
expression
5: Style and interpretation
