ealizes 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. It would be interesting to know what per cent of teachers and
singers can read properly the words of a song; to know how many of them, or
rather how few of them, have ever given this phase of the study, thought or
attention. Most of them act as though they were really ashamed to try, when
you ask them to read the words of a song, and when they read them, they
apparently have no thought of expressing, or no idea of how to express the
elevated thought or feeling, necessary to bring out the author's ideas. It
is almost impossible to make them idealize the words through the elocution
of singing; and yet in the artistic rendition of a song, a ballad, or a
dramatic aria, the words are often of more importance than the music. The
singer should study the story of a song by reading it aloud upon the
highest plane or level of emotional or dramatic expression. To do this, he
must know and apply the elocution of singing. Then he should endeavor to
bring out the same lofty ideals when applying the words to the music.

"Why do not singers read or talk as they sing?" was a question once asked
by a prominent elocutionist. "Why do not elocutionists sing as they talk or
read?" I replied. This, of course, at once suggests an interesting subject
for discussion. To give the reason in a general way, is simply to state
that singers, as a rule, do not apply the principles of their art to the
talking voice. Hence they often read and talk badly. The same is true, as a
rule, of elocutionists. They do not apply the principles of their art when
they attempt to sing.

The devices we use are a study of elastic vowel form and flexible
articulation, applied by the emphasis and accent of important words in
phrases and sentences. Then a study of the character and tone color
necessary to express the meaning of the words. Then a use of the earnest,
impressive, persuasive voice, as the text may demand. By using these forces
or principles, as suggested by the thought and sentiment of the wo