ext. Developed
intelligence, emotional richness and refinement, musical knowledge, a
properly placed voice capable of flexibility and color, distinct
articulation, polished diction, these are some of the preliminaries to
successful interpretation in song.

Let us see what special qualifications assist in the actual performance of
song, in the attempt to give pleasure or artistic gratification by singing
songs for others to hear. In the first place let us consider the
limitations as well as the advantages of the human voice. I must ask you to
remember that considered as an instrument it is smaller in power than some
instruments, shorter in range than many others, often less beautiful than
the tones of the violin. But in one respect it transcends all others. It is
capable of revealing the mind and soul of the one who plays upon it. The
speaking voice, as well as the voice in song, reveals thought and feeling
to the hearer; those subtler shades of meaning which distinguish man, made
in the image of God, from his humble companions, are made clear to those
about him by this instrument--this wonderful, persuasive, cajoling,
beseeching, enthralling, exciting, thrilling, terrifying instrument! Have
you not been moved by the tones of the speaking voice? How can we train the
voice in song to express these varying shades of meaning, and can we learn
to use them systematically instead of accidentally or when we are impelled
by strong emotion? I know that there is a popular impression that some
singers possess a mysterious quality known as "temperament," and that
others do not. Having this uncertain quality, one singer stirs an audience;
having it not, the hearer remains unmoved. If by temperament, intelligence
and emotional richness of nature are meant, I do not believe that anyone
who is not to some extent possessed of these faculties can stir the
feelings of his hearers to any considerable degree. But surely many, almost
all people capable of conquering the physiological, psychological,
technical, and musical difficulties to be overcome before learning to sing
at all well, possess these qualities. And even if modern songs of the best
type abound in subtle, emotional expression and varying shades of
intellectual significance, it is, I believe, possible for most singers to
gain in interpretative facility by learning to connect the thought and
feeling underlying the song with the spoken words which are their natural
outlet and expres