Throughout the ages, literature abounds in references to the power of music to move and influence men. Confucius, Plato, and other philosophers of an early day recognized its power, and to Pliny is ascribed the remark that the living voice moves men more than what they read.- Poets, including Shakespeare, Tennyson, and Pope, among others, received inspiration from music and frequently paid tribute to it. For example, in The Merchant of Venice Shakespeare thus makes obeisance in the dialogue between Jessica and Lorenzo:

                 Jessica: I am never weary when I hear sweet music.
                 Lorenzo: The reason is your spirits are attentive,
                          For do hut note a wild and wanton herd,
                          Or race of youthful and unhandled colts,
                          Fetching mad bounds, bellowing and neighing loud
                          Which is the hot condition of their blood.
                          If they but hear perchance a trumpet sound
                          Or any air of music touch their ears,
                          You shall perceive them make a mutual stand
                          Their savage eyes turned to a modest gaze
                          By the sweet power of music; therefore the poet
                          Did feign that Orpheus drew trees, stones and floods;
                          Since nought so stockish, hard and full of rage,
                          But music for the time doth change his nature.
                          The man that hach no music in himself,
                          Nor is not moved with concord of sweet sounds,
                          Is fit for treason, stratagems, and spoils:
                          The motions of his spirit ate dull as night,
                          And his affections dark as Erebus:
                           Let no such man be trusted.

t is obvious that, in order to have the power to “move men” by song, or to
be a singer in the highest sense of the term, you should have a pleasing and well-produced voice, adequate musicianship, and a cultural education or background. In addition, you should have the ability to interpret or express the thought and emotion in a song in such a way as to lead your listeners to a wider knowledge and a deeper understanding of the music and the text. To quote Edward Dickinson, well-known commentator on the musical art; “Beautiful singing is not entirely poetic expression, for the voice is an instrument on which one plays for the delight of the ear. Neither is it pure tone and finished technique wholly, for without uncovering the soul that dwells in poetry it cannot move the intellect [and the emotions]: In other words, it is through an intelligent insight into both music and poetry, the technique or command of voice, the power of imagination, and your interpretative skills that you are able to reproduce a work of art which has meaning and significance.

Imagination naturally plays a highly important part in the re-creation of song. However, an imagination not properly used leads to confusion and is a hindrance rather than a help in artistic rendition. To apply the right amount in the right way requires intelligence, experience, judgment, and a sensitiveness to situations, as well as the ability to submerge oneself in the thought of the song. Every composition carries its own message. Each should be studied carefully in order that the thought of the poet and composer may be truly expressed. To a great extent this expression will be individual, for probably no song affects two people precisely in the same way. Yet there are certain guiding principles, or underlying laws, which pertain to all songs and which should be observed by all singers. In the first place, in beginning the study of a song, the poem or words should be read to discover the meaning. It should he decided where the climax lies, what the important words are, and how they should be pronounced.

The music should be examined to determine the proper tempo and to sense the general rhythm or flow. Never should any liberties be taken with these elements that will disturb true balance and real musical qualities. The song should also be considered from the standpoint of units of musical and verbal thoughts, or phrases, for, unless these are well in mind, singing is not artistic nor can it be meaningful. To maintain the correct line of the song, you should breathe at the proper time and place, so that the musical thought will not be interrupted.

Melody and accompaniment should be observed separately and in relation to each other. Although the voice part is the most important factor in a song, the accompaniment is by no means merely a crutch upon which to lean or by which to be carried along. It is well also to notice the repetition of phrases, characteristic intervals, and the form of the song as a whole, to learn the meaning of all marks and words relating to rhythm, tempo, and nuances of tone. Memorization of a song tends to produce freedom of expression according to the singer’s ability and temperament, and to loosen the shackles which are a part of a lack of understanding and ignorance. Finally, in interpreting songs you should, as a singer, apply all the knowledge gained in the management of your voice to make it an ample vehicle for worthy song literature.

Interpretation is not a single item in the equipment of a singer but the sum total of voice, technique, musicianship, intelligence, and personality. The ability to interpret songs successfully requires not only high musical talent, but powers of application and intensive study as well. The way may be hard, but, when you have attained the goal. untold pleasure awaits you which will repay you for any hardship and labor that you may have experienced.