Everyone knows that when a business concern engages an employee to represent the firm in a foreign country, its first consideration is whether the applicant for the position has a satisfactory knowledge of the language of that country. It is imperative that he be able to make himself understood and to understand, else he will not be able to handle the work before him.
Yet many singers whose life work will be bound up in two, three, or four languages do not take the time even to learn the correct pronunciation or meaning of the foreign text in the songs they sing!

Every student of song should have more than a nodding acquaintance with Italian, German and French, and if songs in other languages are to be sung, they should be sure to get a literal translation of every word in the composition, so that every word will be given its full measure of interpretation in tone color, volume, and general sense. Therefore, several hours a week should be spent on the study of languages, and it is extremely helpful for the student to join a group where the language he is studying is spoken to the exclusion of everything else. This may not be practicable in small communities, but the ambitious student will always find someone with whom to practice his newly found knowledge of languages. Frequently, too, one may hear foreign language programs on the radio.

English pronunciation seldom demands a rolled "r,’ but many foreign languages require that the "r" be rolled at least slightly. The easiest way to learn to enunciate this letter is to keep the teeth tightly closed, the lips slightly drawn back while saying, "de, te, de, te, de, te, rrr, do, to, rrr." This should not give the student the "D.T.’s," but facilitate the correct foreign pronunciation, for after a little practice the letter "r" will be easily pronounceable any time.

Many other syllables demand such practice, and the wise student will learn how to pronounce these foreign words before they are called for in a song, so that the words themselves will not add to the difficulty of the study and interpretation that are formidable enough in themselves.

Sight reading and ear training are an essential part of a musician’s education. The ability to read at sight has secured a position for many a singer who might otherwise not have been considered. Many church and chorus positions allow for only one rehearsal, and the singer who cannot sing his music with such brief preparation is not wanted. It is very useful to a singer that he be able to play a musical instrument, but it is not absolutely necessary. However, if time permits, study of the piano is highly recommended. Knowledge of the piano facilitates song study and voids the need of the constant help of an accompanist.

Acquiring a repertoire calls for concentration and a retentive memory. One of the best voices I ever had in my studio dropped out of sight, not because of lack of ability, but because she could never sing a song through without numerous mistakes. And no matter how many corrections were made, the next time there would be new mistakes. She never, in years of study, knew a complete operatic role thoroughly. There was nothing I could do about it, and the poor girl kept forgetting where she had last left her memory course.

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