Sarah Brenay - OB - Ch. 12

Summary: "Your voice knows how to sing... better than you do." (I love that.) In order to express with your voice you need to train it to respond to what you are thinking and feeling. This takes a lot of training and a lot of trial and error. Interpreting music involves making  musical decisions about dynamics, tempo, diction, ling, tone color, pitch, and articulation. When we are "sensitive to the music and the meaning of the words," these decisions will be instinctive to us. In order to convey emotion in a piece, we need to relate it to our own experiences. Although we may not have an experience exactly like the one we are conveying, we can approximate it by thinking about similar experiences we have had. Oren Brown uses the example of a singer who has never had children singing a lullaby and thinking about baby sitting. It's not the same, but it's close. Scientific studies have shown that facial expression changes the tone of your voice. Audiences listen with their eyes as much as their ears, and so we must convey meaning physically as well as vocally. The composer's intent is also an important consideration in selecting repertoire and in performing selections. A study of the composer's background helps us decipher their meaning. When planning a program, consider thematic relationships between cycles. Selections should complement each other. Creating a connection to the audience is achieved by speaking to them (concert notes) and ensuring that they can understand you.
Key Concepts: To perform requires physical, mental, spiritual, emotional, and vocal investment. Special attention should be paid to the text. We need to relate to the song on a personal level. Singers must also be actors.
Making Connections: I really love all this stuff about connecting with the text. I think I definitely need to work on that this week. I already know that speaking the text while learning it has helped me enormously! I'm excited to keep working on it. I'm glad that I'm at the point in my pieces (for better or for worse) when I can focus solely on intent. That's the missing piece for my selections right now. This chapter had great tips! I also like the part about connecting with the audience. I think that when performers address the audience it 1) makes them more personable, 2) breaks down that wall between the performer and the audience, 3) helps the performer calm down, and 4) helps the audience understand and become a part of the performance.