Piano and Song - How to Teach, How to Learn, and How to Form a Judgment of Musical Performances by Friedrich Wieck
page 80 of 139 (57%)
page 80 of 139 (57%)
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Who are at the head of these institutions and societies? Musicians it is true; but they are strangers to any special education in singing, or are not skilful singing-teachers, who understand how to combine methodical cultivation of the voice with practical execution. Their entire instruction consists, at most, in hitting the notes and keeping time. These musicians say: "Whoever joins my society must know how to sing!" What does that mean? Where are they to learn it? And, even when you have succeeded in obtaining for your academy a few imprudent but well-taught singers, does not the preservation of their voices then require the greatest care and watchfulness? Is that in your power? Have you the requisite knowledge for it? Are not these few well-educated voices obliged to sing by the side of singers who have been taught in a wrong manner, and who have no pure, correct intonation? Then what do these societies amount to? Do they improve or destroy the voice? They make the members musical. A fine consolation for the loss of the voice! They teach them to hit the notes and to keep time. A great comfort after the voice has been destroyed by false culture! * * * * * A singing-teacher who has no firm, decided principle, who is constantly wavering backwards and forwards, and who frequently leads others into error by his untenable opinions; who cannot quickly discern the special talent and capacity of his pupils, or discover the proper means to get rid of what is false or wrong, and adopt the speediest road to success, without any one-sided theories of perfection; who mistrusts and blames, worries, offends, and depresses, instead of encouraging; who is always dissatisfied instead of cordially acknowledging what is good in the pupil; who at one time rides a high horse instead of kindly offering a |
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