Why Artists Should Avoid Shortcuts

In the great wisdom that I find as a maturing artist (seasoning at varying pace for a few decades now), a number of things are becoming more clear to me. Here is one.

Many of us want to excel, to follow the rules, to be responsible and obedient servants of the art. It is too easy to diligently target some “perfect version” of a piece  from recordings or live performances of other artists, style manuals, instruction from teachers and coaches, etc., then work very hard to reproduce it. Not the best strategy.

What is better, is that the student (aren’t we all students?) develop skills, musical-dramatic concepts, and personal sensitivity that allow him/her to perform or recreate a specific work of art. In other words, we must not be content with “as though” expression, but actively choose truth at the moment–the truth that we are convinced enlivens the piece (song, aria, visual art work, etc.). For example, one can sometimes easily identify an acting performance that is emotive, even resembling truth, but it does not “touch” the audience member, because it is simply not true. The cure for a bland or unconvincing performance by an actor is not to over-act. What may be missing is the research that would make the character and situation more clear to the actor. In this case, reading, listening, seeing other performances, and taking to heart the advice of directors and coaches will help the actor make informed choices that can be confidently carried out.

As a singing actor–which is essentially the calling to everyone who sings text–one must become aware of the difference between merely following instructions to ape another’s performance or standard, and the honest performance that emerges when an artist faithfully commits to process.

One is sometimes tempted to jump too far ahead, to attempt repertoire that is well beyond the reasonably expected, earned and trusted skill level. (I am reminded of the Lee Trevino story in my earlier post, The Confident(?) Performer, where I quote Trevino’s observation that confidence is earned in practice, not in performance.) Yes, tackling more difficult rep is often the path to progress, but students and developing artists must be certain not to jump in too deep. The artful teacher and wise artist develop a sense of how much challenge is too much, partly based on experimentation in the practice room. However, one must not assume that somehow making a given piece “work”–by hook or crook–elevates him/her to a place of greater skill and qualifications. Precocious children may have great intelligence or talent in certain things, but they are still children, and should not yet be presented as adults.

Here are a few practical areas where the singer must beware the short-cut, microwave oven approach to learning and presenting a piece. Future posts here will follow-up on some of these ideas, as much more can be said.

Pronunciation and articulation are not the same thing. The IPA (International Phonetic Alphabet) is a valuable tool for singers. It graphically represents how a word is pronounced, not how it is sung. IPA is essentially a tool that helps us to know how to say a word, not how to sing it. An accurate pronunciation in the background of the singer’s conciousness is the genesis for articulating or shaping the resonance while singing. Furthermore, simply choosing to darken or brighten the vowel does not necessarily affect the tone in a positive way; do not expect merely a different pronunciation to lead to the desired ease or quality of sound. Vowel is not tone. Consonants are often not articulated the same way in singing as in speech.

Translation and interpretation of texts are not the same thing. It is better for a singer to create his/her own translation, word for word, if possible. If language ability is not sufficiently strong for that, find a trustworthy, literal translation of the text as a starting point. Even better, learn the language in question as well as possible. I often say that the singer must be fluent in the text’s language, even if only for the few lines of words that make up the poem or libretto in question. There is more to understanding language than knowing how it sounds or how it feels to articulate the sounds, even if the syntax and musical quality of the spoken language are noticed. There are differences of thought, attitude and expectation that one begins to experience when living with a language over some time.

Tonal result and a cohesive vocal technique are not the same thing. Similarly, the student who learns to make a positive impression on a given aria is not necessarily suited for nor capable of singing the entire role. An aria may show a very limited slice of the character’s attributes. Successfully singing one note with a desireable timbre does not guarantee that it can be presented in the appropriate context. It would be embarrassing to spend the entire budget on an extravagantly expensive, beautiful, finely tailored shirt–only to wear it with worn, out-dated trousers and overly casual accessories.

Easiness and relaxation are not the same thing. Ease of production and expression is desirable; indeed, not only should it seem easy to the audience, but the performer would prefer that the singing actually be relatively easy. Additionally, we seek repeatability and the ability to recover well. Investing super-human effort, simply to present one good performance, is too costly a choice for the artist who desires to perform at a consistently high level.

Legato and avoidance of consonants are not the same thing. My students know that singing auf Deutsch, for example, does not mean that the singer grudgingly leaves the concept of legato to Italian, nor does the execution of consonants rule out beautiful, musical flow. Lyric singing is based on legato; there is a commitment to line and momentum or flow of the music. However, vowel is not to be exclusively worshipped and consonants eschewed. A feeling for line should enable the singer to manage his/her energy in such a way that relatively longer or shorter vowels and stronger or more gentle consonants can all live in the language, while the musical line progresses. The entire text (long vowels, short vowels, glides, consonants, consonant groups) must be supported, thus energized. Inflection of language and the pursuit of musical legato are not mutually exclusive. Far from it.

Guarantee and faith are not the same thing, far from it! There are no guarantees; it is precisely that element of risk that makes performance so exciting for all of us. To end this post on a cliché, it’s not about the destination, it’s about the journey.


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