We must have _motif_ first, then
technique to adapt and adjust expression and to develop facility in the
active agents. We want the Real, idealized by Art, and the Ideal, made
real and tangible by Art, the Revealer!
The process we would follow, then, is, primarily, the training of the
imagination to conceive fuller and fuller ideals of music and meaning;
and, simultaneously, the exercise of such activities as shall increase the
capacity of vocal expression and the availability of the vocal powers.
Availability is of the utmost importance! Concentration is the prime
requisite in attaining rapid results. The student must concentrate
absolutely upon the various qualities sought, and must infuse intelligent
impulse into his every nerve and muscle! The vibrant voice of the spirit
cannot be evoked by half-hearted effort, lazy nerves and muscles, nor with
the drag of inattention. The student who does not intend to arouse himself
need hope for no keen sense of beauty.
The voice is, first of all, a messenger of spirit, and illustrates this in
that quality which has given rise to the expression "borne on the wings of
song." Ultimately the whole body will be conceived to be a sensitive
vibrator responding with dramatic sympathy and returning vital radiance to
the tones.
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