The Art of Internal Music Performance: Sight Singing and its Efficacy
Have you ever looked at a musical score and mentally rendered the notes as if you were playing them? Yes, many individuals possess varying levels of this ability, and it is a crucial component of standard musical theory training known as sight singing.
Sight singing is the art of looking at a line of music and singing it without prior knowledge of the piece. To achieve this, one must first hear the music in their mind, from the initial note to entire phrases. The proficiency of this skill depends on several factors, including the complexity of the music and the level of the musician's skill and experience. This skill also necessitates consistent practice.
Like most skills, proficiency in sight singing wanes over time if not used frequently. As I am no longer regularly required to engage in this activity, my abilities have diminished. Additionally, the widespread availability of music online has altered the way classical scores are typically studied. When I was a student, obtaining a recording of a piece was challenging. As a result, I had to rely on the score provided by the library and rely on my internal visualization of the piece.
Despite these changes, I can still mentally sing through a piece of music. However, more complex compositions, like those of Brian Ferneyhough, pose significant challenges for me. In contrast, simpler works, such as a Mozart sonata or a Verdi aria, are much easier to visualize and sing mentally.
Reading Music Notation: The Basics
Reading musical notation is relatively straightforward, compared to the challenges of playing the instruments accurately. However, this becomes more complex with certain contemporary pieces that defy traditional musical conventions. The complexity also depends on the number of staves used in a score. A score for a solo instrument, for example, written on two or three staves, such as piano, harp, or some percussion instruments, can be quite simple to visualize mentally. Music for chamber formations, with up to six to eight staves, can be more challenging, but with practice, it can be managed.
For large orchestral scores, even experienced conductors need time to study the score before performing. However, once familiar with the piece, they can visualize the entire score in their mind, even for symphonies or concertos they have never heard. Despite my extensive experience, I have largely steered clear of sight singing large orchestral pieces that I have never encountered before.
Reservations on So-Called "Avant-Garde" Music
It is worth noting that I have a strong preference for traditional music and hold a disdain for certain contemporary works that may be described as avant-garde or experimental. My personal opinion is that some 20th and 21st-century compositions are nothing more than unlistenable noise. These works, in my view, have no place on professional stages; they should be confined to laboratories where such experiments can be conducted without affecting a general audience.
Out of ethical considerations, I collected and destroyed all such works a few years ago, ensuring that they will never be performed or listened to again. These pieces, which are often incomprehensible and nonsensical, add nothing of value to the musical canon. Music should bring joy and beauty, and such so-called 'music' is a gross misrepresentation of the art form.
In conclusion, sight singing is an essential skill in mastering the art of music. While the complexity and level of difficulty can vary greatly depending on the music, consistent practice and experience can significantly improve one's ability to visualize and perform music internally. As with any other skill, occasional practice and experimentation with new pieces are crucial to maintain and enhance one's proficiency.