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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:55:58 -0700 |
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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/19493-8.txt b/19493-8.txt new file mode 100644 index 0000000..8dd654b --- /dev/null +++ b/19493-8.txt @@ -0,0 +1,3855 @@ +The Project Gutenberg eBook, The Head Voice and Other Problems, by D. A. +Clippinger + + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: The Head Voice and Other Problems + Practical Talks on Singing + + +Author: D. A. Clippinger + + + +Release Date: October 7, 2006 [eBook #19493] + +Language: English + +Character set encoding: ISO-8859-1 + + +***START OF THE PROJECT GUTENBERG EBOOK THE HEAD VOICE AND OTHER +PROBLEMS*** + + +E-text prepared by David Newman, Chuck Greif, Barbara Tozier, and the +Project Gutenberg Online Distributed Proofreading Team +(https://www.pgdp.net/) + + + +Note: Project Gutenberg also has an HTML version of this file + which includes the original illustrations. + See 19493-h.htm or 19493-h.zip: + (https://www.gutenberg.org/dirs/1/9/4/9/19493/19493-h/19493-h.htm) + or + (https://www.gutenberg.org/dirs/1/9/4/9/19493/19493-h.zip) + + The musical illustrations also have been transcribed and + collected in two pdf files, links to which can be found at + the beginning and the end of the html version. The Exercises + follow the Exercises as numbered in the book in chapter II + (The Head Voice). The remainder of the musical fragments, + which are unlabeled in the book, are noted as Figures A + through Q (in the order in which they appear), and can be + found in the Figures pdf. + + + + + +THE HEAD VOICE AND OTHER PROBLEMS + +Practical Talks on Singing + +by + +D. A. CLIPPINGER + +Author of +Systematic Voice Training +The Elements of Voice Culture + + + + + + + +1.00 + +[Illustration] + + +Boston +Oliver Ditson Company +New York Chicago +Chas. H. Ditson & Co. Lyon & Healy + +Copyright MCMXVII +By Oliver Ditson Company +International Copyright Secured + + + + + _To_ + MY STUDENTS + _Past, Present and Future_ + + + + + +INTRODUCTION + + +The following chapters are the outgrowth of an enthusiasm for the work +of voice training, together with a deep personal interest in a large +number of conscientious young men and women who have gone out of my +studio into the world to engage in the responsible work of voice +teaching. + +The desire to be of service to them has prompted me to put in permanent +form the principles on which I labored, more or less patiently, to +ground them during a course of three, four, or five years. The fact that +after having stood the "grind" for that length of time they are still +asking, not to say clamoring, for more, may, in a measure, justify the +decision to issue this book. It is not an arraignment of vocal teachers, +although there are occasional hints, public and private, which lead me +to believe that we are not altogether without sin. But if this be true +we take refuge in the belief that our iniquity is not inborn, but rather +is it the result of the educational methods of those immediately +preceding us. This at least shifts the responsibility. + +Words are dangerous things, and are liable at any moment to start a +verbal conflagration difficult to control. Nowhere is this more likely +to occur than in a discussion of voice training. + +From a rather wide acquaintance with what has been said on this subject +in the past hundred years, I feel perfectly safe in submitting the +proposition that the human mind can believe anything and be +conscientious in it. + +Things which have the approval of ages emit the odor of sanctity, and +whoever scoffs does so at his peril. Charles Lamb was once criticised +for speaking disrespectfully of the equator, and a noted divine was +severely taken to task for making unkind remarks about hell. Humanity +insists that these time honored institutions be treated with due +respect. I have an equal respect for those who believe as I do and those +who do not; therefore if anything in this book is not in accord with +popular opinion it is a crack at the head of the idol rather than that +of the worshipper. + +There is no legislative enactment in this great and free country to +prevent us from _believing_ anything we like, but there should be some +crumbs of comfort in the reflection that we cannot _know_ anything but +the truth. One may believe that eight and three are thirteen if it +please him, but he cannot know it because it is not true. Everything +that is true has for its basis certain facts, principles, laws, and +these are eternal and unchangeable. The instant the law governing any +particular thing becomes definitely known, that moment it becomes +undebatable. All argument is eliminated; but while we are searching for +these laws we are dealing largely in opinions, and here the offense +enters, for as Mr. Epictetus once said, "Men become offended at their +opinion of things, not at the things themselves." We can scarcely +imagine any one taking offense at the multiplication table, neither is +this interesting page from the arithmetic any longer considered a fit +subject for debate in polite society, but so far as we know this is the +only thing that is immune. + +Our musical judgments, which are our opinions, are governed by our +experience; and with the growth of experience they ripen into solid +convictions. For many years I have had a conviction that voice training +is much simpler and less involved than it is generally considered. I am +convinced that far too much is made of the vocal mechanism, which under +normal conditions always responds automatically. Beautiful tone should +be the primary aim of all voice teaching, and more care should be given +to forming the student's tone concept than to that of teaching him how +to control his throat by direct effort. The controlling power of a right +idea is still much underestimated. The scientific plan of controlling +the voice by means of mechanical directions leaves untouched the one +thing which prevents its normal, automatic action, namely tension. + +But, someone inquires, "If the student is singing with rigid throat and +tongue would you say nothing about it?" I would correct it, but not by +telling him to hold his tongue down. A relaxed tongue is always in the +right place, therefore all he needs to learn about the tongue is how to +relax it. + +It has been hinted that he who subscribes to Dr. Fillebrown's declaration +that [A]"The process of singing is psychologic rather than physiologic" +has nothing tangible to work with. Now tone concept and musical feeling +are absolutely essential to singing, and they are definite entities to one +who has them. All musical temperaments must be vitalized. Imaginations +must be trained until they will burst into flame at the slightest poetic +suggestion. Musical natures are not fixed quantities. They are all subject +to the law of growth. Every vocal student is an example of the law of +evolution. Few people find it easy in the beginning to assume instantly a +state of intense emotion. These things are habits of mind which must be +developed, and they furnish the teacher with definite problems. + + [A] _Resonance in Singing and Speaking_, by Thomas Fillebrown. + +To repeat, _the tone is the thing_, and _how it sounds_ is what +determines whether it is right or wrong. And so we come back again to +the ear, which is the taste. Does it please the ear? If so, is the ear +reliable? Not always. If all teachers were trying for the same tone +quality there would be no need of further writing on the subject, but +they are not. On the contrary no two of them are trying for exactly the +same quality. Each one is trying to make the voice produce his idea of +tone quality, and the astounding thing about the human voice is that for +a time at least, it can approximate almost anything that is demanded of +it. If a voice is ruined, the ear of the teacher is directly +responsible. It is useless to try to place the blame elsewhere. + +Truth is always simple. If it seems difficult it is due to our clumsy +way of stating it. Thought, like melodies, should run on the line of the +least resistance. In the following pages I have eschewed all mystifying +polysyllabic verbiage, and as Mark Twain once said, have "confined +myself to a categorical statement of facts unincumbered by an obscuring +accumulation of metaphor and allegory." + +It is hoped that this book will be useful. It is offered as a guide +rather than as a reformer. It aims to point in the right direction, and +"do its bit" in emphasizing those things which are fundamental in voice +training. Whatever is true in it will reach and help those who need it. +Nothing more could be asked or desired. + + [Illustration: (signed) D. A. Clippinger] + +Kimball Hall, Chicago. +May, 1917. + + + + +CONTENTS + + + INTRODUCTION + I. VOICE PLACING + II. THE HEAD VOICE + III. A GENERAL SURVEY OF THE SITUATION + IV. HINTS ON TEACHING + V. THE NATURE AND MEANING OF ART + VI. SINGING AS AN ART + VII. THE CONSTRUCTION OF A SONG + VIII. HOW TO STUDY A SONG + IX. SCIENTIFIC VOICE PRODUCTION + BIBLIOGRAPHY + + + + +THE HEAD VOICE AND OTHER PROBLEMS. + +I + +VOICE PLACING + + "The path of the sound, being formed of elastic and movable + parts, varies its dimensions and forms in endless ways, and + every modification--even the slightest--has a corresponding and + definite influence on the voice." + + Garcia. _Hints on Singing_. + + +Vocal teachers are rated primarily on their ability as voice builders. +When students look for a teacher the first thing they want to know is: +"Can he build a voice?" His ability as an interpreter in most instances +is taken for granted. Why this is so is easily understood. There is a +moving appeal in the pure singing tone of the human voice that cannot +even be approximated by any other instrument. We have all heard voices +that were so beautiful that to hear one of them vocalize for half an +hour would be a musical feast. Such a voice is so full of feeling, so +vibrant with life and emotion that it moves one to the depths even if no +words are used. It is only natural that all singers should be eager to +possess such a voice, for it covers up a multitude of other musical +misdemeanors. While it does not take the place altogether of the +interpretative instinct, it does make the work of the singer much easier +by putting his audience in sympathy with him from the beginning, thus to +a considerable extent disarming criticism. The old Italians attached so +much importance to beautiful tone that they were willing to work +conscientiously for half a dozen years to obtain it. To the beautiful +tone they added a faultless technic. Altogether it required from five to +eight years to prepare and equip a singer for a career, but when he was +thus prepared he could do astounding things in the way of trills, +roulades, and cadenzas. + +The stories of many of these singers have come down to us through the +musical histories, and the singing world has come to believe that the +teachers alone were responsible. Owing to her geographic location, her +climate, language, and racial characteristics Italy at one time +furnished most of the great singers of the world, and the world with its +usual lack of judgment and discrimination gave Italian teachers all of +the credit. That the best of the Italian teachers were as near right as +it is humanly possible to be, I have no doubt whatever, but along with +the few singers who became famous there were hundreds who worked equally +hard but were never heard of. A great voice is a gift of the creator, +and the greater the gift the less there is to be done by the teacher. +But in addition to what nature has done there is always much to be done +by the teacher, and the nature of the vocal instrument is such that its +training is a problem unique and peculiar. The voice can do so many +different things, produce so many different kinds of tone, in such a +variety of ways that the ability to determine which is right and which +is wrong becomes a matter of aesthetic judgment rather than scientific +or mechanical. + +If the scale, power, quality, and compass of the human voice were +established as are those of the piano, the great problem in the training +of a singer would be much simplified, possibly eliminated; but the +singer must form the pitch, power, and quality of each tone as he uses +it; therefore in the training of a singer we are constantly facing what +has crystallized into the term =Voice Placing=. + +This term has been used as a peg upon which to hang every whim, fancy, +formula, and vocal vagary that has floated through the human mind in the +last two centuries. It has furnished an excuse for inflicting upon vocal +students every possible product of the imagination, normal and abnormal, +disguised in the word =Method=, and the willingness with which students +submit themselves as subjects for experiment is beyond belief. The more +mysterious and abnormal the process the more faith they have in its +efficacy. + +The nature of the vocal instrument, its wide range of possibilities, and +its intimate relation to the imagination make it a peculiarly fit +subject for experiment. The scientist has tried to analyze it, the +mechanic has tried to make it do a thousand things nature never intended +it to do, the reformer has tried to reform both, and the psychologist, +nearest right of all, has attempted to remove it from the realm of the +material altogether. There seems to be no way to stop this theorizing, +and it doubtless will continue until the general musical intelligence +reaches such a point that it automatically becomes impossible. + +We are constantly hearing such remarks as "Mr. S knows how to place the +voice." "Mr. G does not." "Mr. B places the voice high." "Mr. R does not +place the voice high enough." "Mr. X is great at bringing the tone +forward," etc., etc. This goes on through a long list of fragments of +English difficult to explain even by those who use them. + +Now voice placing means just one thing, not half a dozen. It means +learning to produce =beautiful tone=. When one can produce beautiful +tone throughout his vocal compass his voice is placed, and it is not +placed until he can. The injunction to _place the voice_ invariably +leaves in the mind of the student the idea that he must direct the tone +to some particular point, in fact he is often urged to do so, whereas +the truth is that when the tone is properly produced there is no thought +of trying to put it anywhere. It seems to sing itself. There is a well +established belief among students that the tone must be consciously +directed to the point where it is supposed to focus. This belief is +intimately associated with another equally erroneous, that the only way +to tell whether a tone is good or bad, right or wrong, is by the way it +feels. A tone is something to hear. It makes its appeal to the ear, and +why one should rely on the sense of feeling to tell whether it sounds +right or wrong is something difficult to understand. + +Further, explicit directions are given for the action and control of +everything involved in making tone except the mind of the student. The +larynx seems to be particularly vulnerable and is subject to continuous +attack. One says it should be held low throughout the compass. Another +says it should rise as the pitch rises, and still another, that it +should drop as the pitch rises. Instructions of this kind do not +enlighten, they mystify. + +If there be any one thing upon which voice teachers theoretically agree +it is "free throat". Even those who argue for a fixed larynx agree to +this, notwithstanding it is a physical impossibility to hold the larynx +in a fixed position throughout the compass without a considerable amount +of rigidity. It is like believing in Infinite Love and eternal +punishment at the same time. + +When the larynx is free it will not and should not be in the same +position at all times. It will be a little lower for somber tones than +for bright tones. It will be a little higher for the vowel e than for oo +or o, but the adjustments will be _automatic_, never conscious. It +cannot be too often reiterated that every part of the vocal mechanism +must act automatically, and it is not properly controlled until it does. + +The soft palate also comes in for its share of instruction. I was once +taught to raise it until the uvula disappeared. Later I was taught to +relax it. Both of these movements of the soft palate were expected to +result in a beautiful tone. Now if two things which are directly opposed +to each other are equal to the same thing, then there is no use in +bothering our heads further with logic. + +Such directions I believe to be of doubtful value, if not irrelevant. We +must learn that _an idea has definite form_, and that when the mechanism +is free, that is, plastic, the idea molds it into a corresponding form +and the expression becomes a perfect picture of the idea. This is what +is meant by indirect control, involuntary, automatic action. + +One could write indefinitely on the peculiarities of voice training, the +unique suggestions made, the mechanical instructions given, the +unbelievable things students are made to do with lips, tongue and larynx +as a necessary preparation to voice production. In this as in everything +else there are extremists. Some have such an exquisite sense of detail +that they never get beyond it. At the other extreme are those who trust +everything to take care of itself. Both overlook the most important +thing, namely, how the voice sounds. + +It requires much time, study and experience to learn that voice training +is simple. It is a fact that truth is naturally, inherently simple. Its +mastery lies in removing those things which seem to make it difficult +and complex. Training the voice, this so called "voice placing," is +simple and easy when one has risen above that overwhelming amount of +fiction, falsity, and fallacy that has accumulated around it, obscuring +the truth and causing many well intentioned teachers to follow theories +and vagaries that have no foundation in fact, and which lead both +teacher and pupil astray. If there is any truth applicable to voice +training it has an underlying principle, for truth is the operation of +principle. If we start wrong we shall end wrong. If we start right and +continue according to principle we shall reach the desired goal. + +=Voice training has its starting point, its basis, its foundation, in +beautiful tone.= This should be the aim of both teacher and pupil from +the beginning. To produce something beautiful is the aim of all artistic +activity. Beautiful tone, as Whistler said of all art, has its origin in +absolute truth. That which is not beautiful cannot possibly be true, for +real nature, which is the expression of Infinite Mind, is always +perfect, and no perfect thing can be ugly, discordant, or inharmonious. +The imperfection we see is the result of our own imperfect understanding +of the real universe. + +A _tone is something to hear_, and =hearing is mental=. An old French +anatomist once said: "The eye sees what it is looking for, and it is +looking only for what it has in mind." The same is true of the ear. We +hear the tone mentally before we sing it, and we should hear it as +distinctly as if it were sung by another. A tone first of all is a +mental product, and its pitch, power, and quality are definite mental +entities. When we wish to convey this tone to another we do it through +the sound producing instrument which nature has provided for this +purpose. + +That everything exists first as idea has been the teaching of the +philosophers for ages. That the idea is the controlling, governing force +is equally well understood. Therefore, inasmuch as the aim of all voice +building is to produce beautiful tone we must start with the right idea +of tone. This is where the first and greatest difficulty appears. To +most people a tone is intangible and difficult to define. One will +rarely find a student that can formulate anything approaching a +definition of a musical tone and I fancy many teachers would find it far +from easy. Unless one has a grasp of the psychology of voice, and a +great many have not, he will begin to work with what he can see. Here +enters the long dreary mechanical grind that eventually ruins the temper +of both teacher and student, and results in nothing but mechanical +singing, instead of a joyous, inspiring musical performance. + +In studying the pure singing tone we find the following: It is _smooth_, +_steady_, _firm_, _rich_, _resonant_, _sympathetic_. We shall also find +that all of its qualities and attributes are mental. It must contain the +element of freedom (mental), firmness (mental), security (mental), +sympathy (mental), enthusiasm, sentiment, joy, compassion, pity, love, +sorrow (all mental). These are all qualities of the singing tone. They +are not intangible. On the contrary, to the one who has them they are +definite and are the things he works for from the beginning. They are +basic and fundamental. All are combined in what I call _tone concept_, +which is another word for musical ear, or musical taste. This tone +concept is by far the most important thing in voice training. The +student will not sing a tone better than the one he conceives mentally, +therefore the mental concept of tone, or tone concept must be the basis +of voice placing. + +This tone concept, or mental picture of tone qualities controls the +vocal instrument by indirection. True tone color does not come as the +result of trying by some physical process to make the tone light or +dark, but _from the automatic response to musical concept or feeling_. + +In leaving this subject I wish to pay my respects to that company of +cheerful sinners--the open throat propagandists. I was taught in my +youth that the punishment for a sin committed ignorantly was none the +less pungent and penetrating, and I trust that in administering justice +to these offenders the powers will be prompt, punctilious and +persevering. It is a worthy activity. + +No mistake of greater magnitude was ever made since voice training began +than that of holding the throat open by direct effort. It never resulted +in a tone a real musician's ear could endure, nevertheless during the +latter part of the nineteenth century and even the early part of the +twentieth it was made such an integral part of voice culture that it +seemed to be incorporated in the law of heredity, and vocal students, +even before they were commanded, would try to make a large cavity in the +back of the throat. I believe however, that there is much less of this +than formerly. Vocal teachers are beginning to see that the one +important thing is a free throat and that when this is gained the +response of the mechanism to the mental demand is automatic and +unerring. + + + + +II + +THE HEAD VOICE + + Let him take care, however, that the higher the notes, the more + it is necessary to touch them with softness, to avoid screaming. + + Tosi. (1647-1727) _Observations on Florid Song_. + + +That the development of the upper, or head voice, is the most difficult +as well as the most important part of the training of the singing voice, +will be readily admitted by every experienced singing teacher. + +That the upper voice should be produced with as much comfort as the +middle or lower, is scarcely debatable. + +That a majority of singers produce their upper voice with more or less +difficulty, need not be argued. + +Why is it that after two, three or more years of study so many upper +voices are still thick, harsh and unsteady? + +There is nothing in the tone world so beautiful as the male or female +head voice when properly produced, and there is nothing so +excruciatingly distressing as the same voice when badly produced. + +The pure head voice is unique in its beauty. It is full of freedom, +elasticity, spiritual exaltation. It seems to float, as it were, in the +upper air without connection with a human throat. Its charm is +irresistible. It is a joy alike to the singer and the listener. It is +the most important part of any singer's equipment. Why is it so +difficult and why do so few have it? Various reasons are at hand. + +The spirit of American enterprise has found its way into voice teaching. +It is in the blood of both teacher and pupil. The slogan is "Put it +over." This calls for big tone and they do not see why they should not +have it at once. + +The ability to use the full power of the upper voice when occasion +demands is necessary and right, but merely to be able to sing high and +loud means nothing. All that is required for that is a strong physique +and determination. Such voice building requires but little time and no +musical sense whatever; but to be able to sing the upper register with +full power, emotional intensity, musical quality and ease, is the result +of long and careful work under the ear of a teacher whose sense of tone +quality is so refined that it will detect instantly the slightest degree +of resistance and not allow it to continue. + +The ambitious young singer who has been told by the village oracle that +she has a great voice and all she needs is a little "finishing," balks +at the idea of devoting three or four years to the process, and so she +looks for some one who will do it quickly and she always succeeds in +finding him. To do this work correctly the old Italians insisted on from +five to eight years with an hour lesson each day. To take such a course +following the modern plan of one or two half hours a week, would have +the student treading on the heels of Methuselah before it was completed. + +It is not always easy to make students understand that the training of +the voice means the development of the musical mentality and at best is +never a short process. To most of them voice culture is a physical +process and as they are physically fit, why wait? + +Now the fact is that there is nothing physical in voice production save +the instrument, and a strong physique has no more to do with good +singing than it has with good piano playing. Voice production is a +mental phenomenon. It is mentality of the singer impressing itself on +the vocal instrument and expressing itself through it. The idea that the +vocal instrument alone without mental guidance will produce beautiful +tone is as fallacious as that a grand piano will produce good music +whether the one at the keyboard knows how to play it or not. + +Let it be understood once for all that _it is the mentality of the +individual, not his body, that is musical or unmusical_. Both teacher +and student must learn that there is much more to do mentally and much +less to do physically than most people suspect. They must learn that a +musical mentality is no less definite than a physical body, and is at +least equally important; also that right thinking is as necessary to +good voice production as it is to mathematics. + +At this point there will doubtless be a strenuous objection from those +who assert that tone cannot be produced without effort, and that a +considerable amount of it is necessary, especially in the upper voice. + +It will be readily admitted that the application of force is required to +produce tone, but how much force? Certainly not that extreme physical +effort that makes the singer red in the face and causes his upper tones +to shriek rather than sing. Such a display of force discloses an +erroneous idea of how to produce the upper voice. When there is the +right relation existing between the breath and the vocal instrument, +when there is the proper poise and balance of parts, no such effort is +necessary. On the contrary the tone seems to flow and the effort +required is only that of a light and pleasant physical exercise. + +The pianist does not have to strike the upper tones any harder than the +lower ones in order to bring out their full power. Why should the upper +part of the voice require such prodigious effort? + +Now _all voices should have a head register_. It is a part of nature's +equipment, and this calls for a word on the classification of voices. It +ought not to be difficult to determine whether a voice is soprano, alto, +tenor, baritone or bass, but I find each year a considerable number that +have been misled. Why? A number of things are responsible. One of the +most common is that of mistaking a soprano who has a chest register for +an alto. This singer finds the low register easier to sing than the +upper, consequently she and her friends decide she is an alto. +Thereafter she sings low songs and takes the alto part in the choir. The +longer she follows this plan the less upper voice she will have, and +when she goes to a teacher, unless he has a discriminating and +analytical ear, he will allow her to remain in the alto class. There is +always something in the fiber of a tone, even though it be badly +produced, that will disclose to the trained ear what it will be when +rightly produced. + +Again, the human voice can produce such a variety of tone qualities that +sometimes a soprano will cultivate a somber style of singing and a +majority of people will call her alto. It requires a trained ear to +detect what she is doing. The baritone also, because he often sings the +bass part in a quartet, tries to make himself sound like a bass; this he +does by singing with a somber, hollow quality which has little or no +carrying power. + +Another mistake is that of classifying a voice according to its compass. +This is the least reliable method of all. The mere fact of having high +tones does not necessarily make one a soprano, neither is a voice always +to be classified as alto by reason of not being able to sing high. It is +_quality_ that decides what a voice is. Soprano is a quality. Alto is a +quality. The terms tenor, baritone, bass, refer to a quality rather than +a compass. These qualities are determined primarily by the construction +of the organ. + +But when voices are properly trained there is not so much difference in +the compass as most people suppose. For example: the female head voice +lies approximately within this compass [Illustration: Figure A] and +altos who learn to use the real head voice will have no difficulty in +vocalizing that high. + +At the lower end of the voice sopranos who have a chest register will +often sing as low as most altos. But whether they sing high or low it is +always the quality that determines the classification of the voice. + +Many lyric sopranos have no chest register, and it would be a mistake to +attempt to develop one. In such voices, which rarely have anything below +middle C, the middle register must be strengthened and carried down and +made to take the place of the chest voice. + +It must not be understood that there is but one soprano quality, one +alto quality, etc. The voice is so individual that it cannot be thus +limited. There are many soprano qualities between the coloratura and the +dramatic, and the same is true of alto, tenor, baritone and bass. + +When the voice is rightly produced, its natural quality will invariably +appear, and there it must be allowed to remain. An attempt to change it +always means disaster. + +It will be observed that the piano string diminishes in length and +thickness as the pitch rises, and the voice must do something which +corresponds to this. Otherwise it will be doing that which approximates +stretching the middle C string, for example, until it will produce its +octave. + +In discussing the head voice it is the purpose to avoid as much as +possible the mechanical construction of the instrument. This may be +learned from the numerous books on the anatomy and physiology of the +voice. It is an interesting subject, but beyond an elementary knowledge +it is of little value to the teacher. A correct knowledge of how to +train the voice must be gained in the studio, not in the laboratory. Its +basis is the musical sense rather than the mechanical or scientific. All +of the scientific or mechanical knowledge that the world has to offer is +no preparation for voice training. A knowledge of the art of teaching +begins when the teacher takes his first pupil, not before. Therefore the +aim shall be to present the subject as it appears to the teacher. + +We hear much of the value of vocal physiology as a guide to good voice +production. It is also claimed that a knowledge of it will prevent the +singer from misusing his voice and at the same time act as a panacea for +vocal ills. These statements do not possess a single element of truth. +The only way the singer can injure the vocal instrument is by forcing +it. That is, by setting up a resistance in the vocal cords that prevents +their normal action. If this is persevered in it soon becomes a habit +which results in chronic congestion. Singing becomes increasingly +difficult, especially in the upper voice, and in course of time the +singer discovers that he has laryngitis. Will a knowledge of vocal +physiology cure laryngitis? Never. Will it prevent any one from singing +"throaty?" There is no instance of the kind on record. In a majority of +cases laryngitis and other vocal ills are the direct results of bad +voice production and disappear as the singer learns to produce his upper +tones without resistance. These things are effects, not causes, and to +destroy the effect we must remove the cause. This will be found to be a +wrong habit and habits are mental, not physical. When a mental impulse +and its consequent response become simultaneous and automatic the result +is a habit, but it is the mental impulse that has become automatic. + +The terms, _tension_, _rigidity_, _interference_, _resistance_, all mean +essentially the same thing. They mean the various forms of contraction +in the vocal instrument which prevents its involuntary action. If we +follow these things back far enough we shall find that they all have +their origin in some degree of fear. This fear, of which anxiety is a +mild form, begins to show itself whenever the singer attempts tones +above the compass of his speaking voice. Here is undeveloped territory. +The tone lacks power, quality and freedom, and as power is what the +untrained singer always seeks first, he begins to force it. In a short +time he has a rigid throat, and the longer he sings the more rigid it +becomes. By the time he decides to go to a teacher his voice is in such +a condition that he must take his upper tones with a thick, throaty +quality or with a light falsetto. Among female voices I have seen many +that could sing nothing but a full tone in the upper register, and that +only with an unsteady, unsympathetic quality. + +Now a point upon which all voice teachers can agree is that the upper +voice is not properly trained until it has a perfect _messa di voce_ +that is, until the singer can swell the tone from the lightest +pianissimo to full voice and return, on any tone in his compass, without +a break and without sacrificing the pure singing quality. How shall this +be accomplished? If the singer is forcing the upper voice it is safe to +say in the beginning that it never can be done by practicing with full +voice. Such practice will only fasten the habit of resistance more +firmly upon the singer. To argue in the affirmative is equivalent to +saying that the continued practice of a bad tone will eventually produce +a good tone. + +There is but one way to the solution of the problem; the singer must get +rid of resistance. When he has succeeded in doing that the problem of +the head voice is solved. The bugaboo of voice placing permanently +disappears. The difficulty so many have in placing the upper voice lies +in this, that they try to do it without removing the one thing which +prevents them from doing it. When the voice is free from resistance it +places itself, that is, it produces without effort whatever quality the +singer desires. The term "head voice," doubtless grew out of the +sensation in the head which accompanies the upper tones, and this +sensation is the result of the vibration of the air in the air head +cavities. Many have taken this sensation as a guide to the production of +the head voice, and in order to make sure of it they instruct the +student to direct the tone into the head. This is not only an uncertain +and unnecessary procedure, but is almost sure to develop a resistance +which effectually prevents the tone from reaching the head cavities. +When there is no interference the tone runs naturally into the proper +channel. It is not necessary to use force to put it there. + + +HEAD RESONANCE + +Whether or not the head cavities act as resonators is one of the many +mooted points in voice training. Those who believe they do are much in +the majority, but those in the minority are equally confident they do +not. What are the arguments? That there is a sensation in the head +cavities when singing in the upper part of the compass no one can deny. +Does it affect tone quality? The minority offers the argument that it +cannot do so because the soft palate automatically rises in singing a +high tone, thus closing the passage through the nose. On the other side +it is argued, and rightly, that the soft palate can be trained to remain +low in singing high tones. But whether the soft palate is high or low +does not settle the matter. It is not at all necessary that breath +should pass through the nasal cavities in order to make them act as +resonators. In fact it is necessary that it should not. It is the air +that is already in the cavities that vibrates. All who are acquainted +with resonating tubes understand this. Neither is it necessary that the +vibrations should be transmitted to the head cavities by way of the +pharynx and over the soft palate. They may be transmitted through the +bones of the head. John Howard proved this, to his satisfaction at +least, many years ago. + +I recall that in working with Emil Behnke he used an exercise to raise +the soft palate and completely close the channel, yet no one can deny +that his pupils had head resonance. There are certain facts in +connection with this that are hard to side-step. Plunket Greene once +told me that at one time he lost the resonance in the upper part of his +voice, and on consulting a specialist he found a considerable growth on +the septum. He had it removed and at once the resonance returned. Other +equally strong arguments could be offered in support of the claim that +the head cavities do act as resonators. At any rate the high or low +palate is not the deciding factor. + +Too much cannot be said on the subject of interference, or resistance. +So long as there is any of it in evidence it has its effect on tone +quality. It is the result of tension, and tension is a mental impulse of +a certain kind. Its antidote is relaxation, which is a mental impulse of +an opposite nature. It is necessary for most singers to work at this +until long after they think they have it. + +In preparing the head voice the student must begin with a tone that is +entirely free from resistance and build from that. In a large majority +of voices it means practicing with a light, soft tone. A voice that +cannot sing softly is not rightly produced. While the student is working +for the freedom which will give him a good half voice he is preparing +the conditions for a good full voice. The conditions are not right for +the practice of full voice until the last vestige of resistance has +disappeared. The light voice is as necessary to artistic success as the +full voice. The singer must have both, but he must never sacrifice +quality for power. + +In the female voice the readjustments of the mechanism known as changes +of register usually occur at about [Illustration: Figure B]. + +In many lyric soprano voices I have found the same readjustment at the B +and C above the staff [Illustration: Figure C]. + +I have also noted in many bass voices a similar change of adjustment at +the E and F below the bass clef [Illustration: Figure D]. + +It would seem therefore, that in a majority of voices until an even +scale has been developed, that these readjustments appear at about the E +and F and B and C throughout the vocal compass. The exceptions to this +rule are so numerous however, that it can scarcely be called a rule. +Some voices will have but one noticeable readjustment, and it may be any +one of the three. + +In some voices the changes are all imperceptible. In others, due to +wrong usage, they are abrupt breaks. In every instance the teacher must +give the voice what it needs to perfect an even scale. There should be +no more evidence of register changes in the vocal scale than in the +piano scale. + +Leaving the lower two changes for the moment, let us consider the one at +the upper E and F. This one is so common among sopranos that there are +few who have not one, two, or three weak tones at this point. To avoid +these weak tones many are taught to carry the thicker tones of the +middle register up as far as they can force them in order to get the +"big tone" which seems to be the sole aim of much modern voice teaching. +The victims of this manner of teaching never use the real head voice, +and one thing happens to them all. As time goes on the upper voice grows +more and more difficult, the high tones disappear one by one, and at the +time when they should be doing their best singing they find themselves +vocal wrecks. Some of them change from soprano to alto and end by that +route. + +Now these are not instances that appear at long intervals. They are in +constant evidence and the number is surprisingly large. The cause is +ignorance of how to treat the upper voice, together with an insane +desire for a "big tone" and a lack of patience to await until it grows. +The incredible thing is that there is a teacher living whose ear will +tolerate such a thing. + +Now there is a way to develop the head voice that gives the singer not +only the full power of his upper voice, but makes it free, flexible and +vibrant, a sympathetic quality, a perfect _messa di voce_, and enables +him to sing indefinitely without tiring his voice. He must learn that it +is possible to produce a full tone with a light mechanism. This is the +natural way of producing the head voice. Further, the light mechanism +must be carried far below the point where the so called change of +register occurs. + +Every voice should have a head register, and it may be developed in the +following way. With altos and sopranos I start with this exercise + +[Illustration: Exercise No. 1] + +Altos should begin at A. + +The student should neither feel nor hear the tone in the throat. +Therefore he should begin with a soft _oo_. The throat should be free, +lips relaxed but slightly forward. There should be no puckering of the +lips for _oo_. The tone should seem to form itself around the lips, not +in the throat. In the beginning the exercise must be practiced softly. +No attempt must be made to increase the power, until the tone is well +established in the light mechanism. When the _oo_ can be sung softly and +without resistance as high as E flat use the same exercise with _o_. + +The next step is to blend this light mechanism with the heavier +mechanism. It may be done in this way, + +[Illustration: Exercise No. 2] + +Sing this descending scale with a crescendo, always beginning it _pp_. +It should be practiced very slowly at first, and with portamento. +Carrying the head voice down over the middle and the middle down over +the lower will in a short time blend all parts of the voice, and lay the +foundation of an even scale. The exercise should be transposed upward by +half steps as the voice becomes more free until it reaches F or F sharp. + +The next step is the building process. Use the following: + +[Illustration: Exercise No. 3] + +Altos should begin at A. In practicing these swells great care must be +taken. Tone quality is the first consideration, and the tone must be +pressed no further than is possible while retaining the pure singing +quality. Where voices have been forced and are accustomed to sing +nothing but thick tones this building process is sometimes slow. The +student finds an almost irresistible tendency to increase the resistance +as he increases the power of the tone. Therefore the louder he sings the +worse it sounds. This kind of practice will never solve the problem. +When the student is able to swell the tone to full power without +increasing the resistance the problem is solved. + +The progress of the student in this, as in everything in voice training, +depends upon _the ear of the teacher_. The untrained ear of the student +is an unreliable guide. The sensitive ear of the teacher must at all +times be his guide. The belief that every one knows a good tone when he +hears it has no foundation in fact. If the student's concept of tone +were perfect he would not need a teacher. He would have the teacher +within himself. Every one knows what he likes, and what he likes is of +necessity his standard at that particular time, but it is only the +measure of his taste and may be different the next day. + +All things in voice training find their court of last resort in the ear +of the teacher. All other knowledge is secondary to this. He may believe +any number of things that are untrue about the voice, but if he have a +thoroughly refined ear it will prevent him from doing anything wrong. +His ear is his taste, his musical sense, and it is his musical sense, +his musical judgment, that does the teaching. + +So in building the head voice the teacher must see to it that musical +quality is never sacrificed for power. A full tone is worse than +useless, unless the quality is musical and this can never be +accomplished until the vocal instrument is free from resistance. + +Exercise No. 3 should be transposed upward by half steps, but never +beyond the point at which it can be practiced comfortably. + +As tension shows most in the upper part of the voice the student should +have, as a part of his daily practice, exercises which release the voice +as it rises. Use the following: + +[Illustration: Exercise No. 4] + +Begin with medium power and diminish to _pp_ as indicated. The upper +tone must not only be sung softly, but the throat must be entirely free. +There must be no sense of holding the tone. + +Transpose to the top of the voice. + +[Illustration: Exercise No. 5] + +No. 5 is for the same purpose as No. 4 but in an extended form. Begin +with rather full voice and diminish to _pp_ ascending. Increase to full +voice descending. + +Continue the building of the upper voice using the complete scale. + +[Illustration: Exercise No. 6] + +Thus far in preparing the head voice we have used the vowels _oo_ and +_o_. We may proceed to the vowel _ah_ in the following way. Using Ex. +No. 6 first sing _o_ with loose but somewhat rounded lips. When this +tone is well established sing _o_ with the same quality, the same focus, +or placing without rounding the lips. It amounts to singing _o_ with the +_ah_ position. When this can be done then use short _u_ as in the word +_hum_. This gives approximately the placing for _ah_ in the upper voice. +When these vowels can all be sung with perfect freedom transpose upward +by half steps. + +[Illustration: Exercise No. 7] + +In No. 7 when the crescendo has been made on the upper tone carry the +full voice to the bottom of the scale. + +[Illustration: Exercise No. 8] + +This is another way of blending the different parts of the voice. It +should be sung portamento in both directions. When sung by a female +voice it will be Middle, Head, Middle as indicated by the letters M, H, +M. When sung by the male voice it will be Chest, Head, Chest as +indicated by the letters C, H, C. Transpose upward by half steps. + +When the foregoing exercises are well in hand the head voice may be +approached from the middle and lower registers in scale form as in the +following: + +[Illustration: Exercise No. 9] + +[Illustration: Exercise No. 10] + +[Illustration: Exercise No. 11.] + +[Illustration: Exercise No. 12.] + +[Illustration: Exercise No. 13.] + +The fact that male voices are more often throaty in the upper register +then female voices calls for special comment. + +The following diagram showing the relationship of the two voices will +help to elucidate the matter. + +[Illustration: Figure E] + +I have here used three octaves of the vocal compass as sufficient for +the illustration. Remembering that the male voice is an octave lower +than the female voice we shall see that the female voice is a +continuation, as it were, of the male voice; the lower part of the +female compass overlapping the upper part of the male compass, the two +having approximately an octave G to G in common. Further it will be seen +that both male and female voices do about the same thing at the same +absolute pitches. At about E flat or E above middle C the alto or +soprano passes from the chest to the middle register. It is at the same +absolute pitches that the tenor passes from what is usually called open +to covered tone, but which might better be called from chest to head +voice. There is every reason to believe that the change in the mechanism +is the same as that which occurs in the female voice at the same +pitches. That there is oftentimes a noticeable readjustment of the +mechanism in uncultivated voices at these pitches no observing teacher +will deny, and these are the voices which are of special interest to the +teacher, and the ones for which books are made. It will be observed that +this change in the male voice takes place in the upper part of his +compass instead of in the lower, as in the female voice. This change +which is above the compass of the speaking voice of the tenor or +baritone, adds greatly to its difficulty. For this reason the training +of the male head voice requires more care and clearer judgment than +anything else in voice training. + +In treating this part of the female voice we have learned that if the +heavy, or chest voice, is carried up to G or A above middle C it weakens +the tones of the middle register until they finally become useless. Then +the chest tones become more difficult and disappear one by one and the +voice has no further value. Identically the same thing happens to the +tenor who, by reason of sufficient physical strength forces his chest +voice up to G, A, or B flat. He may be able to continue this for awhile, +sometimes for a few years, but gradually his upper tones become more +difficult and finally impossible and another vocal wreck is added to the +list. + +In restoring the female voice that has carried the chest voice too high +it is necessary to carry the middle register down, sometimes as low as +middle C until it has regained its power. The tenor or baritone must do +essentially the same thing. He must carry the head voice, which is a +lighter mechanism than the chest voice, down as low as this c +[Illustration: Figure F] using what is often called mixed voice. When +the pitches [Illustration: Figure G] are practiced with a sufficiently +relaxed throat the tone runs naturally into the head resonator with a +feeling almost the equivalent of that of a nasal tone, but this tone +will be in no sense nasal. It will be head voice. + + +THE FALSETTO + +Does the falsetto have any part in the development of the head voice? +This inoffensive thing is still the subject of a considerable amount of +more of less inflammatory debate both as to what it is and what it does. +Without delay let me assure every one that it is perfectly harmless. +There is no other one thing involved in singing, immediate or remote, +from which the element of harm is so completely eliminated. It is held +by some that it is produced by the false vocal chords. This position is +untenable for the reason that I have known many singers who could go +from the falsetto to a full ringing tone and return with no perceptible +break. Now since it will hardly be argued that a ringing, resonant tone +could be produced by the false vocal cords, it is evident that the +singer must change from the false to the true vocal cords somewhere in +the process--a thing which is unthinkable. + +It is held by others that the falsetto is a relic of the boy's voice, +which has deteriorated from lack of use. This seems not unreasonable, +and a considerable amount of evidence is offered in support of it. We +may safely assume however that it is produced by the true vocal cords +and the lightest register in the male voice. What is its use? Unless its +quality can be changed it has little or no musical value. There are some +teachers who claim that the falsetto mechanism is the correct one for +the tenor voice and should be used throughout the entire compass. I am +not prepared to subscribe to this. There are others who believe that the +falsetto should be developed, resonated, so that it loses its flute +quality, and blended with the head voice. This seems in the light of my +experience to be reasonable. When this can be done it gives the singer +the most perfect mechanism known. But it cannot always be done. The +voice is individual, and the entire sum of individual experience leaves +its impression on it. I have found many voices where the falsetto was so +completely detached from the head voice that it would be a waste of time +to attempt to blend them. + +But there is one place in voice training where the practice of the +falsetto has a distinct value. I have seen many tenors and baritones who +forced the heavy chest voice up until they developed an automatic +clutch, and could sing the upper tones only with extreme effort. To +allow them to continue in that way would never solve their problem. In +such a condition half voice is impossible. It must be one thing or the +other, either the thick chest voice or falsetto. The falsetto they can +produce without effort, and herein lies its value. They become +accustomed to hearing their high tones without the association of +effort, and after a time the real head voice appears. The thing which +prevented the head voice from appearing in the beginning was extreme +resistance, and as soon as the resistance disappeared the head voice +made its appearance. This was accomplished by the practice of the very +light register known as falsetto. When the head voice appears the use of +the falsetto may be discontinued. + +The thing expected of the teacher is results and he should not be afraid +to use anything that will contribute to that end. + +It is in the upper part of the voice that mistakes are most likely to be +made and ninety nine per cent of the mistakes is forcing the voice, that +is, singing with too much resistance. So long as the resistance +continues a good full tone is impossible. The plan outlined above for +eliminating resistance has been tested with many hundreds of voices and +has never failed. The idea held by some that such practice can never +produce a large tone shows a complete misunderstanding of the whole +matter. That it produces the full power of the voice without sacrificing +its musical quality is being proved constantly. + +Every day we hear the story of voices ruined by forcing high tones. Who +is responsible? Each one must answer for himself. With the hope of +diminishing it in some degree, this outline is offered. + + + + +III + +A GENERAL SURVEY OF THE SITUATION + + "I will roar you as gently as any sucking dove: I will roar you + an't were any nightingale." + + Shakespeare. _A Midsummer Night's Dream_. + + +The singing world is confronted with a situation unique in its humor. On +every side we hear the lachrymose lament that voice training is in a +chaotic condition, that _bel canto_ is a lost art, and that the golden +age of song has vanished from the earth. + +The unanimity of this dolorous admission would seem to be a sad +commentary on the fraternity of voice teachers; but here enters the +element of humor. There is not recorded a single instance of a voice +teacher admitting that his own knowledge of the voice is chaotic. He +will admit cheerfully and oftentimes with ill concealed enthusiasm that +every other teacher's knowledge is in a chaotic condition, but his own +is a model of order and intelligence. + +If we accept what voice teachers think of themselves the future looks +rosy. If we accept what they think of each other the future is ominous +and the need for reform is dire and urgent. + +But if a reform be ordered where shall it begin? Obviously among the +teachers themselves. But judging from the estimate each one puts upon +himself how shall we reform a thing which is already perfect? On the +other hand, if we take the pessimistic attitude that all teachers are +wrong will it not be a case of the blind leading the blind, in which +instance their destination is definitely determined somewhere in the New +Testament. Verily the situation is difficult. Nevertheless it is not +altogether hopeless. The impulse to sing still remains. More people are +studying singing, and more people sing well today than at any other time +in the history of the world. The impulse to sing is as old as the human +race. When the joy of life first welled up within man and demanded +utterance the vocal instrument furnished by nature was ready to respond +and the art of singing began, and if we may venture a prophecy it will +never end in this world or the next. It cannot be destroyed even by the +teachers themselves. It is this natural, inborn desire to sing that is +directly responsible for the amazing perseverance of many vocal +students. If after a year or two of study they find they are wrong they +are not greatly disturbed, but select another teacher, firm in the faith +that eventually they will find the right one and be safely led to the +realization of their one great ambition--to be an artist. It is this +that has kept the art alive through the centuries and will perpetuate +it. This impulse to sing is something no amount of bad teaching can +destroy. + + +THE REFORM + +Everything in the universe that has come under the scrutiny of mortal +man has been subjected to a perpetual reformation. Nothing is too great +or too small to engage the attention of the reformer. Religion, +politics, medicine and race suicide are objects of his special +solicitude, but nothing else has been forgotten. No phase of human +activity has been allowed to remain at rest. So far as we know nothing +but the multiplication table has escaped the reformer. There is a +general feeling that nothing is exactly right. This may be the operation +of the law of progress, doubtless it is, but it occasions a mighty +unrest, and keeps the world wondering what will happen next. This law of +progress is but another name for idealism to which the world owes +everything. Idealism is that which sees a better condition than the one +which now obtains. The process of realizing this better condition is in +itself reformation. + +As far back as we have any knowledge of the art of singing the reformers +have been at work, and down through the centuries their energies have +been unflagging. We owe to them whatever advance has been made toward a +perfect system of voice training, but they are also responsible for many +things pernicious in their nature which have been incorporated in +present day methods of teaching, for it must be admitted that there are +false prophets among singing teachers no less than among the members of +other professions. There is one interesting thing connected with the +work of these vocal reformers. From the beginning they have insisted +that the art of _bel canto_ is lost. Tosi (1647-1727), Porpora +(1686-1766), Mancini (1716-1800), three of the greatest teachers of the +old Italian school, all lamented the decadence of the art of singing. +Others before and since have done the same thing. It seems that in all +times any one who could get the public ear has filled it with this sort +of pessimistic wail. From this we draw some interesting conclusions: +First, that the real art of singing was lost immediately after it was +found. Second, that the only time it was perfect was when it began. +Third, that ever since it began we have been searching for it without +success. If any of this is true it means that all of the great singers +of the past two hundred years have been fakers, because they never +really learned how to sing. It is surprising that we did not see through +these musical Jeremiahs long ago. In all ages there have been good +teachers and bad ones, and it would not be surprising if the bad ones +outnumbered the good ones; but the weak link in the chain of argument is +in estimating the profession by its failures. This is a cheap and much +overworked device and discloses the egotism of the one using it. There +are teachers today who thoroughly understand the art of _bel canto_. +They have not lost it, and the others never had it. This condition has +obtained for centuries and will continue indefinitely. An art should be +measured by its best exponents, not by its worst. To measure it by its +failures is illogical and dishonest. + +In recent years the process of reformation has been applied to all +branches of music teaching with the hope of reducing these failures to a +minimum. The profession has suddenly awakened to the fact that it must +give a better reason for its existence than any heretofore offered. It +has become clear to the professional mind that in order to retain and +enlarge its self-respect music must be recognized as a part of the great +human uplift. To this end it has been knocking at the doors of the +institutions of learning asking to be admitted and recognized as a part +of public education. The reply has been that music teaching must first +develop coherence, system and standards. This has caused music teachers +to look about and realize as never before that the profession as a whole +has no organization and no fixed educational standards. Every teacher +fixes his own standard and is a law unto himself. The standard is +individual, and if the individual conscience is sufficiently elastic the +standard gives him no serious concern. But as a result of this awakening +there is a concerted action throughout the country to standardize, to +define the general scope of learning necessary to become a music +teacher. The trend of this is in the right direction, and good may be +expected from it, although at best it can be but a very imperfect method +of determining one's fitness to teach. The determining factors in +teaching are things which cannot be discovered in any ten questions. In +fact an examination must necessarily confine itself to general +information, but in teaching, the real man reveals himself. His high +sense of order, logic, patience, his love and appreciation of the +beautiful, his personality, his moral sense, the mental atmosphere of +his studio, these all enter into his teaching and they are things +difficult to discover in an examination. Unconsciously the teacher gives +out himself along with the music lesson, and it is equally important +with his knowledge of music. Therefore it is as difficult to establish +definite standards of teaching as it is of piano or violin making. + +In attempting to establish standards of voice teaching the problem +becomes positively bewildering. The voice is so completely and +persistently individual, and in the very nature of things must always +remain so, that an attempt to standardize it or those who train it is +dangerous. Yet notwithstanding this, voice teachers are the most +industrious of all in their efforts to organize and standardize. The +insistence with which this aim is prosecuted is worthy of something +better than is likely to be achieved. + +That there is no standard among voice teachers save that of the +individual will be admitted without argument; and until there is such a +thing as a fixed standard of musical taste this condition will remain, +for the musical taste of the teacher is by far the most potent factor in +the teaching of tone production. + +Of late there have been vigorous efforts to establish a standard tone +for singers. This, according to the apostles of "Harmony in the ranks," +is the one way of unifying the profession. As an argument this is +nothing short of picturesque, and can be traced to those unique and +professedly scientific mentalities that solve all vocal problems by a +mathematical formula. As an example of the chimerical, impossible and +altogether undesirable, it commands admiration. If it is impossible to +establish a standard tone for pianos where the problem is mechanical, +what may we expect to do with voice where the problem is psychological? + +When we have succeeded in making all people look alike, act alike, think +alike; when we have eliminated all racial characteristics and those +resulting from environment; when people are all of the same size, +weight, proportion, structure; when skulls are all of the same size, +thickness and density; when all vocal organs and vocal cavities are of +the same form and size; when we have succeeded in equalizing all +temperaments; when there is but one climate, one language, one +government, one religion; when there is no longer such a thing as +individuality--then perhaps a standard tone may be considered. Until +that time nothing could be more certain of failure. The great charm of +voices is their individuality, which is the result not alone of +training, but of ages of varied experience, for man is the sum of all +that has preceded him. It is, to say the least, an extraordinary +mentality that would destroy this most vital element in singing for the +sake of working out a scientific theory. + +But there is no immediate danger. Nature, whose chief joy is in variety +and contrast, is not likely to sacrifice it suddenly to a mere whim. + +When we speak of a standard tone we enter the domain of acoustics and +must proceed according to the laws of physics. In this standard tone +there must be a fundamental combined with certain overtones. But who +shall say which overtones, and why the particular combination? The +answer must be "because it sounds best." A tone being something to hear, +this is a logical and legitimate answer. But if the listener knows when +it sounds right he knows it entirely separate and apart from any +knowledge he may have of its scientific construction; hence such +knowledge is of no value whatever in determining what is good and what +is bad in tone quality. A tone is not a thing to see and the teacher +cannot use a camera and a manometric flame in teaching tone production. +Any knowledge he may have gained from the use of such instruments in the +laboratory is valueless in teaching. + +If it were possible to adopt as a standard tone a certain combination of +fundamental and overtones (which it is not), and if it were possible to +make all singers use this particular tone (which, thank heaven it is +not), then all voices would sound alike and individuality would at once +disappear. + +The advocates of this kind of standard tone cannot disengage themselves +from the belief that all vocal organs are alike. The exact opposite is +the truth. Vocal organs are no more alike than are eyes, noses, hands +and dispositions. Each of these conforms only to a general type. The +variation is infinite. + + +MENTALITY + +The mentality of the individual forms the organ through which it can +express itself, and this mentality is the accumulation of all of the +experience which has preceded it. Further, muscles and cartilages are +not all of the same texture. Thyroid cartilages vary in size and shape. +The vocal cavities, pharynx, mouth and nasal cavities are never exactly +the same in any two people. The contours of the upper and lower jaw and +teeth, and of the palatal arch are never found to be exactly alike. All +of these variations are a part of the vocal instrument and determine its +quality. Every vocal organ when properly directed will produce the best +quality of which that particular instrument is capable. An attempt to +make it produce something else must necessarily be a failure. The +structure of the instrument determines whether the voice is bass, tenor, +alto or soprano with all of the variations of these four classes. The +individuality of the voice is fixed by nature no less definitely. + +The effort to standardize tone quality discloses a misapprehension of +what it means to train a voice. Its advocates look upon man as so much +matter, and the voice as something which must be made to operate +according to fixed mathematical rules and ignore completely its +psychology. + +But the rich humor of it all appears when the propagandists of standard +tone meet to establish the standard. It is soon observed that there are +as many standards as there are members present and the only result is a +mental fermentation. + + +GETTING TOGETHER + +In recent years many attempts have been made by vocal teachers to "get +together." As nearly as can be ascertained this getting together means +that all shall teach in the same way, that all shall agree on the +disputed points in voice training, or that certain articles of faith to +which all can subscribe, shall be formulated; but when it comes to +deciding whose way it shall be or whose faith shall be thus exalted, +each one is a Gibraltar and the only perceptible result is an +enlargement of the individual ego. And so it endeth. + + +WHY TEACHERS DISAGREE + +Voice teachers are divided into two general classes--those who make a +knowledge of vocal physiology the basis of teaching and those who do +not. The members of the first class follow the teachings of some one of +the scientific investigators. Each one will follow the scientist or +physiologist whose ideas most nearly coincide with his own, or which +seem most reasonable to him. In as much as the scientists have not yet +approached anything resembling an agreement, it follows that their +disciples are far from being of one mind. + +The members of the second class hold that a knowledge of vocal anatomy +and physiology beyond the elements has no value in teaching, and that +the less the student thinks about mechanism the better. The scientific +voice teachers usually believe in direct control of the vocal organs. +The members of the opposite class believe in indirect control. This +establishes a permanent disagreement between the two general classes, +but the disagreement between those who believe in indirect control is +scarcely less marked. Here it is not so much a matter of how the tone is +produced, but rather the tone itself. This is due entirely to the +difference in taste among teachers. The diversity of taste regarding +tone quality is even greater than that regarding meat and drink. This +fact seems to be very generally overlooked. It is this that so mystifies +students. After studying with a teacher for one or more years they go to +another to find that he at once tries to get a different tone quality +from that of the first. When they go to the third teacher he tries for +still another quality. If they go to a half dozen teachers each one will +try to make them produce a tone differing in some degree from all of the +others. The student doubtless thinks this is due to the difference in +understanding of the voice among teachers, but this is not so. It is due +entirely to their differing tastes in tone quality. The marvelous thing +is that the voice will respond in a degree to all of these different +demands made upon it; but it forces the student to the conclusion that +voice training is an indefinite something without order, system, or +principle. + +So, in studying the conditions which obtain in voice teaching at the +present time it must be admitted that the evidence of unity is slight; +and the probability of increasing it by organization or legislative +enactment is not such as to make one enthusiastic. What one believes is +very real to himself. In fact it is the only thing that seems right to +him, therefore he sees no valid reason why he should change his belief +or why others should not believe as he does. This positive element in +the human ego is advantageous at times, but it is also responsible for +all conflicts from mild disagreements to war among nations. + +But arguments and battles rarely ever result in anything more than an +armed truce. Difference of opinion will continue indefinitely, but of +this we may be sure, that the solution of the vocal problem will never +come through a study of vocal mechanism however conscientious and +thorough it may be, but through a purer musical thought, a deeper +musical feeling, a clearer vision of what is cause and what is effect, a +firmer conviction of the sanctity of music, an unerring knowledge of the +relationship existing between the singer and his instrument. + + + + +IV + +HINTS ON TEACHING + + "We live in a world of unseen realities, the world of thoughts + and feelings. But 'thoughts are things,' and frequently they + weigh more and obtain far more in the making of a man than do + all the tangible realities which surround him. Thoughts and + feelings are the stuff of which life is made. They are the + language of the soul. By means of them we follow the development + of character, the shaping of the soul which is the one great + purpose of life." + + _Appreciation of Art_. Loveridge. + + +Every year a large number of young men and women go in quest of a +singing teacher. The impulse to sing, which is inborn, has become so +insistent and irrepressible that it must be heeded; and the desire to do +things well, which is a part of the mental equipment of every normal +human being, makes outside assistance imperative. Wherever there is a +real need the supply is forthcoming, so there is little difficulty in +finding some one who is ready, willing, in fact rather anxious, to +undertake the pleasant task of transforming these enthusiastic amateurs +into full-fledged professionals. + +The meeting of the teacher and student always takes place in the studio, +and it is there that all vocal problems are solved. Let no one imagine +that any vocal problem can be solved in a physics laboratory. Why? +_Because not one of the problems confronting the vocal student is +physical. They are all mental._ The writer has reached this conclusion +not from ignoring the physical, but from making a comprehensive study of +the vocal mechanism and its relation to the singer. + +The anatomy and physiology of the vocal mechanism are absorbing to one +who is interested in knowing how man, through untold centuries of growth +has perfected an instrument through which he can express himself; but no +matter how far we go in the study of anatomy and physiology all we +really learn is what mind has done. If man has a more perfect and highly +organized vocal instrument than the lower animals it is because his +higher manifestation of mind has formed an instrument necessary to its +needs. + +When man's ideas and needs were few and simple his vocabulary was small, +for language is the means by which members of the species communicate +with each other. Whenever man evolved a new idea he necessarily invented +some way of communicating it, and so language grew. A word is the symbol +of an idea, but invariably the idea originates the word. The word does +not originate the idea. The idea always arrives first. All we can ever +learn from the study of matter is phenomena, the result of the activity +of mind. + +Thus we see that so called "scientific study" of the vocal mechanism is +at best, but a study of phenomena. It creates nothing. It only discovers +what is already taking place, and what has been going on indefinitely +without conscious direction will, in all probability, continue. + +The value attached by some to the study of vocal physiology is greatly +overestimated. In fact its value is so little as to be practically +negligible. It furnishes the teacher nothing he can use in giving a +singing lesson, unless, perchance he should be so unwise as to begin the +lesson with a talk on vocal mechanism, which, by the way, would much +better come at the last lesson than the first. All we can learn from the +study of vocal physiology is the construction of the vocal instrument, +and this bears the same relation to singing that piano making bears to +piano playing. The singer and his instrument are two different things, +and a knowledge of the latter exerts very little beneficial influence on +the former. + +To reach a solution of the vocal problem we must understand the relation +existing between the singer and his instrument. + +The singer is a mentality, consequently everything he does is an +activity of his mentality. Seeing, hearing, knowing, is this mentality +in action. The two senses most intimately associated with artistic +activity are seeing and hearing, and these are mental. In painting, +sculpture, and architecture we perceive beauty through the eye. In music +it reaches us through the ear; but _the only thing that is cognizant is +the mind_. To man the universe consists of mental impressions, and that +these impressions differ with each individual is so well understood that +it need not be argued. Two people looking at the same picture will not +see exactly the same things. Two people listening to a musical +composition may hear quite different things and are affected in +different ways, because _it is the mind that hears_, and as no two +mentalities are precisely the same, it must be apparent that the +impressions they receive will be different. The things these mentalities +have in common they will see and hear in common, but wherein they differ +they will see and hear differently. Each will see and hear to the limit +of his experience, but no further. + +To be a musician one must become conscious of that particular thing +called music. He must learn to think music. The elements of music are +rhythm, melody, harmony, and form, and their mastery is no less a mental +process than is the study of pure mathematics. + +The human mind is a composite. It is made up of a large number of +faculties combined in different proportions. The germs of all knowledge +exist in some form and degree in every mind. When one faculty +predominates we say the individual has talent for that particular thing. +If the faculty is abnormally developed we say he is a genius, but all +things exist as possibilities in every mind. Nature puts no limitations +on man. Whatever his limitations, they are self imposed, nature is not a +party to the act. + +Now this is what confronts the teacher whenever a student comes for a +lesson. He has before him a mentality that has been influenced not only +by its present environment, but by everything that has preceded it. "Man +is," as an old philosopher said, "a bundle of habits," and habits are +mental trends. His point of view is the product of his experience, and +it will be different from that of every one else. The work of the +teacher is training this mentality. Understanding this it will be seen +how futile would be a fixed formula for all students, and how +necessarily doomed to failure is any method of voice training which +makes anatomy and physiology its basis. Further, there is much to be +done in the studio beside giving the voice lesson. Whistler said that +natural conditions are never right for a perfect picture. From the +picture which nature presents the artist selects what suits his purpose +and rejects the rest. It is much the same in the training of a singer. +In order that the lesson be effective the conditions must be right. This +only rarely obtains in the beginning. The student's attitude toward the +subject must be right or the lesson will mean little to him. The lesson +to be effective must be protected by _honesty_, _industry_ and +_perseverance_. If these are lacking in various degrees, as they often +are, little progress will be made. If the student is studying merely for +"society purposes," not much can be expected until that mental attitude +is changed. Students always want to sing well, but they are not always +willing to make the sacrifice of time and effort; consequently they lack +concentration and slight their practice. Sometimes the thought uppermost +in the student's mind is the exaltation of the ego, in other words, +fame. Sometimes he measures his efforts by the amount of money he thinks +he may ultimately earn, be it great or small. Sometimes he overestimates +himself, or what is equally bad, underestimates himself. It is a very +common thing to find him putting limitations on himself and telling of +the few things he will be able to do and the large number he never will +be able to do, thus effectually barring his progress. Then there is +always the one who is habitually late. She feels sure that all of the +forces of nature are leagued in a conspiracy to prevent her from ever +being on time anywhere. She, therefore, is guiltless. There is another +one who is a riot of excuses, apologies and reasons why she has not been +able to practice. Her home and neighborhood seem to be the special +object of providential displeasure, which is manifested in an unbroken +series of calamitous visitations ranging from croup to bubonic plague, +each one making vocal practice a physical and moral impossibility. + +All of these things are habits of mind which must be corrected by the +teacher before satisfactory growth may be expected. In fact he must +devote no inconsiderable part of his time to setting students right on +things which in themselves are no part of music, but which are elements +of character without which permanent success is impossible. + +A great musical gift is of no value unless it is protected by those +elements of character which are in themselves fundamentally right. +Innumerable instances could be cited of gifted men and women who have +failed utterly because their gifts were not protected by honesty, +industry and perseverance. + +I have spoken at some length of the importance of the right mental +attitude toward study and the necessity of correcting false conceptions. +Continuing, it must be understood that the work of the teacher is all +that of training the mind of his student. It is developing concepts and +habits of mind which when exercised result in beautiful tone and +artistic singing. It must also be understood that the teacher does not +look at the voice, he listens to it. Here voice teachers automatically +separate themselves from each other. No two things so diametrically +opposite as physics and metaphysics can abide peaceably in the same +tent. + +Let me emphasize the statement that _the teacher does not look at the +voice, he listens to it_. The teacher who bases his teaching on what he +can see, that is, on watching the singer and detecting his mistakes +through the eye, is engaged in an activity that is mechanical, not +musical. No one can tell from observation alone whether a tone is +properly produced. A tone is something to hear, not something to see, +and no amount of seeing will exert any beneficial influence on one's +hearing. + +The process of learning to read vocal music at sight is that of learning +to _think tones_, to _think in the key_, and to _think all manner of +intervals and rhythmic forms_. It is altogether mental, and it is no +less absurd to hold that a knowledge of anatomy is necessary to this +than it is essential to the solution of a mathematical problem. The +formation of tone quality is no less a mental process than is thinking +the pitch. If the student sings a wrong pitch it is because he has +thought a wrong pitch, and this is true to a large extent at least, if +his tone quality in not good. He may at least be sure of this, that _he +never will sing a better tone than the one he thinks_. + +A large part of the vocal teacher's training should be learning how to +listen and what to listen for. This means training the ear, which is the +mind, until it is in the highest degree sensitive to tone quality as +well as to pitch. When there is a failure in voice training it may be +counted upon that the teacher's listening faculty is defective. The gist +of the whole thing is what the teacher's ear will stand for. If a tone +does not offend his ear he will allow it to continue. If it does offend +his ear he will take measures to stop it. + +More is known of vocal mechanism today than at any other time in the +world's history, and yet who dares to say that voice teaching has been +improved by it? Is voice teaching any more accurate now than it was a +hundred years ago? Did the invention of the laryngoscope add anything of +value to the voice teacher's equipment? No. Even the inventor of it said +that all it did was to confirm what he had always believed. An enlarged +mechanical knowledge has availed nothing in the studio. The character of +the teacher's work has improved to the degree in which he has recognized +two facts--first, the necessity of developing his own artistic sense as +well as that of his pupil, second, that the process of learning to sing +is psychologic rather than physiologic. + +When the student takes his first singing lesson what does the teacher +hear? He hears the tone the student sings, but what is far more +important, he hears in his own mind the tone the student ought to sing. +He hears his own tone concept and this is the standard he sets for the +student. He cannot demand of him anything beyond his own concept either +in tone quality or interpretation. + +Young teachers and some old ones watch the voice rather than listen to +it. At the slightest deviation from their standard of what the tongue, +larynx, and soft palate ought to do they pounce upon the student and +insist that he make the offending organ assume the position and form +which they think is necessary to produce a good tone. This results in +trying to control the mechanism by direct effort which always induces +tension and produces a hard, unsympathetic tone. + +The blunder here is in mistaking effect for cause. The tongue which +habitually rises and fills the cavity of the mouth does so in response +to a wrong mental concept of cause. The only way to correct this +condition is to change the cause. The rigid tongue we see is effect, and +to tinker with the effect while the cause remains is unnecessarily +stupid. An impulse of tension has been directed to the tongue so often +that the impulse and response have become simultaneous and automatic. +The correction lies in directing an impulse of relaxation to it. When it +responds to this impulse it will be found to be lying in the bottom of +the mouth, relaxed, and ready to respond to any demand that may be made +upon it. To try to make the tongue lie in the bottom of the mouth by +direct effort while it is filled with tension is like trying to sweep +back the tide with a broom. The only way to keep the tide from flowing +is to find out what causes it to flow and remove the cause. The only way +to correct faulty action of any part of the vocal mechanism is to go +back into mentality and remove the cause. It will always be found there. + + +DIRECT AND INDIRECT CONTROL + +In view of the generally understood nature of involuntary action and the +extent to which it obtains in all good singing it is difficult to +understand why any teacher should work from the basis of direct control. +It is a fact, however, that teachers who have not the psychological +vision find it difficult to work with a thing they cannot see. To such, +direct control seems to be the normal and scientific method of +procedure. + +Let me illustrate: A student comes for his first lesson. I "try his +voice." His tone is harsh, white, throaty and unsympathetic. It is not +the singing tone and I tell him it is "all wrong." He does not +contradict me but places himself on the defensive and awaits +developments. I question him to find out what he thinks of his own +voice, how it impresses him, etc. I find it makes no impression on him +because he has no standard. He says he doesn't know whether he ought to +like his voice or not, but rather supposes he should not. As I watch him +I discover many things that are wrong and I make a mental note of them. +Suppose I say to him as a very celebrated European teacher once said to +me: "Take a breath, and concentrate your mind on the nine little muscles +in the throat that control the tone." This is asking a good deal when he +does not know the name or the exact location of a single one of them, +but he seems impressed, although a little perplexed, and to make it +easier for him I say as another famous teacher once said to me: "Open +your mouth, put two fingers and a thumb between your teeth, yawn, now +sing _ah_." He makes a convulsive effort and the tone is a trifle worse +than it was before. I say to him, "Your larynx is too high, and it jumps +up at the beginning of each tone. You must keep it down. It is +impossible to produce good tone with a high larynx. When the larynx +rises, the throat closes and you must always have your throat open. +Don't forget, your throat must be _open_ and you can get it open only by +keeping the larynx low." He tries again with the same result and awaits +further instructions. I take another tack and say to him, "Your tongue +rises every time you sing and impairs the form of the vocal cavity. Keep +it down below the level of the teeth, otherwise your vowels will be +imperfect. You should practice a half hour each day grooving your +tongue." I say these things impressively and take the opportunity to +tell him some interesting scientific facts about fundamental and upper +partials, and how different combinations produce different vowels, also +how these combinations are affected by different forms of the vocal +cavities, leading up to the great scientific truth that he must hold the +tongue down and the throat open in order that these great laws of +acoustics may become operative. He seems very humble in the presence of +such profound erudition and makes several unsuccessful attempts to do +what I tell him, but his tone is no better. I tell him so, for I do not +wish to mislead him. He is beginning to look helpless and discouraged +but waits to see what I will do next. He vexes me not a little, because +I feel that anything so simple and yet so scientific as the exercises I +am giving him ought to be grasped and put into practice at once; but I +still have resources, and I say to him, "Bring the tone forward, direct +it against the hard palate just above the upper teeth, send it up +through the head with a vigorous impulse of the diaphragm. You must +always feels the tone in the nasal cavities. That is the way you can +tell whether your tone is right or not." He tries to do these things, +but of necessity fails. + +This sort of thing goes on with mechanical instructions for raising the +soft palate, making the diaphragm rigid, grooving the tongue, etc., +etc., and at the end of the lesson I tell him to go home and practice an +hour a day on what I have given him. If he obeys my instructions he will +return in worse condition, for he will be strengthening the bad habits +he already has and forming others equally pernicious. + +This is a sample of teaching by direct control. It is not overdrawn. It +is a chapter from real life, and I was the victim. + +You will have observed that this lesson was devoted to teaching the +student how to do certain things with the vocal mechanism. The real +thing, the tone, the result at which all teaching should aim was placed +in the background. It was equivalent to trying to teach him to do +something but not letting him know what. It was training the body, not +the mind, and the result was what invariably happens when this plan is +followed. + +In the lesson given above no attempt was made to give the student a +correct mental picture of a tone, and yet this is the most important +thing for him to learn, for _he never will sing a pure tone until he has +a definite mental picture of it_. _A tone is something to hear and the +singer himself must hear it before he can sing it._ + +Not one of the suggestions made to this student could be of any possible +benefit to him at the time. Not even the sensation of feeling the tone +in the head can be relied upon, for physical sensations are altogether +uncertain and unreliable. As I have observed in numberless instances, +there may be a sensation in the head when there are disagreeable +elements in the tone. If the ear of the teacher does not tell him when +the tone is good and when it is bad he is hopeless. If his ear is +reliable, why resort to a physical sensation as a means of deciding? In +the properly produced voice there is a feeling of vibration in the head +cavities, especially in the upper part of the voice, but that alone is +not a guaranty of good tone. + +This teaching from the standpoint of sensation and direct control will +never produce a great singer so long as man inhabits a body. It is +working from the wrong end of the proposition. Control of the mechanism +is a very simple matter when the mental concept is formed. It is then +only a question of learning how to relax, how to free the mechanism of +tension, and the response becomes automatic. + +Is there no way out of this maze of mechanical uncertainties? There is. +Is voice culture a sort of catch-as-catch-can with the probabilities a +hundred to one against success? It is not. Is singing a lost art? It is +not. Let us get away from fad, fancy and formula and see the thing as it +is. The problem is psychologic rather than physiologic. The fact that +one may learn all that can be known about physiology and still know +nothing whatever about voice training should awaken us to its +uselessness. + +Man is a mental entity. When I speak to a student _it is his mind that +hears, not his body_. It is his mind that acts. It is his mind that +originates and controls action. Therefore it is his mind that must be +trained. + +Action is not in the body. In fact, the body as matter has no sensation. +Remove mind from the body and it does not feel. It is the mind that +feels. If you believe that the body feels you must be prepared to +explain where in the process of digestion and assimilation the beefsteak +and potato you ate for dinner become conscious, because to feel they +must be conscious. We know that the fluids and solids composing the body +have no sensation when they are taken into the body, nor do they ever +become sentient. Therefore the body of itself has no initiative, no +action, no control. All of these are the functions of mind, hence the +incongruity of attempting to solve a problem which is altogether +psychological, which demands qualities of mind, habits of mind, mental +concepts of a particular kind and quality, by a process of manipulation +of the organ through which mind expresses itself, making the training of +the mind a secondary matter; and then absurdly calling it scientific. + +In every form of activity two things are involved: first, the idea: +second, its expression. It must be apparent then, that the quality of +the thing expressed will be governed by the quality of the idea. Or, to +put it in another way: In the activity of art two things are +involved--subject-matter and technic. The subject-matter, the substance +of art, is mental. Technic is gaining such control of the medium that +the subject-matter, or idea, may be fully and perfectly expressed. Ideas +are the only substantial things in the universe, and that there is a +difference in the quality of ideas need not be argued. Two men of the +same avoirdupois may be walking side by side on the street, but one of +them may be a genius and the other a hod carrier. + +I have dwelt at some length on this because I wish to show where the +training of a singer must begin, and that when we understand the real +nature of the problem its solution becomes simple. + + +INDIRECT CONTROL + +What is meant by indirect control? It means, in short, the automatic +response of the mechanism to the idea. By way of illustration. If I +should ask my pupil to make her vocal cords vibrate at the rate of 435 +times per second she could not do it because she would have no mental +concept of how it should sound: but if I strike the A above middle C and +ask her to sing it her vocal cords respond automatically at that rate of +vibration. It is the concept of pitch which forms the vocal instrument, +gives it the exact amount of tension necessary to vibrate at the rate of +the pitch desired, but the action is automatic, not the result of direct +effort. + +It may be said that in artistic singing everything is working +automatically. There can be no such thing as artistic singing until +everything involved is responding automatically to the mental demands of +the singer. + +Mention has been made of the automatic response of the vocal cords to +the thought of pitch. That part of the mechanism which is so largely +responsible for tone quality, the pharynx and mouth, must respond in the +same way. This it will do unerringly if it is free from tension. But if +the throat is full of rigidity, as is so often the condition, it cannot +respond; consequently the quality is imperfect and the tone is throaty. +The vocal cavity must vibrate in sympathy with the pitch in order to +create pure resonance. It can do this only when it is free and is +responding automatically to the concept of tone quality. To form the +mouth and throat by direct effort and expect a good tone to result +thereby, is an action not only certain of failure but exceedingly +stupid. + + +VOICE TRAINING IS SIMPLE + +There is a belief amounting to a solid conviction in the public mind +that the training of the voice is so difficult that the probabilities of +success are about one in ten. What is responsible for this? Doubtless +the large number of failures. But this calls for another interrogation. +What is the cause of these failures? Here is one. All students have done +more or less singing before they go to a teacher. During that time they +have, with scarcely an exception, formed bad habits. Now bad habits of +voice production are almost invariably some form of throat interference, +referred to as tension, rigidity, resistance, etc. Instances without +number could be cited where students have been told to keep right on +singing and eventually they would outgrow these habits. Such a thing +never happened since time began. One may as well tell a drunkard to keep +on drinking and eventually he will outgrow the habit. No. Something +definite and specific must be done. The antidote for tension is +relaxation. A muscle cannot respond while it is rigid, therefore the +student must be taught how to get rid of tension. + + +TWO THINGS INVOLVED + +There is nothing in voice training that is necessarily mysterious and +inscrutable. On the contrary, if one will acquaint himself with its +fundamental principles he will find that the truth about voice training, +like all truth, is simple and easily understood, and when understood the +element of uncertainty is eliminated. These principles are few in +number, in fact they may all be brought under two general heads. The +first is =KNOW WHAT YOU WANT=. The second is =HAVE THE CONDITIONS +RIGHT=. The meaning of these statements can never be learned from a +study of vocal physiology; nevertheless they contain all of the law and +the prophets on this subject. Any musician may be a successful teacher +of singing if he will master them. I use the word _musician_ advisedly, +because musical sense is of such vital importance that no amount of +mechanical knowledge can take its place. To undertake the training of +voices with only a mechanical knowledge of the subject is a handicap +which no one can overcome. + +It is universally true that the less one knows of the art of singing the +more he concerns himself with the mechanism; and it is also true that +the more one is filled with the spirit of song the less he concerns +himself with the construction of the vocal instrument. People with +little or no musicianship have been known to wrangle ceaselessly on +whether or not the thyroid cartilage should tip forward on high tones. +It is such crude mechanics masquerading under the name of science that +has brought voice training into general disrepute. The voice teacher is +primarily concerned with learning to play upon the vocal instrument +rather than upon its mechanical construction, two things which some find +difficulty in separating. + + +KNOW WHAT YOU WANT + +This means much. In voice production it means the perfect tone concept. +It means far more than knowing what one likes. What one likes and what +he ought to like are usually quite different things. What one likes is +the measure of his taste at that particular time and may or may not be +an argument in its favor. I have never seen a beginner whose taste was +perfectly formed, but the great majority of them know what they like, +and because they like a certain kind of tone, or a certain way of +singing, they take it for granted that it is right until they are shown +something better. This error is by no means confined to beginners. + +If your pupil does not produce good tone one of two things is +responsible for it. Either he does not know a good tone or else the +conditions are not right. In the beginning it is usually both. Your +pupil must create his tone mentally before he sings it. He must create +its quality no less than its pitch. In other words _he must hear his +tone before he sings it and then sing what he hears_. Until he can do +this his voice will have no character. His voice will be as indefinite +as his tone concept, and it will not improve until his concept, which is +his taste, improves. Inasmuch as everything exists first as idea, it +follows that everything which is included in the rightly produced voice +and in interpretation are first matters of concept. The singer uses a +certain tone quality because he mentally conceives that quality to be +right. He delivers a word or phrase in a certain way because that is his +concept of it. + +A word at this point on imitation. One faculty of a musical mind is that +of recording mentally what it hears and of producing it mentally +whenever desired. Most people possess this in some degree, and some +people in a marked degree. Almost any one can hear mentally the tone of +a cornet, violin, or any instrument with which he is acquainted. In the +same way the vocal student must hear mentally the pure singing tone +before he can sing it. It is the business of the teacher to assist him +in forming a perfect tone concept, and if he can do this by example, as +well as by precept, he has a distinct advantage over the one who cannot. + +Arguments against imitation are not uncommon, and yet the teachers who +offer them will advise their students to hear the great singers as often +as possible. Such incongruities do not inspire confidence. + +On this human plane most things are learned by imitation. What language +would the child speak if it were never allowed to hear spoken language? +It would never be anything but + + "An infant crying in the night. + And with no language but a cry." + +There are but few original thinkers on earth at any one time. The rest +are imitators and none too perfect at that. We are imitators in +everything from religion to breakfast foods. Few of us ever have an +original idea. We trail along from fifty to a hundred years behind those +we are trying to imitate. + +When there is little else but imitation going on in the world why deny +it to vocal students? The argument against imitation can come from but +two classes of people--those who cannot produce a good tone and those +who are more interested in how the tone is made than in the tone itself. + +The following are the qualities the teacher undertakes to develop in the +student in preparing him for artistic singing. They are fundamental and +must be a part of the singer's equipment no matter what method is +employed. They are what all musicians expect to hear in the trained +singer. They all exist first as concepts. + +An even scale from top to bottom of the voice. + +Every tone full of strength and character. + +A sympathetic quality. + +Ample power. + +A clear, telling resonance in every tone. + +A pure legato and sostenuto. + +Perfect freedom in production throughout the compass. + +A perfect swell, that is, the ability to go from pianissimo to full +voice and return, on any tone in the compass, without a break, and +without sacrificing the tone quality. + +The ability to pronounce distinctly and with ease to the top of the +compass. + +Equal freedom in the delivery of vowels and consonants. + +Sufficient flexibility to meet all technical demands. + +An ear sensitive to the finest shades of intonation. + +An artistic concept or interpretive sense of the highest possible order. + +The process of acquiring these things is not accretion but _unfoldment_. +It is the unfoldment of ideas or concepts. The growth of ideas is +similar to that of plants and flowers. The growth of expression follows +the growth of the idea, it never precedes it. From the formation of the +first vowel to the perfect interpretation of a song the teacher is +dealing with mental concepts. + +At the Gobelin Tapestry works near Paris I was told that the weavers of +those wonderful tapestries use twenty-four shades of each color, and +that their color sense becomes so acute that they readily recognize all +of the different shades. Now there are about as many shades of each +vowel, and the mental picture of the vowel must be so definite, the +mental ear so sensitive, that it will detect the slightest variation +from the perfect form. Direct control could never accomplish this. Only +the automatic response of the mechanism to the perfect vowel concept can +result in a perfect vowel. + +All of those qualities and elements mentioned above as constituting the +artist come under the heading =KNOW WHAT YOU WANT=. + +The second step =HAVE THE CONDITIONS RIGHT= means, in short, to free the +mechanism of all interference and properly manage the breath. This +getting rid of interference could be talked about indefinitely without +wasting time. It is far more important than most people suspect. Few +voices are entirely free from it, and when it is present in a marked +degree it is an effectual bar to progress. So long as it is present in +the slightest degree it affects the tone quality. Most students think +they are through with it long before they are. + +This interference, which is referred to as tension, rigidity, +throatiness, etc., is in the nature of resistance to the free emission +of tone. It is not always confined to the vocal cords, but usually +extends to the walls of the pharynx and the body of the tongue. The +vocal cavities, the pharynx and mouth, exert such a marked influence on +tone quality that the least degree of rigidity produces an effect that +is instantly noticeable to the trained ear. These parts of the vocal +mechanism which are so largely responsible not only for perfect vowels, +but for perfect tone quality as well, must at all times be so free from +tension that they can respond instantly to the tone concept. If they +fail to respond the tone will be imperfect, and these imperfections are +all classed under the general head "throaty." Throaty tone means that +there is resistance somewhere, and the conditions will never be right +until the last vestige of it is destroyed. The difficulty in voice +placing which so many have, lies in trying to produce the upper tones +without first getting rid of resistance. This condition is responsible +for a number of shop-worn statements, such as "bring the tone forward," +"place the tone in the head," "direct the tone into the head," etc. I +recall a writer who says that the column of breath must be directed +against the hard palate toward the front of the mouth in order to get a +resonant tone. Consider this a moment. When the breath is properly +vocalized its power is completely destroyed. Any one may test this by +vocalizing in an atmosphere cold enough to condense the moisture in his +breath. If he is vocalizing perfectly, he will observe that the breath +moves lazily out of the mouth and curls upward not more than an inch +from the face. The idea that this breath, which has not a particle of +force after leaving the vocal cords, can be directed against the hard +palate with an impact sufficient to affect tone quality is the limit of +absurdity. If the writer had spoken of directing the sound waves to the +front of the mouth there would have been an element of reasonableness in +it, for sound waves can be reflected as well as light waves; but breath +and sound are quite different things. + +What does the teacher mean when he tells the pupil to place the tone in +the head? He doubtless means that the student shall call into use the +upper resonator. If one holds a vibrating tuning-fork before a +resonating tube, does he direct the vibrations into that resonating +cavity? No. Neither is it necessary to try to drive the voice into the +cavities of the head. Such instructions are of doubtful value. They are +almost sure to result in a hard unsympathetic tone. They increase rather +than diminish the resistance. The only possible way to place the tone in +the head is to let it go there. This will always occur when the +resistance is destroyed and the channel is free. + +In numerous instances the resistance in the vocal cords is so great that +it is impossible to sing softly, or with half voice. It requires so much +breath pressure to start the vibration, that is, to overcome the +resistance, that when it does start it is with full voice. In a majority +of male voices the upper tone must be taken either with full chest voice +or with falsetto. There is no _mezza voce_. This condition is abnormal +and is responsible for the "red in the face" brand of voice production +so often heard. + +Of this we may be sure, that no one can sing a good full tone unless he +can sing a good _mezza voce_. When the mechanism is sufficiently free +from resistance that a good pianissimo can be sung then the conditions +are right to begin to build toward a _forte_. + +Further, when the mechanism is entirely free from resistance there is no +conscious effort required to produce tone. The singer has the feeling of +letting himself sing rather than of making himself sing. + +The engineer of a great pumping station once told me that his mammoth +Corliss engine was so perfectly balanced that he could run it with ten +pounds of steam. When the voice is free, and resting on the breath as it +were, it seems to sing itself. + +An illustration of the opposite condition, of extreme resistance was +once told me by the president of a great street railway system that was +operated by a cable. He said it required eighty-five per cent of the +power generated to start the machinery, that is, to overcome the +resistance, leaving but fifteen per cent for operating cars. It is not +at all uncommon to hear singers who are so filled with resistance that +it requires all of their available energy to make the vocal instrument +produce tone. Such singers soon find themselves exhausted and the voice +tired and husky. It is this type of voice production rather than +climatic conditions, that causes so much chronic laryngitis among +singers. I have seen the truth of this statement verified in the +complete and permanent disappearance of many cases of laryngitis through +learning to produce the voice correctly. + +The second step in securing right conditions is the proper management of +the breath. + + +BREATH CONTROL + +An extremist always lacks the sense of proportion. He allows a single +idea to fill his mental horizon. He is fanciful, and when an idea comes +to him he turns his high power imagination upon it, and it immediately +becomes overwhelming in magnitude and importance. Thereafter all things +in his universe revolve around it. + +The field of voice teaching is well stocked with extremists. Everything +involved in voice production and many things that are not, have been +taken up one at a time and made the basis of a method. + +One builds his reputation on a peculiar way of getting the tone into the +frontal sinuses by way of the infundibulum canal, and makes all other +things secondary. + +Another has discovered a startling effect which a certain action of the +arytenoid cartilages has on registers, and sees a perfect voice as the +result. + +Another has discovered that a particular movement of the thyroid +cartilage is the only proper way to tense the vocal cords and when every +one learns to do this all bad voices will disappear. + +Another has discovered something in breath control so revolutionary in +its nature that it alone will solve all vocal problems. + +Perhaps if all of these discoveries could be combined they might produce +something of value; but who will undertake it? Not the extremists +themselves, for they are barren of the synthetic idea, and their sense +of proportion is rudimentary. They would be scientists were it not for +their abnormal imaginations. The scientist takes the voice apart and +examines it in detail, but the voice teacher must put all parts of it +together and mold it into a perfect whole. The process is synthetic +rather than analytic, and undue emphasis on any one element destroys the +necessary balance. + +The immediate danger of laying undue emphasis on any one idea in voice +training lies in its tendency toward the mechanical and away from the +spontaneous, automatic response so vitally necessary. Here the +extremists commit a fatal error. To make breath management the +all-in-all of singing invariably leads to direct control, and soon the +student has become so conscious of the mechanism of breathing that his +mind is never off of it while singing; he finds himself becoming rigid +trying to prevent his breath from escaping, and the more rigid he +becomes the less control he has. A large number of examples of this kind +of breath management have come under my observation. They all show the +evil results of over working an idea. + +But the followers of "the-breath-is-the-whole-thing" idea say "You can't +sing without breath control." Solomon never said a truer thing, but the +plan just mentioned is the worst possible way to secure it. + +Every one should know that not a single one of the processes of voice +production is right until it is working automatically, and automatic +action is the result of indirect, never of direct control. + +The profession has become pretty thoroughly imbued with the idea that +deep breathing, known as abdominal, or diaphragmatic is the best for +purposes of singing. But how deep? The answer is, the deeper the better. +Here again it is easy to overstep the bounds. I have in mind numerous +instances where the singer, under the impression that he was practicing +deep breathing tried to control the breath with the lower abdominal +muscles, but no matter how great the effort made there was little tonal +response, for the reason that the pressure exerted was not against the +lungs but against the contents of the abdomen. The diaphragm is the +point of control. The lungs lie above it, not below it. To concentrate +the thought on the lower abdominal muscles means to lose control of the +diaphragm, the most important thing involved in breath management. + +The process of breathing is simple. The lungs are enclosed in an air +tight box of which the diaphragm is the bottom. It rests under the lungs +like an inverted saucer. In the act of contracting it flattens toward a +plane and in so doing it moves downward and forward, away from the +lungs. The ribs move outward, forward and upward. The lungs which occupy +this box like a half compressed sponge follow the receding walls, and a +vacuum is created which air rushes in to fill. In exhalation the action +is reversed. The ribs press against the lungs and the diaphragm slowly +returns to its original position and the breath is forced out like +squeezing water out of a sponge. + +The one important thing in breath management is the diaphragm. If the +student has the right action of the diaphragm he will have no further +trouble with breath control. In my Systematic Voice Training will be +found a list of exercises which thoroughly cover the subject of breath +control and if properly used will correct all errors. Let this be +understood, that there is nothing in correct breathing that should make +one tired. On the contrary the practice of breathing should leave one +refreshed. Above all, the student should never make himself rigid when +trying to control the flow of breath. This is not only of no advantage, +but will effectually defeat the end for which he is striving. + + +REGISTERS + +In securing right conditions the teacher is often confronted with the +problem of registers. The literature on this subject is voluminous and +varied. Opinions are offered without stint and the number of registers +which have been discovered in the human voice ranges from none to an +indefinite number. How one scientist can see two, and another one five +registers in the same voice might be difficult to explain were it not a +well known fact that some people are better at "seeing things" than +others. + +But here again the teacher soon learns that laboratory work is of little +value. His view point is so different from that of the physicist that +they can hardly be said to be working at the same problem. The physicist +tries to discover the action of the mechanism, in other words, how the +tone is made. The voice teacher is concerned primarily with how it +sounds. One is looking at the voice, the other is listening to it, which +things, be it known, are essentially and fundamentally different; so +different that their relationship is scarcely traceable. The ability to +train the voice comes through working with voices where the musical +sense, rather than the scientific sense, is the guide. It is a specific +knowledge which can be gained in no other way. It begins when one takes +an untrained voice and attempts to make it produce a musical tone. + +The problem of registers is, in short, how to make an even scale out of +an uneven one. It must be solved in the studio. Anatomical knowledge is +of no avail. The teacher who has learned how to produce an even scale +possesses knowledge which is of more value to the student than all of +the books ever written on vocal mechanism. + +The depressions in the voice known as "changes of register" result from +tension. With one adjustment of the vocal cords the singer can, by +adding tension, make a series of four or five tones, then by a change of +adjustment he can produce another similar series, and so on to the top +of his compass. These changes occur when there is such an accumulation +of tension that no more can be added to that adjustment without +discomfort. The solution of this problem lies in gaining such freedom +from tension in the vocal instrument that it automatically readjusts +itself for each tone. The tension is then evenly distributed throughout +the scale and the sudden changes disappear. This is precisely what +happens when the singer has learned to produce an even scale throughout +his compass; his voice production is not right until he can do this. + +The statement is frequently made in public print that there are no +registers in the trained voice. This order of wisdom is equally +scintillating with that profound intellectual effort which avers that a +bald headed man has no hair on the top of his head, or that hot weather +is due to a rise in the temperature. These statements may be heavy-laden +with truth, but to the voice teacher they are irrelevant. His work is at +least seven-eighths with untrained voices. By the time he has worked out +an even scale with all of the other problems that go hand in hand with +it, for a great deal of the art of singing will naturally accompany it, +a large majority of his pupils are ready to move on. Only a small per +cent prepare for a musical career. Most of his work is with voices that +still need to be perfected. It is for voices of this kind that the +teacher lives. It is for such voices that vocal methods are evolved and +books written. + +A lighthearted, easy going assurance is not sufficient alone to compass +the problems that present themselves in the studio. If the teacher is +conscientious there will be times when he will feel deeply the need of +something more than human wisdom. The work in the studio has more to do +with the future than with the immediate present. The singing lesson is a +small part of what the student carries with him. The atmosphere of the +studio, which is the real personality of the teacher, his ideals, aims, +the depth of his sincerity, in short, his concept of the meaning of +life, goes with the student and will be remembered when the lesson is +forgotten. + + + + +V + +THE NATURE AND MEANING OF ART + + One function, then, of art is to feed and mature the imagination + and the spirit, and thereby enhance and invigorate the whole of + human life. + + _Ancient Art and Ritual_. Jane Ellen Harrison. + + +A large percentage of the population of the civilized world has more or +less to do with what is called art. In its various forms art touches in +some degree practically the entire human race. Its various activities +have developed great industries, and for the entertainment it affords +fabulous sums of money are spent. + +What is this thing called art which takes such a hold upon the human +race? If it has no social or economic value then a vast amount of time +and money are wasted each year in its study and practice. A brief +inquiry into the nature and meaning of art may well be associated with a +discussion of the art of singing. + +Art as a whole comes under the head of Aesthetics, which may be defined +as the philosophy of taste, the science of the beautiful. + +It will doubtless be admitted without argument that ever since the dawn +of consciousness the visible world has produced sense impressions +differing from each other--some pleasant, some unpleasant. From these +different sense impressions there gradually evolved what is known as +beauty and ugliness. An attempt to discover the principles underlying +beauty and ugliness resulted in Aesthetics, the founder of which was +Baumgarten (1714-1762). + +It will be interesting to hear what he and the later aestheticians have +to say about art. Most of them connect it in some way with that which is +beautiful, that is, pleasing, but they do not all agree in their +definition of beauty. + +Baumgarten defined beauty as the perfect, the absolute, recognized +through the senses. He held that the highest embodiment of beauty is +seen by us in nature, therefore the highest aim of art is to copy +nature. + +Winkelmann (1717-1768) held the law and aim of art to be beauty +independent of goodness. Hutcheson (1694-1747) was of essentially the +same opinion. + +According to Kant (1724-1804) beauty is that which pleases without the +reasoning process. + +Schiller (1758-1805) held that the aim of art is beauty, the source of +which is pleasure without practical advantage. + +These definitions do not wholly satisfy. They do not accord to art the +dignified position it should hold in social development. But there are +others who have a clearer vision. Fichte (1762-1814) said that beauty +exists not in the visible world but in the beautiful soul, and that art +is the manifestation of this beautiful soul, and that its aim is the +education of the whole man. + +In this we begin to see the real nature and activity of art. There are +other aestheticians who define art in much the same way. + +Shaftesbury (1670-1713) said that beauty is recognized by the mind only. +God is fundamental beauty. + +Hegel (1770-1831) said: "Art is God manifesting himself in the form of +beauty. Beauty is the idea shining through matter. Art is a means of +bringing to consciousness and expressing the deepest problems of +humanity and the highest truths." According to Hegel beauty and truth +are one and the same thing. + +Thus we see that the great thinkers of the world make art of supreme +importance in the perfecting of the human race. They all agree that art +is not in material objects, but is a condition and activity of spirit. +They agree in the main that beauty and truth emanate from the same +source. Said Keats: + + "Beauty is truth and truth beauty, + That is all ye know on earth and all ye need know." + +Said Schelling: "Beauty is the perception of the Infinite in the +finite." + +But perhaps the highest concept of art is from the great artist +Whistler. He said: "Art is an expression of eternal absolute truth, and +starting from the Infinite it cannot progress, IT IS." + +Art in some form and in some degree finds a response in every one. Why? +Because every one consciously or unconsciously is looking toward and +striving for perfection. This is the law of being. Every one is seeking +to improve his condition, and this means that in some degree every one +is an idealist. Ever since time began idealism has been at work, and to +it we owe every improved condition--social, political and religious. + +Hegel believed that the aim of art is to portray nature in perfect form, +not with the imperfections seen around us; and Herbert Spencer defined +art as the attempt to realize the ideal in the present. The artist tries +to make his picture more perfect than what he sees around him. The poet, +the sculptor, the musician, the craftsman, the mechanic, are all +striving for a more perfect expression, because perfection is the +fundamental, eternal law of being. + +Wagner said: "The world will be redeemed through art," and if Whistler's +definition be accepted he is not far from the truth. + +The important thing to remember is that art is not a mere pastime, but a +great world force operating to lift mortals out of mortality. It is the +striving of the finite to reach the Infinite. + +In human history art, no less than languages, has conformed to the +theory of evolution. Language in the beginning was monosyllabic. Far +back in the early dawn of the race, before the development of the +community spirit, when feelings, emotions, ideas, were simple and few +the medium of expression was simple, and it grew with the demand for a +larger expression. + +This same process of evolution is seen in the growth of each individual. +The child, seeing grimalkin stalk stealthily into the room, points the +finger and says "cat." This is the complete expression of itself on that +subject. It is the sum total of its knowledge of zoology at that +particular moment; and a long process of development must follow before +it will refer to the same animal as a "Felis Domestica." + +In a similar way musical expression keeps step with musical ideas. In +the beginning musical ideas were short, simple, fragmentary, +monosyllabic, mere germs of melody (adherents of the germ theory will +make a note of this). The Arab with his rudimentary fiddle will repeat +this fragment of melody [Illustration: Figure H] by the hour, while a +company of his unlaundered brethren dance, until exhausted, in dust to +their ankles, with the temperature near the boiling point. This musical +monosyllable is ample to satisfy his artistic craving. In other words it +is the complete musical expression of himself. + +The following is a complete program of dance music for the aborigines of +Australia. [Illustration: Figure I] The repetition of this figure may +continue for hours. If it were inflicted on a metropolitan audience it +would result in justifiable homicide, but to the Australian it furnishes +just the emotional stimulus he desires. + +[Illustration: Figure J] This one from Tongtoboo, played Allegro, would +set the heels of any company, ancient or modern, in motion. + +These people may be said to be in the rhythmic stage of music, that is, +a stage of development in which a rhythmic movement which serves to +incite the dance furnishes complete artistic satisfaction. + +As it is a long distance from the monosyllabic expression of the child +to the point where he can think consecutively in polysyllabic +dissertation, so it is an equally long distance from the inarticulate +musical utterances of the barbarous tribes to the endless melodies of +Wagner, which begin at 8 P. M. and continue until 12.15 A. M. without +repetition. + +Following the course of music from the beginning we shall see that it +has kept pace with civilization. As the race has grown mentally it has +expressed itself in a larger and more perfect way in its literature, its +painting and music. Physically the race has not grown perceptibly in the +last five thousand years, but mentally its growth can scarcely be +measured. If we follow each nation through the past thousand years we +shall see that its art product has not only kept pace with its +development, but that in its art we may see all of its racial +characteristics, those habits of mind which are peculiarly its own. A +nation left to itself will develop a certain trend of thought which will +differentiate it from all other nations. A trend of thought which will +affect its art, literature, politics, religion, and in course of time +will produce marked physical characteristics. This is noticeable in all +nations which have lived long unto themselves. + +But modern methods of communication are destroying this. As nations are +brought into closer contact with each other they begin to lose their +peculiarities. The truth of this statement may be seen in the fact that +in the past fifty years composers all over the world have been affected +by the modern German school of composition. Not one has escaped. While a +nation lived unto itself it could preserve its national life in its art, +but more and more the life of each nation is becoming a composite of the +life of all nations. The musical output of the world shows this +unmistakably. + +What will be the music of the future? We know the music of yesterday and +today, but the music of the future can be foretold only by the prophet +whose vision is clear enough to see unmistakably what the trend of +civilization will be during the coming years. There are mighty forces +operating in the world today. If they succeed in bringing humanity to a +saner, more normal state of mind, to a clearer realization of what is +worth while and what is worthless, then all art will become purer and +more wholesome, more helpful and necessary, and music speaking a +language common to all will be supreme among the arts. + + + + +VI + +SINGING AS AN ART + + No artist can be graceful, imaginative, or original, unless he + be truthful. + + Ruskin. _Modern Painters_. + + +"Art is a transfer of feeling" said Tolstoy. While this applies to art +in general it has a particular application to the art of singing. The +material of the singer's art is feeling. By means of the imagination he +evokes within himself feelings he has experienced and through the medium +of his voice he transfers these feelings to others. By his ability to +reconstruct moods, feelings and emotions within himself and express them +through his voice, the singer sways multitudes, plays upon them, carries +them whithersoever he will from the depths of sorrow to the heights of +exaltation. His direct and constant aim is to make his hearers _feel_, +and feel deeply. As a medium for the transfer of feeling the human voice +far transcends all others. Since the beginning of the human race the +voice has been the means by which it has most completely revealed +itself, but the art is not in the voice, but in the feeling transferred. +It is the same whether the medium be the voice, painting, sculpture, +poetry or a musical instrument. We speak of a painting as being a great +work of art, but the art is not in the painting, the art is the feeling +of beauty which the painting awakes in the observer. When we listen to +an orchestra the music is what we feel. Said Walt Whitman: "Music is +what awakes within us when we are reminded by the instruments." + +Nothing exists separate from cognition. Real art therefore consists of +pure feeling rather than of material objects. _If the singer succeeds in +transferring his feelings to others he is an artist_, this regardless of +whether his voice is great or small. Voice alone does not constitute an +artist. One must have something to give. Schumann said: "The reason the +nightingale sings love songs and the lap dog barks is because the soul +of the nightingale is filled with love and that of the lap dog with +bark." It will be apparent therefore, that the study of the art of +singing should devote itself to developing in the singer the best +elements of his nature--all that is good, pure and elevating. We have no +right to transfer to others any feeling that is impure or unwholesome. +The technic of an art is of small moment compared with its subject +matter. _An unworthy poem cannot be purified by setting it to music no +matter how beautiful the music may be._ + + +THE PRINCIPLES OF INTERPRETATION + +I fancy there is nothing more intangible to most people than the term +"_phrasing_." I have asked a great many students to give me the +principles of phrasing, but as yet I have seen none who could do it, and +yet all singers, from the youngest to the oldest must make some use of +these principles every time they sing. Now a thing in such general use +should be, and is, subject to analysis. + +_All of the rules of phrasing, like the rules of composition, grow out +of what sounds well._ Beauty and ugliness are matters of mental +correspondence. In music a thing to be beautiful must satisfy a mental +demand, and this demand is one's _taste_. The sense of fitness must +obtain. When the singer interprets a song the demand of the listener is +that he shall do well what he undertakes to do: that he shall portray +whatever phase of life the song contains, accurately, definitely, that +he shall have a _definite intent and purpose_, that he shall be in the +mood of the song. The singer must not portray one mood with his face, +another with his voice, while the poem suggests still a third. He must +avoid incongruity. All things must work together. There must be +therefore, the evidence of intelligent design in every word and phrase. + +The song is a unit and each phrase contains a definite idea, therefore +it must not be detached or fragmentary, but must have the element of +continuity and each and every part must be made to contribute to the +central idea. + +The element of insecurity must not be allowed to enter. If it does, the +listener feels that the singer is not sure of himself, that he cannot do +what he set out to do: therefore he is a failure. + +Another demand is that the singer shall be intelligent. A poem does not +lose its meaning or its strength by being associated with music, and to +this end the singer must deliver the text with the same understanding +and appreciation of its meaning as would a public reader. + +Now from the above we infer certain principles. The demand for +continuity means that the singer must have a pure _legato_. That is, he +must be able to connect words smoothly, to pass from one word to another +without interrupting the tone, that the tone may be continuous +throughout each phrase. + +The feeling of security lies in what is known as _sostenuto_, the +ability to sustain the tone throughout the phrase with no sense of +diminishing power. It means in short the organ time. + +From the demand for design in each word and phrase comes _contrast_. +This may be made in the power of the tone by means of cres. dim. sfz. It +may be made in the tempo by means of the retard, accelerando, the hold, +etc. It may also be made in the quality of the tone by using the various +shades from bright to somber. + +The basis of phrasing then, may be found in legato, sostenuto and +contrast. All of the other things involved in interpretation cannot make +a good performance if these fundamental principles be lacking. A more +complete outline of interpretation follows: + + +AN OUTLINE OF INTERPRETATION + + { Pitches + READING { Note Lengths + { Rhythm + + { Vowels + { Enunciation { Consonants + DICTION { Pronunciation + { Accent + { Emphasis + + { Even Scale + VOICE { Quality + { Freedom + { Breath Control + + { Attack + TECHNIC { Flexibility + { Execution + + { Legato + PHRASING { Sostenuto + { Power + { Contrast { Tempo + { Color + { Proportion + + + { Emotional Concept + MOOD { Facial Expression + { Stage Presence + +Most of the things mentioned in this outline of interpretation have been +discussed elsewhere, but the subject of diction requires further +explanation. + + +DICTION + +The mechanism of speech might be discussed at any length, but to reduce +it to its simplest form it consists of the sound producing +instrument,--the vocal cords, the organs of enunciation--lips, tongue, +teeth and soft palate, and the channel leading to the outer air. When +the vocal cords are producing pitch and the channel is free the result +is a vowel. If an obstruction is thrown into the channel the result is a +consonant. Vowels and consonants, then, constitute the elements of +speech. The vowels are the emotional elements and the consonants are the +intellectual elements. By means of vowel sounds alone emotions may be +awakened, but when definite ideas are expressed, words which are a +combination of vowels and consonants must be used. It is nothing short +of amazing that with this simple mechanism, by using the various +combinations of open and obstructed channel in connection with pitch, +the entire English language or any other language for that matter can be +produced. + +Vowels are produced with an open channel from the vocal cords to the +outer air. Consonants are produced by partial or complete closing of the +channel by interference of the lips, tongue, teeth and soft palate. + +If language consisted entirely of vowels learning to sing would be much +simpler than it is. It is the consonants that cause trouble. It is not +uncommon to find students who can vocalize with comparative ease, but +the moment they attempt to sing words the mechanism becomes rigid. The +tendency toward rigidity is much greater in enunciating consonants than +it is in enunciating vowels, and yet they should be equally easy. Here +is where the student finds his greatest difficulty in mastering English +diction. + +The most frequent criticism of American singers is their deficiency in +diction. Whether it please us or no, it must be admitted that on the +whole the criticism is not without foundation. + +The importance of effective speech is much underestimated by students of +singing, and yet it requires but a moment's consideration to see that +the impression created by speech is the result of forceful diction no +less than of subject matter. Words mean the same thing whether spoken or +sung, and the singer no less than the speaker should deliver them with a +full understanding of their meaning. + +The proposition confronting the singer is a difficult one. When he +attempts the dramatic he finds that it destroys his legato. He loses the +sustained quality of the organ tone, which is the true singing tone, and +_bel canto_ is out of the question. + +This is what is urged against the operas of Wagner and practically +everything of the German school since his day. The dramatic element is +so intense and the demand so strenuous that singers find it almost, if +not quite impossible, to keep the singing tone and reach the dramatic +heights required. They soon find themselves shouting in a way that not +only destroys the singing tone but also the organ that produces it. The +truth of this cannot be gainsaid. There is a considerable amount of +vocal wreckage strewn along the way, the result of wrestling with +Wagnerian recitative. Wagnerian singers are, as a rule, vocally shorter +lived than those that confine themselves to French and Italian opera. + +But it will be argued by some that these people have not learned how to +sing, that if they had a perfect vocal method they could sing Wagner as +easily as Massenet. That they have not learned to sing Wagner is +evident, and this brings us to the question--Shall the singer adjust +himself to the composer or the composer to the singer? A discussion of +this would probably lead nowhere, but I submit the observation, that +many modern composers show a disregard for the possibilities and +limitations of the human voice that amounts to stupidity. Because a +composer can write great symphonies the public is inclined to think that +everything he writes is great. Let it be understood once for all that +bad voice writing is bad whether it is done by a symphonic writer or a +popular songwriter. In the present stage of human development there are +certain things the voice can do and other things it cannot do, and these +things can be known only by those who understand the voice, and are +accustomed to working with it. To ignore them completely when writing +for voices is no evidence of genius. Composers seem to forget that the +singer must create the pitch of his instrument as well as its quality at +the moment he uses it. They also forget that his most important aid in +this is the feeling of tonality. When this is destroyed and the singer +is forced to measure intervals abstractedly he is called upon to do +something immeasurably more difficult than anything that is asked of the +instrumentalist. Many modern composers have lost their heads and run +amuck on the modern idiom, and their writing for voices is so complex +that it would require a greater musician to sing their music than it did +to write it. + +But to return, I do not say that it is impossible to apply the +principles of _bel canto_ to Wagner's dramatic style of utterance. On +the contrary I believe it is possible to gain such a mastery of voice +production and enunciation that the Wagnerian roles may be sung, not +shouted, and still not be lacking in dramatic intensity, but it requires +a more careful study of diction and its relation to voice production +than most singers are willing to make. + +A majority of singers never succeed in establishing the right relation +between the vocal organ and the organs of enunciation. Years of +experience have verified this beyond peradventure. + +It is a very common thing for singers to vocalize for an indefinite +period with no ill effect, but become hoarse with ten minutes of +singing. The reason is apparent. They have learned how to produce vowels +with a free throat but not consonants. The moment they attempt to form a +consonant, tension appears, not only in those parts of the mechanism +which form the consonant, but in the vocal organ as well. Under such +treatment the voice soon begins to show wear, and this is exactly what +happens to those singers who find it difficult to sing the Wagner +operas. + +The solution of this problem lies in the proper study of diction. The +intellectual elements of speech consonants are formed almost entirely in +the front of the mouth with various combinations of lips, tongue and +teeth. Three things are necessary to their complete mastery. + +=First,=--consonants must be produced without tension. It will be well +to remember in this connection that consonants are not to be sung. They +are points of interference and must be distinct but short. The principle +of freedom applies to consonants no less than to vowels. + +=Second,=--consonants must not be allowed to interrupt the continuity of +the pitch produced by the vocal cords. This is necessary to preserve +legato. Some consonants close the channel completely, others only +partially. It is a great achievement to be able to sing all consonant +combinations and still preserve a legato. + +=Third,=--consonants must in no way interfere with the freedom of the +vocal organ. If the student attempts to sing the consonants, that is, to +prolong them he is sure to make his throat rigid and the pure singing +tone at once disappears. He must therefore learn dramatic utterance +without throwing the weight of it on the throat. To do this he must +begin with a consonant which offers the least resistance and practice it +until the three points mentioned have been mastered. The one which will +give the least trouble is l. At the pitch G sing ah-lah-lah-lah-lah, +until it can be done with relaxed tongue, with perfect continuity of +tone, and with perfect freedom in the vocal instrument. In the same way +practice n, d, v, th, m, and the sub vocals, b, d, g. Always begin with +a vowel. + +If the singer has the patience to work the problem out in this way he +can apply the principles of _bel canto_ to dramatic singing. The road to +this achievement is long, longer than most people suspect, but if one is +industrious and persevering it may be accomplished. + +But there remains yet to be mentioned the most important element of +artistic singing. To the pure tone and perfect diction must be added the +imagination. The _imagination_ is the image making power of the mind, +the power to create or reproduce ideally that which has been previously +perceived: the power to call up mental images. By means of the +imagination we take the materials of experience and mold them into +idealized forms. The aim of creative art is to idealize, that is, to +portray nature and experience in perfect forms not with the +imperfections of visible nature. "In this" says Hegel, "art is superior +to nature." + +The activity of the imagination is directly responsible for that most +essential thing--emotional tone. Taking intelligence for granted, the +imagination is the most important factor involved in interpretation. If +the imagination be quick and responsive it will carry the singer away +from himself and temporarily he will live the song. + +Every song has an atmosphere, a metaphysical something which +differentiates it from every other song. The singer must discover it and +find the mood which will perfectly express it. If his imagination +constructs the image, creates the picture, recalls the feeling, the +emotion, the result will be artistic singing. The song is that which +comes from the soul of the singer. It is not on the printed page. If I +study a Schubert song until I have mastered it, I have done nothing to +Schubert. It is I who have grown. Through the activity of the +imagination, guided by the intelligence, I have built up in my +consciousness as nearly as possible what I conceive to have been +Schubert's feeling when he wrote the song, but the work has all been +done on myself. + +A chapter might be written on the artistic personality. It reveals +itself in light, shade, nuance, inflection, accent, color, always with a +perfect sense of proportion, harmony and unity, and free from all that +is earthy. It is the expression of individuality. It cannot be imitated. +If you ask me for its source I repeat again Whistler's immortal saying: +"Art is an expression of eternal, absolute truth, and starting from the +Infinite it cannot progress, =IT IS=." + + + + +VII + +THE CONSTRUCTION OF A SONG. + + Has he put the emphasis on his work in the place where it is + most important? Has he so completely expressed himself that the + onlooker cannot fail to find his meaning? + + _Appreciation of Art_. Loveridge. + + +When you listen to a song and at its close say, "That is beautiful," do +you ever stop and try to discover why it is beautiful? The quest may +lead you far into the field of Aesthetics, and unless you are accustomed +to psychological processes you may find yourself in a maze from which +escape is difficult. Let us remember that in studying the construction +of a song we are dealing with states of mind. A song is the product of a +certain mood and its direct aim is to awaken a similar mood in others. + +It is a well established fact that sound is the most common and the most +effective way of expressing and communicating the emotions, not only for +man but for the lower animals as well. This method of communication +doubtless began far back in the history of the race and was used to +express bodily pain or pleasure. + +The lower animals convey their feelings to each other by sounds, not by +words, and these sounds awaken in others the same feeling as that which +produced them. + +We see, then, that emotion may be expressed by sound and be awakened by +sound, and this obtains among human beings no less than among the lower +animals. In the long process of ages sound qualities have become +indissolubly associated with emotional states, and have become the most +exciting, the most powerful sense stimulus in producing emotional +reactions. The cry of one human being in pain will excite painful +emotions in another. An exclamation of joy will excite a similar emotion +in others, and so on through the whole range of human emotions. + +Herbert Spencer holds that the beginning of music may be traced back to +the cry of animals, which evidently has an emotional origin and purpose. +It is a far cry from the beginning of music as described by Spencer to +the modern art song, but from that time to this the principle has +remained the same. The emotional range of the lower animals is small, +doubtless limited to the expression of bodily conditions, but the human +race through long ages of growth has developed an almost unlimited +emotional range, hence the vehicle for its expression has of necessity +increased in complexity. + +To meet this demand music as a science has evolved a tone system. That +is, from the infinite number of tones it has selected something over a +hundred having definite mathematical relationships, fixed vibrational +ratios. The art of music takes this system of tones and by means of +combinations, progressions and movements which constitute what is called +musical composition, it undertakes to excite a wide variety of emotions. + +The aim and office of music is to create moods. It does not arrive at +definite expression. There is no musical progression which is +universally understood as an invitation to one's neighbor to pass the +bread. The pianist cannot by any particular tone combination make his +audience understand that his left shoe pinches, but he can make them +smile or look serious. He can fill them with courage or bring them to +tears without saying a word. In listening to the Bach _B Minor Mass_ one +can tell the _Sanctus_ from the _Gloria in Excelsis_ without knowing a +word of Latin. The music conveys the mood unmistakably. + +A song is a union of music and poetry, a wedding if you please and as in +all matrimonial alliances the two contracting parties should be in +harmony. The poem creates a mood not alone by what it expresses directly +but by what it implies, what it suggests. Its office is to stimulate the +imagination rather than to inform by direct statement of facts. The +office of music is to strengthen, accentuate, and supplement the mood of +the poem, to translate the poem into music. The best song then, will be +one in which both words and music most perfectly create the same mood. + +Arnold Bennett's definition of literature applies equally well to the +song. He says: "That evening when you went for a walk with your faithful +friend, the friend from whom you hid nothing--or almost nothing--you +were, in truth, somewhat inclined to hide from him the particular matter +which monopolized your mind that evening, but somehow you contrived to +get on to it, drawn by an overpowering fascination. And as your faithful +friend was sympathetic and discreet, and flattered you by a respectful +curiosity, you proceeded further and further into the said matter, +growing more and more confidential, until at last you cried out in a +terrific whisper: 'My boy she is simply miraculous:' At that moment you +were in the domain of literature." Now when such impassioned, +spontaneous utterance is brought under the operation of musical law we +have a perfect song. The composer furnished the words and music, but the +thing which makes it a song comes from the singer, from the earnestness +and conviction with which he delivers the message. + +Songs are divided into two general classes: those expressing the +relationships of human beings, such as love, joy, sorrow, chivalry, +patriotism, etc., and those expressing the relationship of man to his +creator; veneration, devotion, praise, etc. The two great sources of +inspiration to song writers have always been love and religion. + +What are the principles of song construction? They are all comprised in +the law of fitness. The composer must do what he sets out to do. The +materials with which he has to work are rhythm, melody and harmony. The +most important thing in a song is the melody. This determines to a very +great extent the health and longevity of the song. Most of the songs +that have passed the century mark and still live do so by reason of +their melody. There must be a sense of fitness between the poem and the +melody. A poem which expresses a simple sentiment requires a simple +melody. A simple story should be told simply. If the poem is sad, +joyous, or tragic the melody must correspond. Otherwise the family +discords begin at once. Poetry cannot adapt itself to music, because its +mood is already established. It is the business of the composer to +create music which will supplement the poem. A lullaby should not have a +martial melody, neither should an exhortation to lofty patriotism be +given a melody which induces somnolence. + +The same sense of fitness must obtain in the accompaniment. The office +of the accompaniment is not merely to keep the singer on the pitch. It +must help to tell the story by strengthening the mood of the poem. It +must not be trivial or insincere, neither must it overwhelm and thus +draw the attention of the listeners to itself and away from the singer. + +The accompaniment is the clothing, or dress, of the melody. Melodies, +like people, should be well dressed but not over dressed. Some melodies, +like some people, look better in plain clothes than in a fancy costume. +Other melodies appear to advantage in a rich costume. Modern songwriters +are much inclined to overdress their melodies to the extent that the +accompaniment forces itself upon the attention to the exclusion of the +melody. Such writing is as incongruous as putting on a dress suit to go +to a fire. + +The significance of the theme should indicate the nature of the +accompaniment. To take a simple sentiment and overload it with a modern +complex harmonic accompaniment is like going after sparrows with a +sixteen inch siege gun. + +Comedy in the song should not be associated with tragedy in the +accompaniment. A lively poem should not have a lazy accompaniment. The +great songwriters were models in this respect. This accounts for their +greatness. Take for example Schubert's _Wohin_ and _Der Wanderer_, +Schumann's _Der Nussbaum_, Brahms' _Feldeinsamkeit_. These +accompaniments are as full of mood as either poem or melody. + +The element of proportion enters into songwriting no less than into +architecture. A house fifteen by twenty feet with a tower sixty feet +high and a veranda thirty feet wide would be out of proportion. A song +with sixty-four measures of introduction and sixteen measures for the +voice would be out of proportion. Making a song is similar to painting a +landscape. In the painting the grass, flowers, shrubbery etc., are in +the foreground, then come the hills and if there be a mountain range it +is in the background. If the mountain range were in the foreground it +would obscure everything else. So in making a song. If it tells a story +and reaches a climax the climax should come near the end of the song. +When the singer has carried his audience with him up to a great +emotional height then all it needs is to be brought back safely and +quickly to earth and left there. + + +ASSOCIATION + +I have mentioned the principles of song construction, but there are +other things which have to do with making a song effective. One of the +most important of these is association. Let us remember that the effect +and consequent value of music depends upon the class of emotions it +awakens rather than upon the technical skill of the composer, and that +these emotions are dependent to a considerable extent upon association. +We all remember the time honored expedient of tying a string around a +finger when a certain thing is to be remembered. The perception of the +digital decoration recalls the reason for it and thus the incident is +carried to a successful conclusion. In like manner feelings become +associated with ideas. Church bells arouse feelings of reverence and +devotion. To many of us a brass band awakens pleasant memories of circus +day. _Scots Wha Hae_ fills the Scotchman with love for his native +heather. The odor of certain flowers is offensive because we associate +it with a sad occasion. The beauty of a waltz is due not only to its +composition but also to our having danced to it under particularly +pleasant circumstances. + +At the opera there are many things that combine to make it a pleasant +occasion--the distant tuning of the orchestra, the low hum of voices, +the faint odor of violets, and the recollection of having been there +before with that miracle of a girl,--all combine to fill us with +pleasurable anticipation. In this way we give as much to the performance +as it gives to us. According to some Aestheticians the indefinable +emotions we sometimes feel when listening to music are the +reverberations of feelings experienced countless ages ago. This may have +some foundation in fact, but it is somewhat like seeing in a museum a +mummy of ourselves in a previous incarnation. + +Songs which have the strongest hold upon us are those which have been in +some way associated with our experience. The intensity with which such +songs as _Annie Laurie_, _Dixie_, _The Vacant Chair_, _Tramp, Tramp, Tramp_ +grip us is due almost entirely to association. + +Therefore the value of a song consists not alone in what it awakens in +the present, but in what it recalls from the past. Man is the sum of his +experience; and to make past experience contribute to the joy of the +present is to add abundance to riches. + + + + +VIII + +HOW TO STUDY A SONG + + The accent of truth apparent in the voice when speaking + naturally is the basis of expression in singing. + + Garcia. _Hints on Singing_. + + +First determine the general character of the song. A careful study of +the words will enable the student to find its general classification. It +may be dramatic, narrative, reminiscent, introspective, contemplative, +florid, sentimental. + +The following are examples: + +Dramatic, _The Erl King_, Schubert. + +Narrative, _The Two Grenadiers_, Schumann. + +Reminiscent, _Der Doppelgänger_, Schubert. + +Florid, _Indian Bell Song_, from Lakme, Delibes. + +Introspective, _In der Frühe_, Hugo Wolf. + +Contemplative, _Feldeinsamkeit_, Brahms. + +Songs of sentiment. This includes all songs involving the affections and +the homely virtues. + +To these might be added songs of exaltation, such as Beethoven's +"Nature's Adoration." Character songs, in which the singer assumes a +character and expresses its sentiments. A good example of this is "The +Poet's Love" cycle by Schumann. Classifying the song in this way is the +first step toward discovering its atmosphere. There is always one tempo +at which a song sounds best and this tempo must grow out of a thorough +understanding of its character. Metronome marks should be unnecessary. +Intelligent study of a song will unerringly suggest the proper tempo. + +Next, study the poem until it creates the mood. Read it, not once, but +many times. Imbibe not only its intellectual but its emotional content. +It is the office of poetry to stimulate the imagination. It is under the +influence of this stimulus that songs are written, and under its +influence they must be sung. Hugo Wolf said that he always studied the +poem until it composed the music. This means that he studied the poem +until he was so filled with its mood that the proper music came of +itself. Fix in mind the principal points in the poem and the order in +which they occur. There usually is development of some kind in a poem. +Learn what it is. Notice which part of the poem contains the great or +central idea. Read it aloud. Determine its natural accent. The singing +phrase grows out of the spoken phrase. Singing is elongated, or +sustained, speech, but it should be none the less intelligent by reason +of this. + +Now adapt the words to the music. If the music has grown out of the +words as it should, it will follow the development of the poem and give +it additional strength. + +By this time one should be in the mood of the song, and he should not +emerge from it until the song is finished. If one is filled with the +spirit of the song, is sincere and earnest, and is filled with a desire +to express what is beautiful and good he will not sing badly even if his +voice be ordinary. + +The composer may do much toward creating the mood for both singer and +listener by means of his introduction. The introduction to a song is not +merely to give the singer the pitch. It is for the purpose of creating +the mood. It may be reminiscent of the principal theme of the song, it +may consist of some fragment of the accompaniment, or any other +materials which will tend to create the desired mood. + +In the introduction to _Rhein-gold_ where Wagner wishes to portray a +certain elemental condition he uses 136 measures of the chord of E flat +major. + +In _Feldeinsamkeit_ (The Quiet of the Fields) where the mood is such as +would come to one lying in the deep grass in the field watching "the +fair white clouds ride slowly overhead," in a state of complete +inaction, Brahms establishes the mood by this treatment of the major +chord. + +[Illustration: Figure K] + +In _Der Wanderer_ (The Wanderer) Schubert uses this musical figure to +indicate the ceaseless motion of one condemned to endless wandering. + +[Illustration: Figure L] + +In _The Maid of the Mill_ cycle where the young miller discovers the +brook Schubert uses this figure, which gives a clear picture of a +chattering brooklet. This figure continues throughout the song. + +[Illustration: Figure M] + +In the song _On the Journey Home_, which describes the feelings of one +who, after a long absence returns to view the "vales and mountains" of +his youth, Grieg, with two measures of introduction grips us with a mood +from which we cannot escape. + +[Illustration: Figure N] + +But one of the most striking examples of the operation of genius is +Schubert's introduction to _Am Meer_ (By the Sea). Here with two chords +he tells us the story of the lonely seashore, the deserted hut, the +tears, the dull sound of breakers dying on a distant shore, and all +around the unfathomable mystery of the mighty deep. + +[Illustration: Figure O] + +Classic song literature is full of interesting examples of this kind. If +we learn how to study the works of these great ones of the earth we +shall see how unerring is the touch of genius, and some day we shall +awaken to see that these kings and prophets are our friends, and that +they possess the supreme virtue of constancy. + + + + +IX + +SCIENTIFIC VOICE PRODUCTION + + The immediate effect of the laryngoscope was to throw the whole + subject into almost hopeless confusion by the introduction of + all sorts of errors of observation, each claiming to be founded + on ocular proof, and believed in with corresponding obstinacy. + + Sir Morell Mackenzie. _Hygiene of the Vocal Organs_. + + +He who studies the voice in a physics laboratory naturally considers +himself a scientific man, and those teachers who make his discoveries +the basis of their teaching believe they are teaching the science of +voice production. The scientist says: "Have I not studied the voice in +action? I have seen, therefore I know." But the element of uncertainty +in what he has seen makes his knowledge little more than speculative. +But suppose he is sure of what he has seen. Of what importance is it? He +has seen a vocal organ in the act of producing tone under trying +conditions, for one under the conditions necessary to the use of the +laryngoscope is not at all likely to reach his own standard of tone +production. + +Scientists would have us believe that the action of the vocal mechanism +is the same in all voices. This claim must necessarily be made or there +would be no such thing as scientific production. But of all the vocal +vagaries advanced this has the least foundation in fact. + +Scientifically and artistically speaking there is no such thing at +present as perfect voice, and there will be no such thing until man +manifests a perfect mind. The best examples of voice production are not +altogether perfect, and most of them are still a considerable distance +from perfection. It is with these imperfect models that the scientific +man in dealing and on which he bases his deductions. + +Be it right or wrong singers do not all use the vocal mechanism in the +same way. I have in mind two well known contraltos one of whom carried +her chest register up to A, and even to B flat occasionally. The other +carried her middle register down to the bottom of the voice. Can the +tenor who carries his chest voice up to [Illustration: Figure P] be said +to use his voice in the same way as one who begins his head voice at +[Illustration: Figure Q]? + +In the examination of a hundred voices selected at random all manner of +different things would be observed. Perhaps this is responsible for the +great diversity of opinion among scientists, for it must be said that so +far there is little upon which they agree. Before absolute laws +governing any organ or instrument can be formulated the nature of the +instrument must be known. The scientists have never come anywhere near +an agreement as to what kind of an instrument man has in his throat. +They have not decided whether it is a stringed instrument, a brass, a +single or double reed, and these things are vital in establishing a +scientific basis of procedure. Not knowing what the instrument is, it is +not strange that we are not of one mind as to how it should be played +upon. + +If we are to know the science of voice production we must first know the +mechanism and action of the vocal organ. This instrument, perhaps an +inch and a half in length, produces tones covering a compass, in rare +instances, of three octaves. How does it do it? According to the books, +in a variety of ways. + +A majority of those voice teachers who believe in registers recognize +three adjustments, chest middle, and upper, or chest medium, and head, +but Dr. MacKenzie claims that in four hundred female voices which he +examined he found in most cases the chest mechanism was used throughout. +Mancini (1774) says there are instances in which there is but one +register used throughout. + +Garcia says there are three mechanisms--chest, falsetto, and head, and +makes them common to both sexes. + +Behnke divides the voice into five registers--lower and upper thick, +lower and upper thin, and small. + +Dr. Guilmette says that to hold that all of the tones of the voice +depend on one mechanism or register is an acknowledgment of ignorance of +vocal anatomy. He further declares that the vocal cords have nothing to +do with tone--that it is produced by vibration of the mucous membrane of +the trachea, larynx, pharynx, mouth; in fact, all of the mucous membrane +of the upper half of the body. + +When it comes to the falsetto voice, that scarehead to so many people +who have no idea what it is, but are morally sure it is wicked and +ungodly, the scientists give their imaginations carte blanche. Dr. +Mackenzie, who says there are but two mechanisms, the long and short +reed, says the falsetto is produced by the short reed. + +Lehfeldt and Muller hold that falsetto is produced by the vibrations of +the inner edges or mucous covering of the vocal cords, the body of the +cords being relaxed. + +Mr. Lunn feels sure that the true vocal cords are not involved in +falsetto, that voice being produced by the false vocal cords. + +Mantels says that in the falsetto voice the vocal cords do not produce +pitch, that the quality and mechanism are both that of the flute, that +the cords set the air in vibration and the different tones are made by +alterations in the length of the tube. + +Davidson Palmer says that the falsetto is the remnant of the boy's voice +which has deteriorated through lack of use, but which is the correct +mechanism to be used throughout the tenor voice. + +Mr. Chater argues along the same lines as Mr. Mantels except that he +makes the instrument belong to the clarinet or oboe class. Others +believe the vocal cords act as the lips do in playing a brass +instrument. + +But the action of the vocal cords is but the first part of the +unscientific controversy. What takes place above the vocal cords is +equally mystifying. The offices of the pharynx, the mouth, the nasal +cavities, the entire structure of the head in fact, are rich in +uncertainties. + +Some think the cavities of the pharynx and head are involved +acoustically and in some way enlarge, refine and purify the tone, but +one famous man says the head has nothing whatever to do with it. Another +gentleman of international reputation says the nose is the most +important factor in singing. If your nasal cavities are right you can +sing, otherwise you cannot. + +And so this verbal rambling continues; so the search for mind in matter +goes on, with a seriousness scarcely equalled in any other line of +strife. There is nothing more certain to permanently bewilder a vocal +student than to deluge him with pseudo-scientific twaddle about the +voice. And this for the simple reason that he comes to learn to sing, +not for a course in anatomy. + +What is scientific voice production? Books without number have been +written with the openly expressed intention to give a clear exposition +of the subject, but the seeker for a scientific method soon finds +himself in a maze of conflicting human opinions from which he cannot +extricate himself. + +We are told with much unction and warmth that science means to know. +That it is a knowledge of principles or causes, ascertained truths or +facts. A scientific voice teacher then must know something. What must he +know? Books on scientific voice production usually begin with a picture +of the larynx, each part of which is labeled with a Greek word sometimes +longer than the thing itself. It then proceeds to tell the unction of +each muscle and cartilage and the part it plays in tone production. Now +if this is scientific, and if science is exact knowledge, and this exact +knowledge is the basis of scientific voice teaching, then every one who +has a perfect knowledge of these facts about the voice, must in the +eternal and invariable nature of facts be a perfect voice teacher, and +every one of these perfect voice teachers must teach in exactly the same +way and produce exactly the same results. Does history support this +argument? Quite the reverse. + +There is a science of acoustics, and in this science one may learn all +about tones, vibrating bodies, vibrating strings, vibrating cavities, +simple, compound and complex vibrations. Will this knowledge make him a +scientific voice teacher? When he has learned all of this he has not yet +begun to prepare for voice teaching. There is no record of a great voice +teacher having been trained in a physics laboratory. + +It is possible to analyze a tone and learn how fundamental and upper +partials are combined and how these combinations affect quality. Does +this constitute scientific voice production? This knowledge may all be +gained from the various hand books on acoustics. Has any one the +hardihood to assert that such knowledge prepares one for the responsible +work of training voices? One may know all of this and still be as +ignorant of voice training as a Hottentot is of Calvinism. + +Further, who shall decide which particular combination of fundamental +and upper partials constitutes the perfect singing tone? If a tone is +produced and we say, there is the perfect tone, all it proves is that it +corresponds to our mental concept of tone. It satisfies our ear, which +is another term for our taste. + +Can a tone be disagreeable and still be scientifically produced? One +combination of fundamental and overtones is, strictly speaking, just as +scientific as another combination. The flute tone with its two overtones +is just as scientific as the string tone with its six or eight. A tone +is pleasant or disagreeable according as it corresponds to a mental +demand. Even the most hardened scientist would not call a tone which +offends his ear scientific. Therefore he must first produce, or have +produced the tone that satisfies his ear. The question then naturally +arises--when he has secured the tone that satisfies his ear of what +value beyond satisfying his curiosity is a physical analysis? A tone is +something to hear, and when it satisfies the ear that knows, that in +itself is unmistakable evidence that it is rightly produced. + +If this scientific knowledge of tone is necessary then every great +artist in the world is unscientific, because not one of them makes any +use whatsoever of such knowledge in his singing. + +No. All of the scientific knowledge one may acquire is no guaranty of +success as a teacher, but is rather in the nature of a hindrance, +because it is likely to lead him into mechanical ways of doing things. +Further, the possession of such knowledge is no indication that one will +use it in his teaching. How much of such knowledge can one use in +teaching? How can he tell, save from the tone itself whether the pupil +is producing it scientifically? It is a well established fact that the +more the teacher tries to use his scientific information in teaching the +less of an artist he becomes. + +Could it be possible that a beautiful tone could be produced contrary to +the laws of science? It would be an extraordinary mind that would argue +in the affirmative. + +=The most beautiful tone is the most perfectly produced, whether the +singer knows anything of vocal mechanism or not.= In such a tone there +is no consciousness of mechanics or scientific laws. The vocal mechanism +is responding automatically to the highest law in the universe--the law +of beauty. The most scientific thing possible is a beautiful idea +perfectly expressed, because a thing inherently beautiful is eternally +true, hence it is pure science. + +Every tone of the human voice is the expression of life, of an idea, a +feeling, an emotion, and unless interfered with the vocal mechanism +responds automatically. + +He who by experiment or reading has learned the action of the vocal +mechanism, and attempts to make his pupil control every part of it by +direct effort may imagine that he is teaching scientific voice +production, but he is not, he is only doing a mechanical thing in a +clumsy way. + +Is it a scientific act to tell a pupil to hold his tongue down, as one +writer argued recently? Is a teacher calling into action the eternal +laws of science when he tells his pupil to drive the tone through the +head, hoist the soft palate, groove the tongue, and make the diaphragm +rigid? No. He is simply doing a mechanical thing badly for want of a +better way. It is no more scientific than kicking the cat out of the way +if she gets under your feet. + +Any one who has learned the elements of psychology or philosophy knows +that everything exists first as idea. The real universe is the one that +exists in the mind of the creator. The real man is the part of him that +thinks. To hold that the body thinks or acts is equivalent to saying +that Gray's "Elegy" was in the pen with which the poet wrote. + +To a natural scientist the only real thing is what he can see, therefore +he bases his faith on what he conceives to be matter; but if we study +the great ones--Oswald, Huxley, Grant, Allen, and the like, we find that +they have long ago reached the conclusion that there is no such thing as +matter. According to Schopenhauer the world is idea, and this so called +material environment is thought objectifying itself. + +Vocal teachers, like the members of other professions, are not +altogether immune to an attack of intellect, and at such times the +thought that they are doing something scientific is particularly +agreeable. + +The only study of science that can benefit any one is the study of +causation, and causation cannot be cognized by the physical senses. We +never see, hear, feel, taste, or smell cause. What we see or hear is +effect. Causation is mental. Natural science is dealing with phenomena, +with effect not cause. A regular recurrence of phenomena may establish a +so called natural law, but the law is that which caused the phenomena, +"Law is force" says Hegel, and it is therefore mental. We are told that +the law of the earth is its path around the sun. This is not true, the +law of the earth is the mind which makes it revolve around the sun. If +we would learn the nature, activity, and cause of anything we must look +for it in _mind_ not in matter. For this reason the process of voice +production is _psychologic_ not physiologic. When a pupil sings, what we +hear is _effect_ not cause. If he is doing all manner of unnecessary +things with his lips, tongue, larynx, etc. what we see is effect and the +cause is in wrong _mental_ concepts. The thing which caused the tone is +_mental_, the force which produced it is _mental_, and the means by +which we know whether it is good, or bad is _mental_. + +Of this we may be sure, that the tone the pupil sings will not be better +than the one he has in mind. _A tone exists first as a mental concept, +and the quality of the mental concept determines the quality of the +tone._ + +If there be such a thing as scientific voice production it will be found +in the sense of what is inherently beautiful, and the scientific tone is +one which will perfectly express a right idea or emotion, and in the +nature of things there is an appropriate tone for everything that may be +legitimately expressed, for they are correlated ideas. + +Whence originated this so called scientific voice teaching? That the old +Italian knew nothing of it is well understood. They considered the +process artistic rather than scientific. _How does it sound_, was their +slogan. The thing uppermost in their minds was beautiful tone, and they +were wise enough to know that when one has a definite concept of the +pure singing tone he has a more valuable asset than all the mechanical +knowledge he can acquire. They had but one end in view, namely, a +finished artist, and everything they did was made to contribute to it. +The artist always has in mind the _finished product_. The scientist +tries to find out _how it is done_. The artist begins with the idea and +works forward to its complete expression. The scientist begins with the +physical mechanism and works backward toward the idea. + +What is responsible for the change from the methods of the the +seventeenth and eighteenth centuries? It is safe to say that it did not +come through the voice teachers. + +In the early part of the nineteenth century an interesting thing +happened. How it happened or why it happened at that particular time is +not known nor does it matter. The human mind became all at once +aggressively inquisitive. The desire to get at the ultimate of +everything took possession of humanity and still holds it. The result +was an era of scientific analysis and invention, the aim of which was to +control the forces of nature. Previous to that time methods of living, +production, transportation, agriculture, etc. were little different from +that of biblical times. People and nations lived much to themselves. +They looked within for their inspiration and developed their own +national characteristics. But with the invention of the steamship, +railway, and telegraph a change came. These improved methods of +transportation and communication brought all of the mentalities of the +world together, and soon all habitable parts of the globe were in daily +and hourly contact. The result was a mental fermentation which increased +the complexity of civilization immeasurably and the present exaggerated +and unnatural condition of society is the outgrowth. + +Between 1809 and 1813 were born Mendelssohn, Chopin, Schumann, Liszt, +and Wagner. These men are known as the founders of the modern romantic +school of music. They grew up with the new civilization and could not do +otherwise than reflect its complexity in their music. That the new +civilization was responsible for the new art there is no doubt whatever. +All old types have passed away. All branches of art have suffered +radical changes in conforming to new ideals. + +Since the wave of scientific investigation started around the world +nothing has been able to escape it. The hand of the scientist has been +upon everything, and to him rather than to the voice teachers must be +given the credit for originating scientific voice teaching. + +When the scientists began publishing the results of their investigations +voice teachers at once became interested. The plan looked promising. It +offered them a method shorn of uncertainties. A method that brought +everything under the operation of physical laws; a method that dealt +only with finalities, and would operate in spite of a lack of musical +intelligence on the part of the student, and at the same time enable +them to lay to their souls the flattering unction of science. True it +ignored altogether the psychology of the matter. It said "do it this way +and a beautiful tone will come whether you are thinking it or not, +because scientific laws eternally operating in the same way eternally +produce the same results." + +The scientific method gave voice teachers an opportunity to work with +something tangible, something they could see; whereas the development of +tone concept, the artistic instinct, musical feeling, and musicianship +had to do with things which to most of them were intangible and elusive. +No one doubts the honesty of the teachers who became obsessed with the +scientific idea. To them it meant increased efficiency and accuracy, +quicker results with less effort, and so they broke with the old +Italians, the basis of whose teaching was beautiful tone and beautiful +singing. In spite of the honesty of purpose of all those who followed +the new way, the results were calamitous. The art of singing received a +serious setback. Voices without number were ruined. From the middle to +the end of the nineteenth century the scientific idea was rampant, and +during that period it is probable that the worst voice teaching in the +history of the world was done. Large numbers of people with neither +musicianship nor musical instincts acquired a smattering of anatomy and +a few mechanical rules and advertised themselves as teachers of +scientific voice production. The great body of vocal students, anxious +to learn to sing in the shortest possible time, having no way of telling +the genuine from the spurious except by trying it, fell an easy prey, +and the amount of vocal damage and disaster visited upon singers in the +name of science is beyond calculation. + +Fortunately the reaction has begun. Slowly but surely we are returning +to a saner condition of mind. Every year adds to the number of those who +recognize singing as an art, whose vision is clear enough to see that +the work of the scientific investigator should be confined to the +laboratory and that it has no place in the studio. We are beginning to +see that the basic principle of singing is _freedom in the expression of +the beautiful_, and that the less there is of the mechanical in the +process the better. + + + + +BIBLIOGRAPHY + + +The Italian School of Florid Song. Pier Franceso Tosi. London, 1743. + +Practical Reflections on the Figurative Art of Singing. Mancini +(1716-1800) English Edition. Boston, 1912. + +The Psychology of Singing. David Taylor. New York, 1908. + +The Philosophy of Singing. Clara Kathleen Rogers. New York, 1898. + +My Voice and I. Clara Kathleen Rogers. Chicago, 1910. + +The Rightly Produced Voice. Davidson Palmer. London, 1897. + +Expression in Singing. H. S. Kirkland. Boston, 1916. + +The Art of the Singer. W. J. Henderson. New York, 1906. + +English Diction for Singers and Speakers. Louis Arthur Russell. Boston, +1905. + +Resonance in Speaking and Singing. Thomas Fillebrown. Boston, 1911. + +Hints of Singing. Garcia. London, 1894. + +The Singing of the Future. D. Ffrangcon-Davies. London, 1908. + +Voice, Song, and Speech. Brown and Behnke. London, 1884. + +Voice Building and Tone Placing. H. Holbrook Curtis, M. D. New York, +1896. + +Vocal Physiology. Alex. Guilmette, M. D. Boston, 1878. + +The Philosophy of Art. Edward Howard Griggs. New York, 1913. + +Ancient Art and Ritual. Jane Ellen Harrison. New York, 1913. + +The Musical Amateur. Robert Schauffler. New York, 1913. + +Art for Art's Sake. John C. Van Dyke. New York, 1914. + +What is Art. Count Leo Tolstoi. New York. + +The Life of Reason. George Santayana. New York, 1913. + +The Creative Imagination. Ribot. Chicago, 1906. + +Esthetics. Kate Gordon. New York, 1913. + +The New Laocoon. Irving Babbit. Boston, 1910. + +A New Esthetic. Ferrucio Busoni. New York, 1911. + +The Scientific Use of the Imagination. Fragments of Science. John +Tyndall. London. + +The Philosophy of Style. Herbert Spencer. + +The Evolution of the Art of Music. Hubert Parry. New York, 1908. + +Studies in Modern Music. W. H. Hadow. London, 1904. + +Appreciation of Art. Blanche Loveridge. Granville, O., 1912. + +Music and Nationalism. Cecil Forsyth. London, 1911. + +The Sensations of Tone. H. L. F. Helmholtz. London, 1885. + + + +***END OF THE PROJECT GUTENBERG EBOOK THE HEAD VOICE AND OTHER PROBLEMS*** + + +******* This file should be named 19493-8.txt or 19493-8.zip ******* + + +This and all associated files of various formats will be found in: +https://www.gutenberg.org/dirs/1/9/4/9/19493 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. 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A. Clippinger</title> + <style type="text/css"> + body { + font-family: Georgia,serif; + margin-left: 15%; + margin-right: 15%; + } + + p { + text-align: justify; + margin: 0em 0em 0.25em 0em; + text-indent: 1em; + line-height: 1.5; + } + + h1,h2,h3,h4,h5,h6 { + text-align: center; + font-weight: normal; + } + + h1 { margin: 3em 0em; } + + h1.pg {margin: 3em 0em; + font-family: Times-Roman, serif; } + h3.pg {font-family: Times-Roman, serif; } + + sup { font-size: 0.7em; } + ul { list-style-type: none; } + li { margin-bottom: 0.5em; } + + #title_page { + border-top: 1px gray solid; + padding: 1em 0em 3em 0em; + } + + #title_page p, #verso p, #dedication p { + text-align: center; + text-indent: 0em; + } + + #title_page p.stopword { + font-size: 0.8em; + padding: 1em 0em; + } + + #title_page p.book_title { + font-size: 2em; + margin: 1.5em 0em; + } + + #title_page p.book_subtitle { + font-size: 1.5em; + padding-bottom: 1.5em; + } + + #title_page p.book_author { + font-size: 1.5em; + padding: 1.5em 0em; + } + + #publisher1 { + font-size: 1.1em; + clear: both; + } + + #publisher2 { + width: 50%; + float: left; + font-size: 0.9em; + padding-top: 1em; + } + + #publisher3 { + font-size: 0.9em; + padding-top: 1em; + } + + #verso, #dedication { + font-style: italic; + padding: 3em; + } + + .publisher, .special_name { + font-variant: small-caps; + font-style: normal; + } + + .figcenter { + text-align: center; + margin: 3em 0em; + } + + .figcenter img { clear: both; } + + .figright img { + clear: left; + float: right; + } + img {vertical-align:middle;padding:0px 8px;} + img.large_inline_image {display:block;margin:auto;} + img.inline_image {clear:left;float:right;} + + #contents_list { + font-variant: small-caps; + padding-top: 2em; + } + + #contents_list ol { list-style-type: upper-roman; } + + #contents_list span.contents_page { + /* use absolute positioning to move page# right */ + position: absolute; + right: 15%; + /* right edge against container's right edge */ + top: auto; + /* vertical align to original text baseline */ + } + + #transcriber_note { + width: 70%; + font-size: 0.8em; + margin: 2em auto; + border: thin gray solid; + background: #eee; + } + + #transcriber_note p { + text-align: left; + text-indent:0em; + padding:0.25em; + } + + .title { + margin-top: 2em; + margin-bottom: 2em; + } + + .chapter_title { + text-indent: 0em; + margin-top: 2em; + } + + .section_title { + text-indent: 0em; + margin: 2em 0em 1.5em 0em; + font-size: 1em; + } + + #intro, #contents, .chapter, #bibliography { padding: 3em 0em; } + + .sign { + text-indent: 0em; + text-align: left; + padding: 1.5em 0em; + clear: both; + } + + .date { margin-left: 1em; } + + .chapter_number { + text-align: center; + text-indent: 0em; + font-size: 1.5em; + } + + span.fn { + position: absolute; + right: 1%; + left: 87%; + font-size: .7em; + text-align: left; + text-indent: 0em; + } + + span.pagenum { + position: absolute; + left: 1%; + right: 87%; + font-size: 12px; + text-align: left; + text-indent: 0em; + font-style: normal; + color: gray; + background-color: inherit; + /*Uncomment next line to hide the page numbers*/ + /*visibility: hidden;*/ + } + + .fnmarker { + margin-left: 0.2em; + font-size: 0.8em; + vertical-align: top; + } + + p.continued_paragraph {text-indent:0em;} + + .poem { + margin-left: 10%; + margin-right: 10%; + margin-bottom: 1em; + text-align: left; + } + + .poem .stanza { margin: 1em 0%; } + + .poem p { + margin: 0; + padding-left: 3em; + text-indent: -3em; + text-align: left; + } + + .epigram { + margin-left: 10%; + font-size: 0.9em; + padding-bottom: 1em; + width: 80%; + } + + .epigram p { text-indent: 0em; } + p.citation { text-align: right; } + #interpretation { margin: 2em 10%; } + td.brace2 { font-size: 2em; } + td.brace3 { font-size: 3em; } + td.brace4 { font-size: 4em; } + td.toprow { padding-top: 1.3em; } + td.leaf { font-size: 0.8em; } + a:link { text-decoration: none; } + a:visited { text-decoration: none; } + + a:hover { + color: red; + background: inherit; } + hr.full { width: 100%; + margin-top: 0em; + margin-bottom: 0em; + border: solid black; + height: 5px; } + pre {font-size: 80%;} + + </style> +</head> +<body> +<h1 class="pg">The Project Gutenberg eBook, The Head Voice and Other Problems, by D. A. +Clippinger</h1> +<pre> +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: The Head Voice and Other Problems</p> +<p> Practical Talks on Singing</p> +<p>Author: D. A. Clippinger</p> +<p>Release Date: October 7, 2006 [eBook #19493]</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK THE HEAD VOICE AND OTHER PROBLEMS***</p> +<p> </p> +<h3 class="pg">E-text prepared by David Newman, Chuck Greif, Barbara Tozier,<br /> + and the Project Gutenberg Online Distributed Proofreading Team<br /> + (http://www.pgdp.net/)</h3> +<p> </p> +<p> </p> +<table border="0" cellpadding="10" style="background-color: #ccccff;"> + <tr> + <td valign="top"> + Note: + </td> + <td> + The musical illustrations have been transcribed and are available in two + pdf files. The <a href="images/Exercises.pdf" title="Link to Exercises.pdf file">Exercises</a> + follow the Exercises as numbered in the book in <a href="#Ch_II" title="Jump to Chapter 2">Chapter II. The Head Voice</a>. + The remainder of the musical fragments, which are unlabeled in the book, are + labeled Figures A through Q (in the order in which they appear), and can + be found in the <a href="images/Figures.pdf" title="Link to Figures.pdf file">Figures</a> pdf. + </td> + </tr> +</table> +<p> </p> +<p> </p> +<p> </p> + +<div id="title_page"> +<p class="book_title">THE HEAD VOICE AND<br /> +OTHER PROBLEMS</p> +<p class="book_subtitle">PRACTICAL TALKS<br /> +ON SINGING</p> +<p class="stopword">BY</p> +<p class="book_author">D. A. CLIPPINGER</p> +<p class="stopword"><i>Author of</i></p> +<p class="special_name">Systematic Voice Training<br /> +The Elements of Voice Culture</p> +<p class="stopword">1.00</p> +<div class="figcenter"> +<img src="images/illo_01.png" title="The Music Student's Library" alt="A logo for The Music Student's Library" + id="illo_01" name="illo_01" width="100" height="102" /> +</div> + +<div id="publisher1"> +<p class="pub_city">BOSTON</p> +<p class="publisher">OLIVER DITSON COMPANY</p> +</div> +<div id="publisher2"> +<p class="pub_city">NEW YORK</p> +<p class="publisher">Chas. H. Ditson & Co.</p> +</div> +<div id="publisher3"> +<p class="pub_city">CHICAGO</p> +<p class="publisher">Lyon & Healy</p> +</div> + +</div><!--Title Page--> +<div id="verso"> +<p>Copyright MCMXVII</p> +<p class="special_name">By Oliver Ditson Company</p> +<p>International Copyright Secured</p> +</div><!--Verso--> +<div id="dedication"> +<p>To</p> +<p class="special_name">My Students</p> +<p>Past, Present and Future</p> +</div><!--Dedication--> +<div id="intro"> +<h2 class="intro_title">INTRODUCTION</h2> +<p>The following chapters are the outgrowth of an enthusiasm +for the work of voice training, together with a deep personal +interest in a large number of conscientious young men and +women who have gone out of my studio into the world to engage +in the responsible work of voice teaching.</p> + +<p>The desire to be of service to them has prompted me to put +in permanent form the principles on which I labored, more or +less patiently, to ground them during a course of three, four, +or five years. The fact that after having stood the “grind” +for that length of time they are still asking, not to say clamoring, +for more, may, in a measure, justify the decision to issue +this book. It is not an arraignment of vocal teachers, although +there are occasional hints, public and private, which lead me +to believe that we are not altogether without sin. But if this +be true we take refuge in the belief that our iniquity is not inborn, +but rather is it the result of the educational methods +of those immediately preceding us. This at least shifts the +responsibility.</p> + +<p>Words are dangerous things, and are liable at any moment to +start a verbal conflagration difficult to control. Nowhere is +this more likely to occur than in a discussion of voice training.</p> + +<p>From a rather wide acquaintance with what has been said +on this subject in the past hundred years, I feel perfectly +safe in submitting the proposition that the human mind can +believe anything and be conscientious in it.</p> + +<p>Things which have the approval of ages emit the odor of +sanctity, and whoever scoffs does so at his peril. Charles +Lamb was once criticised for speaking disrespectfully of the +equator, and a noted divine was severely taken to task for +making unkind remarks about hell. Humanity insists that +these time honored institutions be treated with due respect. +I have an equal respect for those who believe as I do and those +who do not; therefore if anything in this book is not in accord +with popular opinion it is a crack at the head of the idol rather +than that of the worshipper.</p> + +<p>There is no legislative enactment in this great and free +country to prevent us from <em>believing</em> anything we like, but there +<span class="pagenum"><a id="pagev" name="pagev"></a>v</span>should be some crumbs of comfort in the reflection that we +cannot <em>know</em> anything but the truth. One may believe that +eight and three are thirteen if it please him, but he cannot +know it because it is not true. Everything that is true has for +its basis certain facts, principles, laws, and these are eternal +and unchangeable. The instant the law governing any particular +thing becomes definitely known, that moment it becomes +undebatable. All argument is eliminated; but while +we are searching for these laws we are dealing largely in opinions, +and here the offense enters, for as Mr. Epictetus once +said, “Men become offended at their opinion of things, not +at the things themselves.” We can scarcely imagine any one +taking offense at the multiplication table, neither is this interesting +page from the arithmetic any longer considered a fit +subject for debate in polite society, but so far as we know +this is the only thing that is immune.</p> + +<p>Our musical judgments, which are our opinions, are governed +by our experience; and with the growth of experience they +ripen into solid convictions. For many years I have had a conviction +that voice training is much simpler and less involved +than it is generally considered. I am convinced that far too +much is made of the vocal mechanism, which under normal +conditions always responds automatically. Beautiful tone +should be the primary aim of all voice teaching, and more care +should be given to forming the student’s tone concept than to +that of teaching him how to control his throat by direct effort. +The controlling power of a right idea is still much underestimated. +The scientific plan of controlling the voice by means of +mechanical directions leaves untouched the one thing which +prevents its normal, automatic action, namely tension.</p> + +<p>But, someone inquires, “If the student is singing with rigid +throat and tongue would you say nothing about it?” I would +correct it, but not by telling him to hold his tongue down. A +relaxed tongue is always in the right place, therefore all he +needs to learn about the tongue is how to relax it.</p> + +<p>It has been hinted that he who subscribes to Dr. Fillebrown’s +declaration that <span class="fnm">*</span><span class="fn">* <i>Resonance in Singing and Speaking</i>, by Thomas Fillebrown.</span>“The process of singing is psychologic rather +than physiologic” has nothing tangible to work with. Now +tone concept and musical feeling are absolutely essential to +singing, and they are definite entities to one who has them. +All musical temperaments must be vitalized. Imaginations +<span class="pagenum"><a id="pagevi" name="pagevi"></a>vi</span>must be trained until they will burst into flame at the slightest +poetic suggestion. Musical natures are not fixed quantities. +They are all subject to the law of growth. Every vocal student +is an example of the law of evolution. Few people find +it easy in the beginning to assume instantly a state of intense +emotion. These things are habits of mind which must be developed, +and they furnish the teacher with definite problems.</p> + +<p>To repeat, <em>the tone is the thing</em>, and <em>how it sounds</em> is what determines +whether it is right or wrong. And so we come back +again to the ear, which is the taste. Does it please the ear? +If so, is the ear reliable? Not always. If all teachers were +trying for the same tone quality there would be no need of +further writing on the subject, but they are not. On the contrary +no two of them are trying for exactly the same quality. +Each one is trying to make the voice produce his idea of tone +quality, and the astounding thing about the human voice is +that for a time at least, it can approximate almost anything +that is demanded of it. If a voice is ruined, the ear of the +teacher is directly responsible. It is useless to try to place +the blame elsewhere.</p> + +<p>Truth is always simple. If it seems difficult it is due to our +clumsy way of stating it. Thought, like melodies, should run +on the line of the least resistance. In the following pages I +have eschewed all mystifying polysyllabic verbiage, and as +Mark Twain once said, have “confined myself to a categorical +statement of facts unincumbered by an obscuring accumulation +of metaphor and allegory.”</p> + +<p>It is hoped that this book will be useful. It is offered as a +guide rather than as a reformer. It aims to point in the right +direction, and “do its bit” in emphasizing those things which are +fundamental in voice training. Whatever is true in it will +reach and help those who need it. Nothing more could be +asked or desired.</p> + +<div class="figright"> +<img src="images/illo_07.png" title="(signed) D. A. Clippinger" alt="The signature of D. A. Clippinger" id="illo_07" name="illo_07" /> +</div> + + +<p class="sign"><span class="location">Kimball Hall, Chicago.</span><br /> +<span class="date">May, 1917.</span></p> +</div><!--Introduction--> +<div id="contents"> +<h2 class="contents_title">CONTENTS</h2> +<ul id="contents_list"> +<li><a href="#intro" title="Jump to the Introduction">Introduction</a> <span class="contents_page">vi</span></li> +<li><!--placeholder to get the numbers to work properly--> +<ol> +<li><a href="#Ch_I" title="Jump to Chapter 1">Voice Placing</a> <span class="contents_page">1</span></li> +<li><a href="#Ch_II" title="Jump to Chapter 2">The Head Voice</a> <span class="contents_page">9</span></li> +<li><a href="#Ch_III" title="Jump to Chapter 3">A General Survey of the Situation</a> <span class="contents_page">28</span></li> +<li><a href="#Ch_IV" title="Jump to Chapter 4">Hints on Teaching</a> <span class="contents_page">38</span></li> +<li><a href="#Ch_V" title="Jump to Chapter 5">The Nature and Meaning of Art</a> <span class="contents_page">64</span></li> +<li><a href="#Ch_VI" title="Jump to Chapter 6">Singing as an Art</a> <span class="contents_page">70</span></li> +<li><a href="#Ch_VII" title="Jump to Chapter 7">The Construction of a Song</a> <span class="contents_page">80</span></li> +<li><a href="#Ch_VIII" title="Jump to Chapter 8">How to Study a Song</a> <span class="contents_page">86</span></li> +<li><a href="#Ch_IX" title="Jump to Chapter 9">Scientific Voice Production</a> <span class="contents_page">90</span></li> +</ol></li> +<li><a href="#bibliography" title="Jump to the Bibliography">Bibliography</a> <span class="contents_page">101</span></li> +</ul> + +</div> +<h1>THE HEAD VOICE AND OTHER PROBLEMS.</h1> +<div class="chapter" id="Ch_I"> +<p><span class="pagenum"><a id="page1" name="page1"></a>1</span></p> + +<p class="chapter_number">I</p> + +<h2 class="chapter_title">VOICE PLACING</h2> + +<div class="epigram"> +<p>“The path of the sound, being formed of elastic and movable parts, varies +its dimensions and forms in endless ways, and every modification—even +the slightest—has a corresponding and definite influence on the voice.”</p> +<p class="citation">Garcia. <i>Hints on Singing</i>.</p> +</div> + + +<p>Vocal teachers are rated primarily on their ability as voice +builders. When students look for a teacher the first thing +they want to know is: “Can he build a voice?” His ability +as an interpreter in most instances is taken for granted. Why +this is so is easily understood. There is a moving appeal in +the pure singing tone of the human voice that cannot even be +approximated by any other instrument. We have all heard +voices that were so beautiful that to hear one of them vocalize +for half an hour would be a musical feast. Such a voice is so +full of feeling, so vibrant with life and emotion that it moves +one to the depths even if no words are used. It is only natural +that all singers should be eager to possess such a voice, for +it covers up a multitude of other musical misdemeanors. +While it does not take the place altogether of the interpretative +instinct, it does make the work of the singer much easier by +putting his audience in sympathy with him from the beginning, +thus to a considerable extent disarming criticism. The old +Italians attached so much importance to beautiful tone that +they were willing to work conscientiously for half a dozen +years to obtain it. To the beautiful tone they added a faultless +technic. Altogether it required from five to eight years to +<span class="pagenum"><a id="page2" name="page2"></a>2</span>prepare and equip a singer for a career, but when he was thus +prepared he could do astounding things in the way of trills, +roulades, and cadenzas.</p> + +<p>The stories of many of these singers have come down to us +through the musical histories, and the singing world has come +to believe that the teachers alone were responsible. Owing +to her geographic location, her climate, language, and racial +characteristics Italy at one time furnished most of the great +singers of the world, and the world with its usual lack of judgment +and discrimination gave Italian teachers all of the credit. +That the best of the Italian teachers were as near right as it is +humanly possible to be, I have no doubt whatever, but along +with the few singers who became famous there were hundreds +who worked equally hard but were never heard of. A great +voice is a gift of the creator, and the greater the gift the less +there is to be done by the teacher. But in addition to what +nature has done there is always much to be done by the teacher, +and the nature of the vocal instrument is such that its training +is a problem unique and peculiar. The voice can do so many +different things, produce so many different kinds of tone, in +such a variety of ways that the ability to determine which is +right and which is wrong becomes a matter of aesthetic judgment +rather than scientific or mechanical.</p> + +<p>If the scale, power, quality, and compass of the human voice +were established as are those of the piano, the great problem +in the training of a singer would be much simplified, possibly +eliminated; but the singer must form the pitch, power, and +quality of each tone as he uses it; therefore in the training of a +singer we are constantly facing what has crystallized into the +term <strong>Voice Placing</strong>.</p> + +<p>This term has been used as a peg upon which to hang every +whim, fancy, formula, and vocal vagary that has floated +through the human mind in the last two centuries. It has furnished +<span class="pagenum"><a id="page3" name="page3"></a>3</span>an excuse for inflicting upon vocal students every possible +product of the imagination, normal and abnormal, disguised +in the word <strong>Method</strong>, and the willingness with which +students submit themselves as subjects for experiment is beyond +belief. The more mysterious and abnormal the process +the more faith they have in its efficacy.</p> + +<p>The nature of the vocal instrument, its wide range of possibilities, +and its intimate relation to the imagination make it a +peculiarly fit subject for experiment. The scientist has tried +to analyze it, the mechanic has tried to make it do a thousand +things nature never intended it to do, the reformer has +tried to reform both, and the psychologist, nearest right of all, +has attempted to remove it from the realm of the material +altogether. There seems to be no way to stop this theorizing, +and it doubtless will continue until the general musical intelligence +reaches such a point that it automatically becomes impossible.</p> + +<p>We are constantly hearing such remarks as “Mr. S knows +how to place the voice.” “Mr. G does not.” “Mr. B places +the voice high.” “Mr. R does not place the voice high enough.” +“Mr. X is great at bringing the tone forward,” etc., etc. This +goes on through a long list of fragments of English difficult to +explain even by those who use them.</p> + +<p>Now voice placing means just one thing, not half a dozen. +It means learning to produce <strong>beautiful tone</strong>. When one +can produce beautiful tone throughout his vocal compass his +voice is placed, and it is not placed until he can. The injunction +to <em>place the voice</em> invariably leaves in the mind of the student +the idea that he must direct the tone to some particular +point, in fact he is often urged to do so, whereas the truth is +that when the tone is properly produced there is no thought +of trying to put it anywhere. It seems to sing itself. There +is a well established belief among students that the tone must +<span class="pagenum"><a id="page4" name="page4"></a>4</span>be consciously directed to the point where it is supposed to +focus. This belief is intimately associated with another equally +erroneous, that the only way to tell whether a tone is good or +bad, right or wrong, is by the way it feels. A tone is something +to hear. It makes its appeal to the ear, and why one +should rely on the sense of feeling to tell whether it sounds +right or wrong is something difficult to understand.</p> + +<p>Further, explicit directions are given for the action and control +of everything involved in making tone except the mind +of the student. The larynx seems to be particularly vulnerable +and is subject to continuous attack. One says it should +be held low throughout the compass. Another says it should +rise as the pitch rises, and still another, that it should drop as +the pitch rises. Instructions of this kind do not enlighten, +they mystify.</p> + +<p>If there be any one thing upon which voice teachers theoretically +agree it is “free throat”. Even those who argue for a +fixed larynx agree to this, notwithstanding it is a physical impossibility +to hold the larynx in a fixed position throughout the +compass without a considerable amount of rigidity. It is like +believing in Infinite Love and eternal punishment at the same +time.</p> + +<p>When the larynx is free it will not and should not be in the +same position at all times. It will be a little lower for somber +tones than for bright tones. It will be a little higher for the +vowel e than for oo or o, but the adjustments will be <em>automatic</em>, +never conscious. It cannot be too often reiterated that every +part of the vocal mechanism must act automatically, and it is +not properly controlled until it does.</p> + +<p>The soft palate also comes in for its share of instruction. I +was once taught to raise it until the uvula disappeared. Later +I was taught to relax it. Both of these movements of the soft +palate were expected to result in a beautiful tone. Now if +<span class="pagenum"><a id="page5" name="page5"></a>5</span>two things which are directly opposed to each other are equal +to the same thing, then there is no use in bothering our heads +further with logic.</p> + +<p>Such directions I believe to be of doubtful value, if not irrelevant. +We must learn that <em>an idea has definite form</em>, and that +when the mechanism is free, that is, plastic, the idea molds it +into a corresponding form and the expression becomes a perfect +picture of the idea. This is what is meant by indirect control, +involuntary, automatic action.</p> + +<p>One could write indefinitely on the peculiarities of voice +training, the unique suggestions made, the mechanical instructions +given, the unbelievable things students are made to do +with lips, tongue and larynx as a necessary preparation to +voice production. In this as in everything else there are extremists. +Some have such an exquisite sense of detail that they +never get beyond it. At the other extreme are those who trust +everything to take care of itself. Both overlook the most important +thing, namely, how the voice sounds.</p> + +<p>It requires much time, study and experience to learn that +voice training is simple. It is a fact that truth is naturally, +inherently simple. Its mastery lies in removing those things +which seem to make it difficult and complex. Training the +voice, this so called “voice placing,” is simple and easy when +one has risen above that overwhelming amount of fiction, +falsity, and fallacy that has accumulated around it, obscuring +the truth and causing many well intentioned teachers to follow +theories and vagaries that have no foundation in fact, and +which lead both teacher and pupil astray. If there is any +truth applicable to voice training it has an underlying principle, +for truth is the operation of principle. If we start wrong we +shall end wrong. If we start right and continue according to +principle we shall reach the desired goal.</p> + +<p><strong>Voice training has its starting point, its basis, its +<span class="pagenum"><a id="page6" name="page6"></a>6</span>foundation, in beautiful tone.</strong> This should be the aim of +both teacher and pupil from the beginning. To produce +something beautiful is the aim of all artistic activity. Beautiful +tone, as Whistler said of all art, has its origin in absolute +truth. That which is not beautiful cannot possibly be true, +for real nature, which is the expression of Infinite Mind, is +always perfect, and no perfect thing can be ugly, discordant, or +inharmonious. The imperfection we see is the result of our +own imperfect understanding of the real universe.</p> + +<p>A <em>tone is something to hear</em>, and <strong>hearing is mental</strong>. An old +French anatomist once said: “The eye sees what it is looking +for, and it is looking only for what it has in mind.” The same +is true of the ear. We hear the tone mentally before we sing +it, and we should hear it as distinctly as if it were sung by another. +A tone first of all is a mental product, and its pitch, +power, and quality are definite mental entities. When we wish +to convey this tone to another we do it through the sound +producing instrument which nature has provided for this purpose.</p> + +<p>That everything exists first as idea has been the teaching of +the philosophers for ages. That the idea is the controlling, +governing force is equally well understood. Therefore, inasmuch +as the aim of all voice building is to produce beautiful +tone we must start with the right idea of tone. This is where +the first and greatest difficulty appears. To most people a +tone is intangible and difficult to define. One will rarely find +a student that can formulate anything approaching a definition +of a musical tone and I fancy many teachers would find it far +from easy. Unless one has a grasp of the psychology of voice, +and a great many have not, he will begin to work with what he +can see. Here enters the long dreary mechanical grind that +eventually ruins the temper of both teacher and student, and +<span class="pagenum"><a id="page7" name="page7"></a>7</span>results in nothing but mechanical singing, instead of a joyous, +inspiring musical performance.</p> + +<p>In studying the pure singing tone we find the following: It +is <em>smooth</em>, <em>steady</em>, <em>firm</em>, <em>rich</em>, <em>resonant</em>, <em>sympathetic</em>. We shall +also find that all of its qualities and attributes are mental. It +must contain the element of freedom (mental), firmness (mental), +security (mental), sympathy (mental), enthusiasm, sentiment, +joy, compassion, pity, love, sorrow (all mental). These +are all qualities of the singing tone. They are not intangible. +On the contrary, to the one who has them they are definite +and are the things he works for from the beginning. They are +basic and fundamental. All are combined in what I call +<em>tone concept</em>, which is another word for musical ear, or musical +taste. This tone concept is by far the most important thing +in voice training. The student will not sing a tone better +than the one he conceives mentally, therefore the mental +concept of tone, or tone concept must be the basis of voice placing.</p> + +<p>This tone concept, or mental picture of tone qualities controls +the vocal instrument by indirection. True tone color +does not come as the result of trying by some physical process +to make the tone light or dark, but <em>from the automatic response +to musical concept or feeling</em>.</p> + +<p>In leaving this subject I wish to pay my respects to that +company of cheerful sinners—the open throat propagandists. +I was taught in my youth that the punishment for a sin committed +ignorantly was none the less pungent and penetrating, +and I trust that in administering justice to these offenders the +powers will be prompt, punctilious and persevering. It is a +worthy activity.</p> + +<p>No mistake of greater magnitude was ever made since voice +training began than that of holding the throat open by direct +effort. It never resulted in a tone a real musician’s ear could +<span class="pagenum"><a id="page8" name="page8"></a>8</span>endure, nevertheless during the latter part of the nineteenth +century and even the early part of the twentieth it was made +such an integral part of voice culture that it seemed to be incorporated +in the law of heredity, and vocal students, even before +they were commanded, would try to make a large cavity in +the back of the throat. I believe however, that there is much +less of this than formerly. Vocal teachers are beginning to see +that the one important thing is a free throat and that when +this is gained the response of the mechanism to the mental demand +is automatic and unerring.</p> + +</div><!--Chapter 1--> +<div class="chapter" id="Ch_II"> +<p><span class="pagenum"><a id="page9" name="page9"></a>9</span></p> +<p class="chapter_number">II</p> +<h2 class="chapter_title">THE HEAD VOICE</h2> +<div class="epigram"> +<p>Let him take care, however, that the higher the notes, the more it is necessary +to touch them with softness, to avoid screaming.</p> + +<p class="citation">Tosi. (1647-1727) <i>Observations on Florid Song</i>.</p> +</div> + +<p>That the development of the upper, or head voice, is the +most difficult as well as the most important part of the training +of the singing voice, will be readily admitted by every experienced +singing teacher.</p> + +<p>That the upper voice should be produced with as much +comfort as the middle or lower, is scarcely debatable.</p> + +<p>That a majority of singers produce their upper voice with +more or less difficulty, need not be argued.</p> + +<p>Why is it that after two, three or more years of study so +many upper voices are still thick, harsh and unsteady?</p> + +<p>There is nothing in the tone world so beautiful as the male or +female head voice when properly produced, and there is nothing +so excruciatingly distressing as the same voice when badly +produced.</p> + +<p>The pure head voice is unique in its beauty. It is full of +freedom, elasticity, spiritual exaltation. It seems to float, as +it were, in the upper air without connection with a human +throat. Its charm is irresistible. It is a joy alike to the singer +and the listener. It is the most important part of any singer’s +equipment. Why is it so difficult and why do so few have it? +Various reasons are at hand.</p> + +<p>The spirit of American enterprise has found its way into +voice teaching. It is in the blood of both teacher and pupil. +The slogan is “Put it over.” This calls for big tone and they +do not see why they should not have it at once.</p> + +<p><span class="pagenum"><a id="page10" name="page10"></a>10</span>The ability to use the full power of the upper voice when occasion +demands is necessary and right, but merely to be able +to sing high and loud means nothing. All that is required for +that is a strong physique and determination. Such voice +building requires but little time and no musical sense whatever; +but to be able to sing the upper register with full power, emotional +intensity, musical quality and ease, is the result of long +and careful work under the ear of a teacher whose sense of tone +quality is so refined that it will detect instantly the slightest +degree of resistance and not allow it to continue.</p> + +<p>The ambitious young singer who has been told by the village +oracle that she has a great voice and all she needs is a little +“finishing,” balks at the idea of devoting three or four years to +the process, and so she looks for some one who will do it quickly +and she always succeeds in finding him. To do this work correctly +the old Italians insisted on from five to eight years with +an hour lesson each day. To take such a course following the +modern plan of one or two half hours a week, would have the +student treading on the heels of Methuselah before it was completed.</p> + +<p>It is not always easy to make students understand that the +training of the voice means the development of the musical +mentality and at best is never a short process. To most of +them voice culture is a physical process and as they are physically +fit, why wait?</p> + +<p>Now the fact is that there is nothing physical in voice production +save the instrument, and a strong physique has no +more to do with good singing than it has with good piano +playing. Voice production is a mental phenomenon. It is +mentality of the singer impressing itself on the vocal instrument +and expressing itself through it. The idea that the vocal +instrument alone without mental guidance will produce +beautiful tone is as fallacious as that a grand piano will produce +<span class="pagenum"><a id="page11" name="page11"></a>11</span>good music whether the one at the keyboard knows how to play +it or not.</p> + +<p>Let it be understood once for all that <em>it is the mentality of +the individual, not his body, that is musical or unmusical</em>. Both +teacher and student must learn that there is much more to do +mentally and much less to do physically than most people suspect. +They must learn that a musical mentality is no less +definite than a physical body, and is at least equally important; +also that right thinking is as necessary to good voice production +as it is to mathematics.</p> + +<p>At this point there will doubtless be a strenuous objection +from those who assert that tone cannot be produced without +effort, and that a considerable amount of it is necessary, especially +in the upper voice.</p> + +<p>It will be readily admitted that the application of force is +required to produce tone, but how much force? Certainly +not that extreme physical effort that makes the singer red in +the face and causes his upper tones to shriek rather than sing. +Such a display of force discloses an erroneous idea of how to +produce the upper voice. When there is the right relation existing +between the breath and the vocal instrument, when there +is the proper poise and balance of parts, no such effort is necessary. +On the contrary the tone seems to flow and the effort +required is only that of a light and pleasant physical exercise.</p> + +<p>The pianist does not have to strike the upper tones any +harder than the lower ones in order to bring out their full +power. Why should the upper part of the voice require such +prodigious effort?</p> + +<p>Now <em>all voices should have a head register</em>. It is a part of nature’s +equipment, and this calls for a word on the classification +of voices. It ought not to be difficult to determine whether a +voice is soprano, alto, tenor, baritone or bass, but I find each +year a considerable number that have been misled. Why? +<span class="pagenum"><a id="page12" name="page12"></a>12</span>A number of things are responsible. One of the most common +is that of mistaking a soprano who has a chest register for an +alto. This singer finds the low register easier to sing than the +upper, consequently she and her friends decide she is an alto. +Thereafter she sings low songs and takes the alto part in the +choir. The longer she follows this plan the less upper voice she +will have, and when she goes to a teacher, unless he has a discriminating +and analytical ear, he will allow her to remain in the +alto class. There is always something in the fiber of a tone, +even though it be badly produced, that will disclose to the +trained ear what it will be when rightly produced.</p> + +<p>Again, the human voice can produce such a variety of tone +qualities that sometimes a soprano will cultivate a somber +style of singing and a majority of people will call her alto. It +requires a trained ear to detect what she is doing. The baritone +also, because he often sings the bass part in a quartet, tries +to make himself sound like a bass; this he does by singing with +a somber, hollow quality which has little or no carrying power.</p> + +<p>Another mistake is that of classifying a voice according to +its compass. This is the least reliable method of all. The mere +fact of having high tones does not necessarily make one a soprano, +neither is a voice always to be classified as alto by reason +of not being able to sing high. It is <em>quality</em> that decides what +a voice is. Soprano is a quality. Alto is a quality. The +terms tenor, baritone, bass, refer to a quality rather than a +compass. These qualities are determined primarily by the +construction of the organ.</p> + + +<p>But when voices are properly trained there is not so much +difference in the compass as most people suppose. For example: +the female head voice lies approximately within this compass +<img src="images/fig_a.png" title="Figure A" alt="a fragment of music" id="figure_a" name="figure_a" width="184" height="67" /> +<span class="pagenum"><a id="page13" name="page13"></a>13</span>and +altos who learn to use the real head voice will have no +difficulty in vocalizing that high.</p> + +<p>At the lower end of the voice sopranos who have a chest +register will often sing as low as most altos. But whether they +sing high or low it is always the quality that determines the +classification of the voice.</p> + +<p>Many lyric sopranos have no chest register, and it would be a +mistake to attempt to develop one. In such voices, which +rarely have anything below middle C, the middle register must +be strengthened and carried down and made to take the place +of the chest voice.</p> + +<p>It must not be understood that there is but one soprano +quality, one alto quality, etc. The voice is so individual that +it cannot be thus limited. There are many soprano qualities +between the coloratura and the dramatic, and the same is +true of alto, tenor, baritone and bass.</p> + +<p>When the voice is rightly produced, its natural quality will +invariably appear, and there it must be allowed to remain. An +attempt to change it always means disaster.</p> + +<p>It will be observed that the piano string diminishes in length +and thickness as the pitch rises, and the voice must do something +which corresponds to this. Otherwise it will be doing +that which approximates stretching the middle C string, for +example, until it will produce its octave.</p> + +<p>In discussing the head voice it is the purpose to avoid as +much as possible the mechanical construction of the instrument. +This may be learned from the numerous books on the +anatomy and physiology of the voice. It is an interesting +subject, but beyond an elementary knowledge it is of little +value to the teacher. A correct knowledge of how to train the +voice must be gained in the studio, not in the laboratory. Its +basis is the musical sense rather than the mechanical or +scientific. All of the scientific or mechanical knowledge that +<span class="pagenum"><a id="page14" name="page14"></a>14</span>the world has to offer is no preparation for voice training. A +knowledge of the art of teaching begins when the teacher +takes his first pupil, not before. Therefore the aim shall be to +present the subject as it appears to the teacher.</p> + +<p>We hear much of the value of vocal physiology as a guide to +good voice production. It is also claimed that a knowledge of +it will prevent the singer from misusing his voice and at the +same time act as a panacea for vocal ills. These statements do +not possess a single element of truth. The only way the singer +can injure the vocal instrument is by forcing it. That is, by +setting up a resistance in the vocal cords that prevents their +normal action. If this is persevered in it soon becomes a habit +which results in chronic congestion. Singing becomes increasingly +difficult, especially in the upper voice, and in course of +time the singer discovers that he has laryngitis. Will a knowledge +of vocal physiology cure laryngitis? Never. Will it +prevent any one from singing “throaty?” There is no instance +of the kind on record. In a majority of cases laryngitis and +other vocal ills are the direct results of bad voice production +and disappear as the singer learns to produce his upper tones +without resistance. These things are effects, not causes, and to +destroy the effect we must remove the cause. This will be +found to be a wrong habit and habits are mental, not physical. +When a mental impulse and its consequent response become +simultaneous and automatic the result is a habit, but it is +the mental impulse that has become automatic.</p> + +<p>The terms, <em>tension</em>, <em>rigidity</em>, <em>interference</em>, <em>resistance</em>, all mean +essentially the same thing. They mean the various forms of +contraction in the vocal instrument which prevents its involuntary +action. If we follow these things back far enough we +shall find that they all have their origin in some degree of fear. +This fear, of which anxiety is a mild form, begins to show itself +whenever the singer attempts tones above the compass of his +<span class="pagenum"><a id="page15" name="page15"></a>15</span>speaking voice. Here is undeveloped territory. The tone +lacks power, quality and freedom, and as power is what the +untrained singer always seeks first, he begins to force it. In a +short time he has a rigid throat, and the longer he sings the +more rigid it becomes. By the time he decides to go to a +teacher his voice is in such a condition that he must take his +upper tones with a thick, throaty quality or with a light falsetto. +Among female voices I have seen many that could sing nothing +but a full tone in the upper register, and that only with an unsteady, +unsympathetic quality.</p> + +<p>Now a point upon which all voice teachers can agree is that +the upper voice is not properly trained until it has a perfect +<i>messa di voce</i> that is, until the singer can swell the tone from +the lightest pianissimo to full voice and return, on any tone in +his compass, without a break and without sacrificing the pure +singing quality. How shall this be accomplished? If the +singer is forcing the upper voice it is safe to say in the beginning +that it never can be done by practicing with full voice. Such +practice will only fasten the habit of resistance more firmly +upon the singer. To argue in the affirmative is equivalent to +saying that the continued practice of a bad tone will eventually +produce a good tone.</p> + +<p>There is but one way to the solution of the problem; the +singer must get rid of resistance. When he has succeeded in +doing that the problem of the head voice is solved. The bugaboo +of voice placing permanently disappears. The difficulty +so many have in placing the upper voice lies in this, that they +try to do it without removing the one thing which prevents +them from doing it. When the voice is free from resistance it +places itself, that is, it produces without effort whatever quality +the singer desires. The term “head voice,” doubtless grew out +of the sensation in the head which accompanies the upper tones, +and this sensation is the result of the vibration of the air in +<span class="pagenum"><a id="page16" name="page16"></a>16</span>the air head cavities. Many have taken this sensation as a +guide to the production of the head voice, and in order to make +sure of it they instruct the student to direct the tone into the +head. This is not only an uncertain and unnecessary procedure, +but is almost sure to develop a resistance which effectually +prevents the tone from reaching the head cavities. When there +is no interference the tone runs naturally into the proper channel. +It is not necessary to use force to put it there.</p> +<div class="section"> +<h3 class="section_title">HEAD RESONANCE</h3> + + +<p>Whether or not the head cavities act as resonators is one of +the many mooted points in voice training. Those who believe +they do are much in the majority, but those in the minority +are equally confident they do not. What are the arguments? +That there is a sensation in the head cavities when singing in +the upper part of the compass no one can deny. Does it +affect tone quality? The minority offers the argument that it +cannot do so because the soft palate automatically rises in +singing a high tone, thus closing the passage through the nose. +On the other side it is argued, and rightly, that the soft palate +can be trained to remain low in singing high tones. But whether +the soft palate is high or low does not settle the matter. It +is not at all necessary that breath should pass through the +nasal cavities in order to make them act as resonators. In fact +it is necessary that it should not. It is the air that is already +in the cavities that vibrates. All who are acquainted with resonating +tubes understand this. Neither is it necessary that +the vibrations should be transmitted to the head cavities by +way of the pharynx and over the soft palate. They may be +transmitted through the bones of the head. John Howard +proved this, to his satisfaction at least, many years ago.</p> + +<p><span class="pagenum"><a id="page17" name="page17"></a>17</span>I recall that in working with Emil Behnke he used an exercise +to raise the soft palate and completely close the channel, +yet no one can deny that his pupils had head resonance. +There are certain facts in connection with this that are hard +to side-step. Plunket Greene once told me that at one time +he lost the resonance in the upper part of his voice, and on +consulting a specialist he found a considerable growth on the +septum. He had it removed and at once the resonance returned. +Other equally strong arguments could be offered in +support of the claim that the head cavities do act as resonators. +At any rate the high or low palate is not the deciding factor.</p> + +<p>Too much cannot be said on the subject of interference, or +resistance. So long as there is any of it in evidence it has its +effect on tone quality. It is the result of tension, and tension +is a mental impulse of a certain kind. Its antidote is relaxation, +which is a mental impulse of an opposite nature. It is +necessary for most singers to work at this until long after they +think they have it.</p> + +<p>In preparing the head voice the student must begin with a +tone that is entirely free from resistance and build from that. +In a large majority of voices it means practicing with a light, +soft tone. A voice that cannot sing softly is not rightly produced. +While the student is working for the freedom which +will give him a good half voice he is preparing the conditions +for a good full voice. The conditions are not right for the practice +of full voice until the last vestige of resistance has disappeared. +The light voice is as necessary to artistic success as +the full voice. The singer must have both, but he must never +sacrifice quality for power.</p> + +<p>In the female voice the readjustments of the mechanism +known as changes of register usually occur at about <img class="large_inline_image" src="images/fig_b.png" title="Figure B" alt="a musical fragment" width="348" height="56" id="figure_b" name="figure_b" /></p> + +<p><span class="pagenum"><a id="page18" name="page18"></a>18</span>In many lyric soprano voices I have found the same readjustment +at the B and C above the staff <img src="images/fig_c.png" title="Figure C" alt="a musical fragment" id="figure_c" name="figure_c" width="188" height="61" /></p> + +<p>I have also noted in many bass voices a similar change of adjustment +at the E and F below the bass clef <img src="images/fig_d.png" title="Figure D" alt="a musical fragment" id="figure_d" name="figure_d" width="186" height="44" /></p> + +<p>It would seem therefore, that in a majority of voices until +an even scale has been developed, that these readjustments appear +at about the E and F and B and C throughout the vocal +compass. The exceptions to this rule are so numerous however, +that it can scarcely be called a rule. Some voices will have +but one noticeable readjustment, and it may be any one of the +three.</p> + +<p>In some voices the changes are all imperceptible. In others, +due to wrong usage, they are abrupt breaks. In every instance +the teacher must give the voice what it needs to perfect +an even scale. There should be no more evidence of register +changes in the vocal scale than in the piano scale.</p> + +<p>Leaving the lower two changes for the moment, let us consider +the one at the upper E and F. This one is so common +among sopranos that there are few who have not one, two, or +three weak tones at this point. To avoid these weak tones +many are taught to carry the thicker tones of the middle register +up as far as they can force them in order to get the “big +tone” which seems to be the sole aim of much modern voice +teaching. The victims of this manner of teaching never use +the real head voice, and one thing happens to them all. As +time goes on the upper voice grows more and more difficult, the +high tones disappear one by one, and at the time when they +should be doing their best singing they find themselves vocal +wrecks. Some of them change from soprano to alto and end +by that route.</p> + +<p><span class="pagenum"><a id="page19" name="page19"></a>19</span>Now these are not instances that appear at long intervals. +They are in constant evidence and the number is surprisingly +large. The cause is ignorance of how to treat the upper voice, +together with an insane desire for a “big tone” and a lack of +patience to await until it grows. The incredible thing is that +there is a teacher living whose ear will tolerate such a thing.</p> + +<p>Now there is a way to develop the head voice that gives the +singer not only the full power of his upper voice, but makes it +free, flexible and vibrant, a sympathetic quality, a perfect +<i>messa di voce</i>, and enables him to sing indefinitely without +tiring his voice. He must learn that it is possible to produce a +full tone with a light mechanism. This is the natural way of +producing the head voice. Further, the light mechanism must +be carried far below the point where the so called change of +register occurs.</p> + +<p>Every voice should have a head register, and it may be developed +in the following way. With altos and sopranos I +start with this exercise +<img src="images/ex_01.png" class="large_inline_image" title="Exercise No. 1" alt="a musical fragment" id="exercise_1" name="exercise_1" width="377" height="87" /> +</p> + +<p>Altos should begin at A.</p> + +<p>The student should neither feel nor hear the tone in the throat. +Therefore he should begin with a soft <i>oo</i>. The throat should be +free, lips relaxed but slightly forward. There should be no +puckering of the lips for <i>oo</i>. The tone should seem to form +itself around the lips, not in the throat. In the beginning the +exercise must be practiced softly. No attempt must be made +to increase the power, until the tone is well established in the +light mechanism. When the <i>oo</i> can be sung softly and without +resistance as high as E flat use the same exercise with <i>o</i>.</p> + +<p>The next step is to blend this light mechanism with the +heavier mechanism. It may be done in this way, +<img class="large_inline_image" src="images/ex_02.png" title="Exercise No. 2" alt="a musical fragment" id="exercise_2" name="exercise_2" width="370" height="103" /></p> + +<p><span class="pagenum"><a id="page20" name="page20"></a>20</span>Sing this descending scale with a crescendo, always beginning +it <i>pp</i>. It should be practiced very slowly at first, and with +portamento. Carrying the head voice down over the middle +and the middle down over the lower will in a short time blend +all parts of the voice, and lay the foundation of an even scale. +The exercise should be transposed upward by half steps as the +voice becomes more free until it reaches F or F sharp.</p> + +<p>The next step is the building process. Use the following: +<img class="large_inline_image" src="images/ex_03.png" title="Exercise No. 3" alt="a musical fragment" id="exercise_3" name="exercise_3" width="378" height="99" /> +</p> + +<p>Altos should begin at A. In practicing these swells great +care must be taken. Tone quality is the first consideration, +and the tone must be pressed no further than is possible while +retaining the pure singing quality. Where voices have been +forced and are accustomed to sing nothing but thick tones this +building process is sometimes slow. The student finds an almost +irresistible tendency to increase the resistance as he increases +the power of the tone. Therefore the louder he sings +the worse it sounds. This kind of practice will never solve the +problem. When the student is able to swell the tone to full +power without increasing the resistance the problem is solved.</p> + +<p>The progress of the student in this, as in everything in voice +training, depends upon <em>the ear of the teacher</em>. The untrained ear +of the student is an unreliable guide. The sensitive ear of the +teacher must at all times be his guide. The belief that every +one knows a good tone when he hears it has no foundation in +fact. If the student’s concept of tone were perfect he would +not need a teacher. He would have the teacher within himself. +Every one knows what he likes, and what he likes is of +necessity his standard at that particular time, but it is only +the measure of his taste and may be different the next day.</p> + + +<p>All things in voice training find their court of last resort in +<span class="pagenum"><a id="page21" name="page21"></a>21</span>the ear of the teacher. All other knowledge is secondary to +this. He may believe any number of things that are untrue +about the voice, but if he have a thoroughly refined ear it will +prevent him from doing anything wrong. His ear is his taste, +his musical sense, and it is his musical sense, his musical judgment, +that does the teaching.</p> + +<p>So in building the head voice the teacher must see to it that +musical quality is never sacrificed for power. A full tone is +worse than useless, unless the quality is musical and this can +never be accomplished until the vocal instrument is free from +resistance.</p> + +<p>Exercise No. 3 should be transposed upward by half steps, +but never beyond the point at which it can be practiced comfortably.</p> + +<p>As tension shows most in the upper part of the voice the +student should have, as a part of his daily practice, exercises +which release the voice as it rises. Use the following: +<img class="large_inline_image" src="images/ex_04.png" title="Exercise No. 4" alt="a musical fragment" id="exercise_4" name="exercise_4" width="424" height="90" /> +</p> +<p class="continued_paragraph">Begin with medium power and diminish to <i>pp</i> as indicated. +The upper tone must not only be sung softly, but the throat must +be entirely free. There must be no sense of holding the tone.</p> + +<p class="continued_paragraph">Transpose to the top of +the voice. <img class="large_inline_image" src="images/ex_05.png" title="Exercise No. 5" alt="a musical fragment" id="exercise_5" name="exercise_5" width="422" height="86" /> +</p> + +<p class="continued_paragraph">No. 5 is for the same purpose as No. 4 but in an extended form. +Begin with rather full voice and diminish to <i>pp</i> ascending. Increase +to full voice descending. Continue the building of the upper voice using the complete +scale.</p> +<p><img class="large_inline_image" src="images/ex_06.png" title="Exercise No. 6" alt="a musical fragment" id="exercise_6" name="exercise_6" width="422" height="109" /></p> + +<p><span class="pagenum"><a id="page22" name="page22"></a>22</span>Thus far in preparing the head voice we have used the vowels +<i>oo</i> and <i>o</i>. We may proceed to the vowel <i>ah</i> in the following +way. Using Ex. No. 6 first sing <i>o</i> with loose but somewhat +rounded lips. When this tone is well established sing <i>o</i> with the +same quality, the same focus, or placing without rounding the +lips. It amounts to singing <i>o</i> with the <i>ah</i> position. When this can +be done then use short <i>u</i> as in the word <i>hum</i>. This gives approximately +the placing for <i>ah</i> in the upper voice. When +these vowels can all be sung with perfect freedom transpose +upward by half steps. <img class="large_inline_image" src="images/ex_07.png" title="Exercise No. 7" alt="a musical fragment" id="exercise_7" name="exercise_7" width="419" height="110" /> +</p> + + +<p>In No. 7 when the crescendo has been made on the upper +tone carry the full voice to the bottom of the scale.</p> + +<p><img class="large_inline_image" src="images/ex_08.png" title="Exercise No. 8" alt="a musical fragment" id="exercise_8" name="exercise_8" width="336" height="62" /></p> + +<p>This is another way of blending the different parts of the +voice. It should be sung portamento in both directions. +When sung by a female voice it will be Middle, Head, Middle +as indicated by the letters M, H, M. When sung by the male +voice it will be Chest, Head, Chest as indicated by the letters +C, H, C. Transpose upward by half steps.</p> + +<p>When the foregoing exercises are well in hand the head voice +may be approached from the middle and lower registers in +scale form as in the following:</p> + +<p> +<img class="large_inline_image" src="images/ex_09.png" title="Exercise No. 9" alt="a musical fragment" id="exercise_9" name="exercise_9" width="377" height="85" /> +<img class="large_inline_image" src="images/ex_10.png" title="Exercise No. 10" alt="a musical fragment" id="exercise_10" name="exercise_10" width="453" height="84" /> +<span class="pagenum"><a id="page23" name="page23"></a>23</span> +<img class="large_inline_image" src="images/ex_11.png" title="Exercise No. 11" alt="a musical fragment" id="exercise_11" name="exercise_11" width="512" height="98" /> +<img class="large_inline_image" src="images/ex_12.png" title="Exercise No. 12" alt="a musical fragment" id="exercise_12" name="exercise_12" width="513" height="108" /> +<img class="large_inline_image" src="images/ex_13.png" title="Exercise No. 13" alt="a musical fragment" id="exercise_13" name="exercise_13" width="513" height="107" /> +</p> + +<p>The fact that male voices are more often throaty in the upper +register then female voices calls for special comment.</p> + +<p>The following diagram showing the relationship of the two +voices will help to elucidate the matter.</p> + +<p> +<img class="large_inline_image" src="images/fig_e.png" title="Figure D" alt="a musical fragment" id="figure_e" name="figure_e" width="523" height="161" /> +</p> + +<p>I have here used three octaves of the vocal compass as sufficient +for the illustration. Remembering that the male voice +is an octave lower than the female voice we shall see that the +female voice is a continuation, as it were, of the male voice; the +lower part of the female compass overlapping the upper part of +the male compass, the two having approximately an octave G +to G in common. Further it will be seen that both male and +female voices do about the same thing at the same absolute +pitches. At about E flat or E above middle C the alto or +soprano passes from the chest to the middle register. It is at +the same absolute pitches that the tenor passes from what is +usually called open to covered tone, but which might better be +called from chest to head voice. There is every reason to believe +<span class="pagenum"><a id="page24" name="page24"></a>24</span>that the change in the mechanism is the same as that +which occurs in the female voice at the same pitches. That +there is oftentimes a noticeable readjustment of the mechanism +in uncultivated voices at these pitches no observing teacher will +deny, and these are the voices which are of special interest to +the teacher, and the ones for which books are made. It will +be observed that this change in the male voice takes place in +the upper part of his compass instead of in the lower, as in the +female voice. This change which is above the compass of the +speaking voice of the tenor or baritone, adds greatly to its +difficulty. For this reason the training of the male head voice +requires more care and clearer judgment than anything else +in voice training.</p> + +<p>In treating this part of the female voice we have learned that +if the heavy, or chest voice, is carried up to G or A above +middle C it weakens the tones of the middle register until they +finally become useless. Then the chest tones become more +difficult and disappear one by one and the voice has no further +value. Identically the same thing happens to the tenor who, +by reason of sufficient physical strength forces his chest voice +up to G, A, or B flat. He may be able to continue this for +awhile, sometimes for a few years, but gradually his upper +tones become more difficult and finally impossible and another +vocal wreck is added to the list.</p> + +<p>In restoring the female voice that has carried the chest voice +too high it is necessary to carry the middle register down, sometimes +as low as middle C until it has regained its power. The +tenor or baritone must do essentially the same thing. He must +carry the head voice, which is a lighter mechanism than the +chest voice, down as low as this c <img src="images/fig_f.png" title="Figure F" alt="a musical fragment" id="figure_f" name="figure_f" width="137" height="64" /> using what is +often called mixed voice. When the pitches <img src="images/fig_g.png" title="Figure G" alt="a musical fragment" id="figure_g" name="figure_g" width="317" height="64" /> +are practiced with a sufficiently relaxed +<span class="pagenum"><a id="page25" name="page25"></a>25</span>throat the tone runs naturally into the head resonator with +a feeling almost the equivalent of that of a nasal tone, but +this tone will be in no sense nasal. It will be head voice.</p> + +</div><!--Head Resonance--> +<div class="section"> +<h3 class="section_title">THE FALSETTO</h3> + + +<p>Does the falsetto have any part in the development of the +head voice? This inoffensive thing is still the subject of a +considerable amount of more of less inflammatory debate both +as to what it is and what it does. Without delay let me assure +every one that it is perfectly harmless. There is no other one +thing involved in singing, immediate or remote, from which +the element of harm is so completely eliminated. It is held +by some that it is produced by the false vocal chords. This +position is untenable for the reason that I have known many +singers who could go from the falsetto to a full ringing tone and +return with no perceptible break. Now since it will hardly be +argued that a ringing, resonant tone could be produced by the +false vocal cords, it is evident that the singer must change from +the false to the true vocal cords somewhere in the process—a +thing which is unthinkable.</p> + +<p>It is held by others that the falsetto is a relic of the boy’s +voice, which has deteriorated from lack of use. This seems +not unreasonable, and a considerable amount of evidence is +offered in support of it. We may safely assume however that +it is produced by the true vocal cords and the lightest register +in the male voice. What is its use? Unless its quality can be +changed it has little or no musical value. There are some +teachers who claim that the falsetto mechanism is the correct +one for the tenor voice and should be used throughout the +entire compass. I am not prepared to subscribe to this. There +are others who believe that the falsetto should be developed, +<span class="pagenum"><a id="page26" name="page26"></a>26</span>resonated, +so that it loses its flute quality, and blended with the +head voice. This seems in the light of my experience +to be reasonable. When this can be done it gives the singer +the most perfect mechanism known. But it cannot always be +done. The voice is individual, and the entire sum of individual +experience leaves its impression on it. I have found +many voices where the falsetto was so completely detached +from the head voice that it would be a waste of time to attempt +to blend them.</p> + +<p>But there is one place in voice training where the practice +of the falsetto has a distinct value. I have seen many tenors +and baritones who forced the heavy chest voice up until they +developed an automatic clutch, and could sing the upper +tones only with extreme effort. To allow them to continue in +that way would never solve their problem. In such a condition +half voice is impossible. It must be one thing or the other, +either the thick chest voice or falsetto. The falsetto they can +produce without effort, and herein lies its value. They become +accustomed to hearing their high tones without the association +of effort, and after a time the real head voice appears. +The thing which prevented the head voice from appearing in +the beginning was extreme resistance, and as soon as the resistance +disappeared the head voice made its appearance. This +was accomplished by the practice of the very light register +known as falsetto. When the head voice appears the use of the +falsetto may be discontinued.</p> + +<p>The thing expected of the teacher is results and he should not +be afraid to use anything that will contribute to that end.</p> + +<p>It is in the upper part of the voice that mistakes are most +likely to be made and ninety nine per cent of the mistakes is +forcing the voice, that is, singing with too much resistance. So +long as the resistance continues a good full tone is impossible. +The plan outlined above for eliminating resistance has been +<span class="pagenum"><a id="page27" name="page27"></a>27</span>tested with many hundreds of voices and has never failed. +The idea held by some that such practice can never produce a +large tone shows a complete misunderstanding of the whole +matter. That it produces the full power of the voice without +sacrificing its musical quality is being proved constantly.</p> + +<p>Every day we hear the story of voices ruined by forcing +high tones. Who is responsible? Each one must answer for +himself. With the hope of diminishing it in some degree, this +outline is offered.</p> +</div><!--The Falsetto--> +</div><!--Chapter 2--> +<div class="chapter" id="Ch_III"> +<p><span class="pagenum"><a id="page28" name="page28"></a>28</span></p> +<p class="chapter_number">III</p> +<h2 class="chapter_title">A GENERAL SURVEY OF THE SITUATION</h2> +<div class="epigram"> +<p>“I will roar you as gently as any sucking dove: I will roar you an’t were +any nightingale.”</p> + +<p class="citation">Shakespeare. <i>A Midsummer Night’s Dream</i>.</p> +</div> + + +<p>The singing world is confronted with a situation unique in +its humor. On every side we hear the lachrymose lament that +voice training is in a chaotic condition, that <i>bel canto</i> is a lost +art, and that the golden age of song has vanished from the +earth.</p> + +<p>The unanimity of this dolorous admission would seem to be a +sad commentary on the fraternity of voice teachers; but here +enters the element of humor. There is not recorded a single +instance of a voice teacher admitting that his own knowledge +of the voice is chaotic. He will admit cheerfully and oftentimes +with ill concealed enthusiasm that every other teacher’s +knowledge is in a chaotic condition, but his own is a model of +order and intelligence.</p> + +<p>If we accept what voice teachers think of themselves the +future looks rosy. If we accept what they think of each other +the future is ominous and the need for reform is dire and urgent.</p> + +<p>But if a reform be ordered where shall it begin? Obviously +among the teachers themselves. But judging from the estimate +each one puts upon himself how shall we reform a thing +which is already perfect? On the other hand, if we take the +pessimistic attitude that all teachers are wrong will it not be a +case of the blind leading the blind, in which instance their +destination is definitely determined somewhere in the New +Testament. Verily the situation is difficult. Nevertheless +it is not altogether hopeless. The impulse to sing still remains. +<span class="pagenum"><a id="page29" name="page29"></a>29</span>More people are studying singing, and more people sing well +today than at any other time in the history of the world. The +impulse to sing is as old as the human race. When the joy of +life first welled up within man and demanded utterance the +vocal instrument furnished by nature was ready to respond and +the art of singing began, and if we may venture a prophecy it +will never end in this world or the next. It cannot be destroyed +even by the teachers themselves. It is this natural, inborn desire +to sing that is directly responsible for the amazing perseverance +of many vocal students. If after a year or two of +study they find they are wrong they are not greatly disturbed, +but select another teacher, firm in the faith that eventually +they will find the right one and be safely led to the realization +of their one great ambition—to be an artist. It is this that +has kept the art alive through the centuries and will perpetuate +it. This impulse to sing is something no amount of bad teaching +can destroy.</p> +<div class="section"> +<h3 class="section_title">THE REFORM</h3> + +<p>Everything in the universe that has come under the scrutiny +of mortal man has been subjected to a perpetual reformation. +Nothing is too great or too small to engage the attention of the +reformer. Religion, politics, medicine and race suicide are +objects of his special solicitude, but nothing else has been forgotten. +No phase of human activity has been allowed to remain +at rest. So far as we know nothing but the multiplication +table has escaped the reformer. There is a general feeling +that nothing is exactly right. This may be the operation of the +law of progress, doubtless it is, but it occasions a mighty unrest, +and keeps the world wondering what will happen next. +This law of progress is but another name for idealism to which +<span class="pagenum"><a id="page30" name="page30"></a>30</span>the world owes everything. Idealism is that which sees a better +condition than the one which now obtains. The process of +realizing this better condition is in itself reformation.</p> + +<p>As far back as we have any knowledge of the art of singing +the reformers have been at work, and down through the centuries +their energies have been unflagging. We owe to them +whatever advance has been made toward a perfect system of +voice training, but they are also responsible for many things +pernicious in their nature which have been incorporated in +present day methods of teaching, for it must be admitted that +there are false prophets among singing teachers no less than +among the members of other professions. There is one +interesting thing connected with the work of these vocal reformers. +From the beginning they have insisted that the art +of <i>bel canto</i> is lost. Tosi (1647-1727), Porpora (1686-1766), +Mancini (1716-1800), three of the greatest teachers of the old +Italian school, all lamented the decadence of the art of singing. +Others before and since have done the same thing. It +seems that in all times any one who could get the public ear +has filled it with this sort of pessimistic wail. From this we +draw some interesting conclusions: First, that the real art of +singing was lost immediately after it was found. Second, +that the only time it was perfect was when it began. Third, +that ever since it began we have been searching for it without +success. If any of this is true it means that all of the great +singers of the past two hundred years have been fakers, because +they never really learned how to sing. It is surprising that we +did not see through these musical Jeremiahs long ago. In +all ages there have been good teachers and bad ones, and it +would not be surprising if the bad ones outnumbered the good +ones; but the weak link in the chain of argument is in estimating +the profession by its failures. This is a cheap and much +overworked device and discloses the egotism of the one using +<span class="pagenum"><a id="page31" name="page31"></a>31</span>it. There are teachers today who thoroughly understand the +art of <i>bel canto</i>. They have not lost it, and the others never +had it. This condition has obtained for centuries and will +continue indefinitely. An art should be measured by its best +exponents, not by its worst. To measure it by its failures is +illogical and dishonest.</p> + +<p>In recent years the process of reformation has been applied +to all branches of music teaching with the hope of reducing +these failures to a minimum. The profession has suddenly +awakened to the fact that it must give a better reason for its +existence than any heretofore offered. It has become clear to +the professional mind that in order to retain and enlarge its self-respect +music must be recognized as a part of the great human +uplift. To this end it has been knocking at the doors of the +institutions of learning asking to be admitted and recognized +as a part of public education. The reply has been that music +teaching must first develop coherence, system and standards. +This has caused music teachers to look about and realize as +never before that the profession as a whole has no organization +and no fixed educational standards. Every teacher fixes his +own standard and is a law unto himself. The standard is +individual, and if the individual conscience is sufficiently +elastic the standard gives him no serious concern. But as a +result of this awakening there is a concerted action throughout +the country to standardize, to define the general scope of learning +necessary to become a music teacher. The trend of this +is in the right direction, and good may be expected from it, although +at best it can be but a very imperfect method of determining +one’s fitness to teach. The determining factors in +teaching are things which cannot be discovered in any ten +questions. In fact an examination must necessarily confine +itself to general information, but in teaching, the real man reveals +himself. His high sense of order, logic, patience, his love +<span class="pagenum"><a id="page32" name="page32"></a>32</span>and appreciation of the beautiful, his personality, his moral +sense, the mental atmosphere of his studio, these all enter into +his teaching and they are things difficult to discover in an examination. +Unconsciously the teacher gives out himself along +with the music lesson, and it is equally important with his +knowledge of music. Therefore it is as difficult to establish +definite standards of teaching as it is of piano or violin making.</p> + +<p>In attempting to establish standards of voice teaching the +problem becomes positively bewildering. The voice is so completely +and persistently individual, and in the very nature of +things must always remain so, that an attempt to standardize +it or those who train it is dangerous. Yet notwithstanding +this, voice teachers are the most industrious of all in their +efforts to organize and standardize. The insistence with which +this aim is prosecuted is worthy of something better than is +likely to be achieved.</p> + +<p>That there is no standard among voice teachers save that of +the individual will be admitted without argument; and until +there is such a thing as a fixed standard of musical taste this +condition will remain, for the musical taste of the teacher is +by far the most potent factor in the teaching of tone production.</p> + +<p>Of late there have been vigorous efforts to establish a standard +tone for singers. This, according to the apostles of “Harmony +in the ranks,” is the one way of unifying the profession. +As an argument this is nothing short of picturesque, and can +be traced to those unique and professedly scientific mentalities +that solve all vocal problems by a mathematical formula. As +an example of the chimerical, impossible and altogether undesirable, +it commands admiration. If it is impossible to establish +a standard tone for pianos where the problem is mechanical, +what may we expect to do with voice where the +problem is psychological?</p> + +<p>When we have succeeded in making all people look alike, +<span class="pagenum"><a id="page33" name="page33"></a>33</span>act alike, think alike; when we have eliminated all racial +characteristics and those resulting from environment; when +people are all of the same size, weight, proportion, structure; +when skulls are all of the same size, thickness and density; +when all vocal organs and vocal cavities are of the same form +and size; when we have succeeded in equalizing all temperaments; +when there is but one climate, one language, one government, +one religion; when there is no longer such a thing as +individuality—then perhaps a standard tone may be considered. +Until that time nothing could be more certain of failure. +The great charm of voices is their individuality, which is the +result not alone of training, but of ages of varied experience, for +man is the sum of all that has preceded him. It is, to say the +least, an extraordinary mentality that would destroy this +most vital element in singing for the sake of working out a +scientific theory.</p> + +<p>But there is no immediate danger. Nature, whose chief +joy is in variety and contrast, is not likely to sacrifice it suddenly +to a mere whim.</p> + +<p>When we speak of a standard tone we enter the domain of +acoustics and must proceed according to the laws of physics. +In this standard tone there must be a fundamental combined +with certain overtones. But who shall say which overtones, +and why the particular combination? The answer must be +“because it sounds best.” A tone being something to hear, +this is a logical and legitimate answer. But if the listener +knows when it sounds right he knows it entirely separate and +apart from any knowledge he may have of its scientific construction; +hence such knowledge is of no value whatever in +determining what is good and what is bad in tone quality. A +tone is not a thing to see and the teacher cannot use a camera +and a manometric flame in teaching tone production. Any +<span class="pagenum"><a id="page34" name="page34"></a>34</span>knowledge he may have gained from the use of such instruments +in the laboratory is valueless in teaching.</p> + +<p>If it were possible to adopt as a standard tone a certain combination +of fundamental and overtones (which it is not), and +if it were possible to make all singers use this particular tone +(which, thank heaven it is not), then all voices would sound +alike and individuality would at once disappear.</p> + +<p>The advocates of this kind of standard tone cannot disengage +themselves from the belief that all vocal organs are alike. +The exact opposite is the truth. Vocal organs are no more +alike than are eyes, noses, hands and dispositions. Each of +these conforms only to a general type. The variation is infinite.</p> + +</div><!--The Reform--> +<div class="section"> +<h3 class="section_title">MENTALITY</h3> + +<p>The mentality of the individual forms the organ through +which it can express itself, and this mentality is the accumulation +of all of the experience which has preceded it. Further, +muscles and cartilages are not all of the same texture. Thyroid +cartilages vary in size and shape. The vocal cavities, pharynx, +mouth and nasal cavities are never exactly the same in any +two people. The contours of the upper and lower jaw and +teeth, and of the palatal arch are never found to be exactly +alike. All of these variations are a part of the vocal instrument +and determine its quality. Every vocal organ when +properly directed will produce the best quality of which that +particular instrument is capable. An attempt to make it +produce something else must necessarily be a failure. The +structure of the instrument determines whether the voice is +bass, tenor, alto or soprano with all of the variations of these +four classes. The individuality of the voice is fixed by nature +no less definitely.</p> + +<p><span class="pagenum"><a id="page35" name="page35"></a>35</span>The effort to standardize tone quality discloses a misapprehension +of what it means to train a voice. Its advocates look +upon man as so much matter, and the voice as something which +must be made to operate according to fixed mathematical +rules and ignore completely its psychology.</p> + +<p>But the rich humor of it all appears when the propagandists +of standard tone meet to establish the standard. It is soon +observed that there are as many standards as there are members +present and the only result is a mental fermentation.</p> +</div><!--Mentatlity--> + +<div class="section"> +<h3 class="section_title">GETTING TOGETHER</h3> + +<p>In recent years many attempts have been made by vocal +teachers to “get together.” As nearly as can be ascertained +this getting together means that all shall teach in the same way, +that all shall agree on the disputed points in voice training, or +that certain articles of faith to which all can subscribe, shall be +formulated; but when it comes to deciding whose way it shall +be or whose faith shall be thus exalted, each one is a Gibraltar +and the only perceptible result is an enlargement of the individual +ego. And so it endeth.</p> +</div><!--Getting Together--> + +<div class="section"> +<h3 class="section_title">WHY TEACHERS DISAGREE</h3> +<p>Voice teachers are divided into two general classes—those +who make a knowledge of vocal physiology the basis of teaching +and those who do not. The members of the first class +follow the teachings of some one of the scientific investigators. +Each one will follow the scientist or physiologist whose ideas +most nearly coincide with his own, or which seem most reasonable +to him. In as much as the scientists have not yet +<span class="pagenum"><a id="page36" name="page36"></a>36</span>approached anything resembling an agreement, it follows +that their disciples are far from being of one mind.</p> + +<p>The members of the second class hold that a knowledge of +vocal anatomy and physiology beyond the elements has no +value in teaching, and that the less the student thinks about +mechanism the better. The scientific voice teachers usually +believe in direct control of the vocal organs. The members +of the opposite class believe in indirect control. This establishes +a permanent disagreement between the two general classes, +but the disagreement between those who believe in indirect +control is scarcely less marked. Here it is not so much a +matter of how the tone is produced, but rather the tone itself. +This is due entirely to the difference in taste among teachers. +The diversity of taste regarding tone quality is even greater +than that regarding meat and drink. This fact seems to be +very generally overlooked. It is this that so mystifies students. +After studying with a teacher for one or more years they go to +another to find that he at once tries to get a different tone +quality from that of the first. When they go to the third +teacher he tries for still another quality. If they go to a half +dozen teachers each one will try to make them produce a +tone differing in some degree from all of the others. The +student doubtless thinks this is due to the difference in understanding +of the voice among teachers, but this is not so. It is +due entirely to their differing tastes in tone quality. The +marvelous thing is that the voice will respond in a degree to all of +these different demands made upon it; but it forces the student +to the conclusion that voice training is an indefinite +something without order, system, or principle.</p> + +<p>So, in studying the conditions which obtain in voice teaching +at the present time it must be admitted that the evidence of +unity is slight; and the probability of increasing it by organization +or legislative enactment is not such as to make one enthusiastic. +<span class="pagenum"><a id="page37" name="page37"></a>37</span>What one believes is very real to himself. In fact +it is the only thing that seems right to him, therefore he sees +no valid reason why he should change his belief or why others +should not believe as he does. This positive element in the +human ego is advantageous at times, but it is also responsible +for all conflicts from mild disagreements to war among nations.</p> + +<p>But arguments and battles rarely ever result in anything +more than an armed truce. Difference of opinion will continue +indefinitely, but of this we may be sure, that the solution +of the vocal problem will never come through a study of vocal +mechanism however conscientious and thorough it may be, +but through a purer musical thought, a deeper musical feeling, +a clearer vision of what is cause and what is effect, a firmer conviction +of the sanctity of music, an unerring knowledge of the +relationship existing between the singer and his instrument.</p> +</div><!--Why teachers disagree--> + +</div><!--Chapter 3--> +<div class="chapter" id="Ch_IV"> +<p><span class="pagenum"><a id="page38" name="page38"></a>38</span></p> + +<p class="chapter_number">IV</p> + +<h2 class="chapter_title">HINTS ON TEACHING</h2> + +<div class="epigram"> +<p>“We live in a world of unseen realities, the world of thoughts and feelings. +But ‘thoughts are things,’ and frequently they weigh more and obtain +far more in the making of a man than do all the tangible realities which +surround him. Thoughts and feelings are the stuff of which life is made. +They are the language of the soul. By means of them we follow the +development of character, the shaping of the soul which is the one great +purpose of life.”</p> +<p class="citation"><i>Appreciation of Art</i>. Loveridge.</p> +</div> + + + +<p>Every year a large number of young men and women go +in quest of a singing teacher. The impulse to sing, which is +inborn, has become so insistent and irrepressible that it must +be heeded; and the desire to do things well, which is a part of +the mental equipment of every normal human being, makes +outside assistance imperative. Wherever there is a real need +the supply is forthcoming, so there is little difficulty in finding +some one who is ready, willing, in fact rather anxious, to undertake +the pleasant task of transforming these enthusiastic +amateurs into full-fledged professionals.</p> + +<p>The meeting of the teacher and student always takes place +in the studio, and it is there that all vocal problems are solved. +Let no one imagine that any vocal problem can be solved in a +physics laboratory. Why? <em>Because not one of the problems +confronting the vocal student is physical. They are all mental.</em> +The writer has reached this conclusion not from ignoring the +physical, but from making a comprehensive study of the vocal +mechanism and its relation to the singer.</p> + +<p>The anatomy and physiology of the vocal mechanism are +absorbing to one who is interested in knowing how man, +through untold centuries of growth has perfected an instrument +through which he can express himself; but no matter how far +we go in the study of anatomy and physiology all we really +<span class="pagenum"><a id="page39" name="page39"></a>39</span>learn is what mind has done. If man has a more perfect and +highly organized vocal instrument than the lower animals it +is because his higher manifestation of mind has formed an instrument +necessary to its needs.</p> + +<p>When man’s ideas and needs were few and simple his vocabulary +was small, for language is the means by which members +of the species communicate with each other. Whenever +man evolved a new idea he necessarily invented some way of +communicating it, and so language grew. A word is the +symbol of an idea, but invariably the idea originates the word. +The word does not originate the idea. The idea always arrives +first. All we can ever learn from the study of matter is +phenomena, the result of the activity of mind.</p> + +<p>Thus we see that so called “scientific study” of the vocal +mechanism is at best, but a study of phenomena. It +creates nothing. It only discovers what is already taking +place, and what has been going on indefinitely without conscious +direction will, in all probability, continue.</p> + +<p>The value attached by some to the study of vocal physiology +is greatly overestimated. In fact its value is so little as to be +practically negligible. It furnishes the teacher nothing he can +use in giving a singing lesson, unless, perchance he should be +so unwise as to begin the lesson with a talk on vocal mechanism, +which, by the way, would much better come at the last lesson +than the first. All we can learn from the study of vocal +physiology is the construction of the vocal instrument, and this +bears the same relation to singing that piano making bears to +piano playing. The singer and his instrument are two different +things, and a knowledge of the latter exerts very little +beneficial influence on the former.</p> + +<p>To reach a solution of the vocal problem we must understand +the relation existing between the singer and his instrument.</p> + +<p>The singer is a mentality, consequently everything he does +<span class="pagenum"><a id="page40" name="page40"></a>40</span>is an activity of his mentality. Seeing, hearing, knowing, +is this mentality in action. The two senses most intimately +associated with artistic activity are seeing and hearing, and +these are mental. In painting, sculpture, and architecture +we perceive beauty through the eye. In music it reaches us +through the ear; but <em>the only thing that is cognizant is the mind</em>. +To man the universe consists of mental impressions, and that +these impressions differ with each individual is so well understood +that it need not be argued. Two people looking at the +same picture will not see exactly the same things. Two people +listening to a musical composition may hear quite different +things and are affected in different ways, because <em>it is the mind +that hears</em>, and as no two mentalities are precisely the same, it +must be apparent that the impressions they receive will be +different. The things these mentalities have in common they +will see and hear in common, but wherein they differ they will +see and hear differently. Each will see and hear to the limit +of his experience, but no further.</p> + +<p>To be a musician one must become conscious of that particular +thing called music. He must learn to think music. The +elements of music are rhythm, melody, harmony, and form, +and their mastery is no less a mental process than is the study +of pure mathematics.</p> + +<p>The human mind is a composite. It is made up of a large +number of faculties combined in different proportions. The +germs of all knowledge exist in some form and degree in every +mind. When one faculty predominates we say the individual +has talent for that particular thing. If the faculty is abnormally +developed we say he is a genius, but all things exist as +possibilities in every mind. Nature puts no limitations on +man. Whatever his limitations, they are self imposed, nature +is not a party to the act.</p> + +<p>Now this is what confronts the teacher whenever a student +<span class="pagenum"><a id="page41" name="page41"></a>41</span>comes for a lesson. He has before him a mentality that has +been influenced not only by its present environment, but by +everything that has preceded it. “Man is,” as an old philosopher +said, “a bundle of habits,” and habits are mental trends. +His point of view is the product of his experience, and it will be +different from that of every one else. The work of the teacher +is training this mentality. Understanding this it will be seen +how futile would be a fixed formula for all students, and how +necessarily doomed to failure is any method of voice training +which makes anatomy and physiology its basis. Further, +there is much to be done in the studio beside giving the voice +lesson. Whistler said that natural conditions are never right +for a perfect picture. From the picture which nature presents +the artist selects what suits his purpose and rejects the rest. +It is much the same in the training of a singer. In order that +the lesson be effective the conditions must be right. This only +rarely obtains in the beginning. The student’s attitude toward +the subject must be right or the lesson will mean little to +him. The lesson to be effective must be protected by <em>honesty</em>, +<em>industry</em> and <em>perseverance</em>. If these are lacking in various +degrees, as they often are, little progress will be made. If the +student is studying merely for “society purposes,” not much +can be expected until that mental attitude is changed. Students +always want to sing well, but they are not always willing +to make the sacrifice of time and effort; consequently they lack +concentration and slight their practice. Sometimes the thought +uppermost in the student’s mind is the exaltation of the ego, +in other words, fame. Sometimes he measures his efforts +by the amount of money he thinks he may ultimately earn, be +it great or small. Sometimes he overestimates himself, or +what is equally bad, underestimates himself. It is a very common +thing to find him putting limitations on himself and telling +of the few things he will be able to do and the large number he +<span class="pagenum"><a id="page42" name="page42"></a>42</span>never will be able to do, thus effectually barring his progress. +Then there is always the one who is habitually late. She feels +sure that all of the forces of nature are leagued in a conspiracy +to prevent her from ever being on time anywhere. She, +therefore, is guiltless. There is another one who is a riot of +excuses, apologies and reasons why she has not been able to +practice. Her home and neighborhood seem to be the special +object of providential displeasure, which is manifested in an +unbroken series of calamitous visitations ranging from croup +to bubonic plague, each one making vocal practice a physical +and moral impossibility.</p> + +<p>All of these things are habits of mind which must be corrected +by the teacher before satisfactory growth may be expected. +In fact he must devote no inconsiderable part of his time to +setting students right on things which in themselves are no +part of music, but which are elements of character without +which permanent success is impossible.</p> + +<p>A great musical gift is of no value unless it is protected by +those elements of character which are in themselves fundamentally +right. Innumerable instances could be cited of +gifted men and women who have failed utterly because their +gifts were not protected by honesty, industry and perseverance.</p> + +<p>I have spoken at some length of the importance of the right +mental attitude toward study and the necessity of correcting +false conceptions. Continuing, it must be understood that the +work of the teacher is all that of training the mind of his student. +It is developing concepts and habits of mind which +when exercised result in beautiful tone and artistic singing. +It must also be understood that the teacher does not look at +the voice, he listens to it. Here voice teachers automatically +separate themselves from each other. No two things so +<span class="pagenum"><a id="page43" name="page43"></a>43</span>diametrically opposite as physics and metaphysics can abide +peaceably in the same tent.</p> + +<p>Let me emphasize the statement that <em>the teacher does not look +at the voice, he listens to it</em>. The teacher who bases his teaching +on what he can see, that is, on watching the singer and detecting +his mistakes through the eye, is engaged in an activity that is +mechanical, not musical. No one can tell from observation +alone whether a tone is properly produced. A tone is something +to hear, not something to see, and no amount of seeing +will exert any beneficial influence on one’s hearing.</p> + +<p>The process of learning to read vocal music at sight is that of +learning to <em>think tones</em>, to <em>think in the key</em>, and to <em>think all +manner of intervals and rhythmic forms</em>. It is altogether mental, +and it is no less absurd to hold that a knowledge of anatomy is +necessary to this than it is essential to the solution of a mathematical +problem. The formation of tone quality is no less +a mental process than is thinking the pitch. If the student +sings a wrong pitch it is because he has thought a wrong pitch, +and this is true to a large extent at least, if his tone quality +in not good. He may at least be sure of this, that <em>he never will +sing a better tone than the one he thinks</em>.</p> + +<p>A large part of the vocal teacher’s training should be learning +how to listen and what to listen for. This means training +the ear, which is the mind, until it is in the highest degree +sensitive to tone quality as well as to pitch. When there is a +failure in voice training it may be counted upon that the teacher’s +listening faculty is defective. The gist of the whole thing +is what the teacher’s ear will stand for. If a tone does not +offend his ear he will allow it to continue. If it does offend his +ear he will take measures to stop it.</p> + +<p>More is known of vocal mechanism today than at any other +time in the world’s history, and yet who dares to say that voice +teaching has been improved by it? Is voice teaching any more +<span class="pagenum"><a id="page44" name="page44"></a>44</span>accurate now than it was a hundred years ago? Did the invention +of the laryngoscope add anything of value to the voice +teacher’s equipment? No. Even the inventor of it said that +all it did was to confirm what he had always believed. An +enlarged mechanical knowledge has availed nothing in the +studio. The character of the teacher’s work has improved to +the degree in which he has recognized two facts—first, the +necessity of developing his own artistic sense as well as that of +his pupil, second, that the process of learning to sing is psychologic +rather than physiologic.</p> + +<p>When the student takes his first singing lesson what does the +teacher hear? He hears the tone the student sings, but what +is far more important, he hears in his own mind the tone the +student ought to sing. He hears his own tone concept and this +is the standard he sets for the student. He cannot demand of +him anything beyond his own concept either in tone quality +or interpretation.</p> + +<p>Young teachers and some old ones watch the voice rather +than listen to it. At the slightest deviation from their standard +of what the tongue, larynx, and soft palate ought to do they +pounce upon the student and insist that he make the offending +organ assume the position and form which they think is necessary +to produce a good tone. This results in trying to control +the mechanism by direct effort which always induces tension +and produces a hard, unsympathetic tone.</p> + +<p>The blunder here is in mistaking effect for cause. The +tongue which habitually rises and fills the cavity of the mouth +does so in response to a wrong mental concept of cause. The +only way to correct this condition is to change the cause. +The rigid tongue we see is effect, and to tinker with the effect +while the cause remains is unnecessarily stupid. An impulse +of tension has been directed to the tongue so often that the +impulse and response have become simultaneous and automatic. +<span class="pagenum"><a id="page45" name="page45"></a>45</span>The correction lies in directing an impulse of relaxation +to it. When it responds to this impulse it will be found to +be lying in the bottom of the mouth, relaxed, and ready to respond +to any demand that may be made upon it. To try to +make the tongue lie in the bottom of the mouth by direct +effort while it is filled with tension is like trying to sweep back +the tide with a broom. The only way to keep the tide from +flowing is to find out what causes it to flow and remove the +cause. The only way to correct faulty action of any part of +the vocal mechanism is to go back into mentality and remove +the cause. It will always be found there.</p> + +<div class="section"> +<h3 class="section_title">DIRECT AND INDIRECT CONTROL</h3> +<p>In view of the generally understood nature of involuntary +action and the extent to which it obtains in all good singing +it is difficult to understand why any teacher should work from +the basis of direct control. It is a fact, however, that teachers +who have not the psychological vision find it difficult to work +with a thing they cannot see. To such, direct control seems +to be the normal and scientific method of procedure.</p> + +<p>Let me illustrate: A student comes for his first lesson. I +“try his voice.” His tone is harsh, white, throaty and unsympathetic. +It is not the singing tone and I tell him it is “all +wrong.” He does not contradict me but places himself on the +defensive and awaits developments. I question him to find +out what he thinks of his own voice, how it impresses him, etc. +I find it makes no impression on him because he has no standard. +He says he doesn’t know whether he ought to like his voice or +not, but rather supposes he should not. As I watch him I discover +many things that are wrong and I make a mental note +of them. Suppose I say to him as a very celebrated European +<span class="pagenum"><a id="page46" name="page46"></a>46</span>teacher once said to me: “Take a breath, and concentrate +your mind on the nine little muscles in the throat that control +the tone.” This is asking a good deal when he does not know +the name or the exact location of a single one of them, but he +seems impressed, although a little perplexed, and to make it +easier for him I say as another famous teacher once said to me: +“Open your mouth, put two fingers and a thumb between your +teeth, yawn, now sing <em>ah</em>.” He makes a convulsive effort +and the tone is a trifle worse than it was before. I say to him, +“Your larynx is too high, and it jumps up at the beginning of +each tone. You must keep it down. It is impossible to produce +good tone with a high larynx. When the larynx rises, +the throat closes and you must always have your throat open. +Don’t forget, your throat must be <em>open</em> and you can get it +open only by keeping the larynx low.” He tries again with the +same result and awaits further instructions. I take another +tack and say to him, “Your tongue rises every time you sing +and impairs the form of the vocal cavity. Keep it down below +the level of the teeth, otherwise your vowels will be imperfect. +You should practice a half hour each day grooving your +tongue.” I say these things impressively and take the opportunity +to tell him some interesting scientific facts about fundamental +and upper partials, and how different combinations +produce different vowels, also how these combinations are affected +by different forms of the vocal cavities, leading up to the +great scientific truth that he must hold the tongue down and +the throat open in order that these great laws of acoustics may +become operative. He seems very humble in the presence of +such profound erudition and makes several unsuccessful attempts +to do what I tell him, but his tone is no better. I tell +him so, for I do not wish to mislead him. He is beginning to +look helpless and discouraged but waits to see what I will do +next. He vexes me not a little, because I feel that anything +<span class="pagenum"><a id="page47" name="page47"></a>47</span>so simple and yet so scientific as the exercises I am giving him +ought to be grasped and put into practice at once; but I still +have resources, and I say to him, “Bring the tone forward, +direct it against the hard palate just above the upper teeth, send +it up through the head with a vigorous impulse of the diaphragm. +You must always feels the tone in the nasal cavities. +That is the way you can tell whether your tone is right or not.” +He tries to do these things, but of necessity fails.</p> + +<p>This sort of thing goes on with mechanical instructions for +raising the soft palate, making the diaphragm rigid, grooving +the tongue, etc., etc., and at the end of the lesson I tell him to +go home and practice an hour a day on what I have given him. +If he obeys my instructions he will return in worse condition, +for he will be strengthening the bad habits he already has and +forming others equally pernicious.</p> + +<p>This is a sample of teaching by direct control. It is not +overdrawn. It is a chapter from real life, and I was the +victim.</p> + +<p>You will have observed that this lesson was devoted to +teaching the student how to do certain things with the vocal +mechanism. The real thing, the tone, the result at which all +teaching should aim was placed in the background. It was +equivalent to trying to teach him to do something but not letting +him know what. It was training the body, not the mind, +and the result was what invariably happens when this plan is +followed.</p> + +<p>In the lesson given above no attempt was made to give the +student a correct mental picture of a tone, and yet this is the +most important thing for him to learn, for <em>he never will sing a +pure tone until he has a definite mental picture of it</em>. <em>A tone is +something to hear and the singer himself must hear it before he can +sing it.</em></p> + +<p>Not one of the suggestions made to this student could be of +<span class="pagenum"><a id="page48" name="page48"></a>48</span>any possible benefit to him at the time. Not even the sensation +of feeling the tone in the head can be relied upon, for +physical sensations are altogether uncertain and unreliable. +As I have observed in numberless instances, there may be a +sensation in the head when there are disagreeable elements in +the tone. If the ear of the teacher does not tell him when the +tone is good and when it is bad he is hopeless. If his ear is reliable, +why resort to a physical sensation as a means of deciding? +In the properly produced voice there is a feeling of vibration +in the head cavities, especially in the upper part of the voice, +but that alone is not a guaranty of good tone.</p> + +<p>This teaching from the standpoint of sensation and direct +control will never produce a great singer so long as man inhabits +a body. It is working from the wrong end of the proposition. +Control of the mechanism is a very simple matter +when the mental concept is formed. It is then only a question +of learning how to relax, how to free the mechanism of tension, +and the response becomes automatic.</p> + +<p>Is there no way out of this maze of mechanical uncertainties? +There is. Is voice culture a sort of catch-as-catch-can with the +probabilities a hundred to one against success? It is not. Is +singing a lost art? It is not. Let us get away from fad, fancy +and formula and see the thing as it is. The problem is psychologic +rather than physiologic. The fact that one may learn +all that can be known about physiology and still know nothing +whatever about voice training should awaken us to its uselessness.</p> + +<p>Man is a mental entity. When I speak to a student <em>it is his +mind that hears, not his body</em>. It is his mind that acts. It is +his mind that originates and controls action. Therefore it +is his mind that must be trained.</p> + +<p>Action is not in the body. In fact, the body as matter has +no sensation. Remove mind from the body and it does not +<span class="pagenum"><a id="page49" name="page49"></a>49</span>feel. It is the mind that feels. If you believe that the body +feels you must be prepared to explain where in the process of +digestion and assimilation the beefsteak and potato you ate +for dinner become conscious, because to feel they must be conscious. +We know that the fluids and solids composing the +body have no sensation when they are taken into the body, nor +do they ever become sentient. Therefore the body of itself +has no initiative, no action, no control. All of these are the +functions of mind, hence the incongruity of attempting to +solve a problem which is altogether psychological, which demands +qualities of mind, habits of mind, mental concepts of a +particular kind and quality, by a process of manipulation of +the organ through which mind expresses itself, making the +training of the mind a secondary matter; and then absurdly +calling it scientific.</p> + +<p>In every form of activity two things are involved: first, the +idea: second, its expression. It must be apparent then, that +the quality of the thing expressed will be governed by the +quality of the idea. Or, to put it in another way: In the activity +of art two things are involved—subject-matter and technic. +The subject-matter, the substance of art, is mental. +Technic is gaining such control of the medium that the subject-matter, +or idea, may be fully and perfectly expressed. Ideas +are the only substantial things in the universe, and that there +is a difference in the quality of ideas need not be argued. +Two men of the same avoirdupois may be walking side by side +on the street, but one of them may be a genius and the other a +hod carrier.</p> + +<p>I have dwelt at some length on this because I wish to show +where the training of a singer must begin, and that when we +understand the real nature of the problem its solution becomes +simple.</p> +</div><!--Direct and Indirect Control--> +<div class="section"> +<p><span class="pagenum"><a id="page50" name="page50"></a>50</span></p> + +<h3 class="section_title">INDIRECT CONTROL</h3> + +<p>What is meant by indirect control? It means, in short, +the automatic response of the mechanism to the idea. By way +of illustration. If I should ask my pupil to make her vocal +cords vibrate at the rate of 435 times per second she could not +do it because she would have no mental concept of how it should +sound: but if I strike the A above middle C and ask her to +sing it her vocal cords respond automatically at that rate of +vibration. It is the concept of pitch which forms the vocal +instrument, gives it the exact amount of tension necessary to +vibrate at the rate of the pitch desired, but the action is automatic, +not the result of direct effort.</p> + +<p>It may be said that in artistic singing everything is working +automatically. There can be no such thing as artistic singing +until everything involved is responding automatically to the +mental demands of the singer.</p> + +<p>Mention has been made of the automatic response of the +vocal cords to the thought of pitch. That part of the mechanism +which is so largely responsible for tone quality, the pharynx +and mouth, must respond in the same way. This it will do +unerringly if it is free from tension. But if the throat is full of +rigidity, as is so often the condition, it cannot respond; +consequently the quality is imperfect and the tone is throaty. +The vocal cavity must vibrate in sympathy with the pitch in +order to create pure resonance. It can do this only when it is +free and is responding automatically to the concept of tone +quality. To form the mouth and throat by direct effort and +expect a good tone to result thereby, is an action not only certain +of failure but exceedingly stupid.</p> +</div><!--Indirect control--> +<div class="section"> + +<h3 class="section_title">VOICE TRAINING IS SIMPLE</h3> + +<p>There is a belief amounting to a solid conviction in the public +<span class="pagenum"><a id="page51" name="page51"></a>51</span>mind that the training of the voice is so difficult that the probabilities +of success are about one in ten. What is responsible +for this? Doubtless the large number of failures. But this +calls for another interrogation. What is the cause of these +failures? Here is one. All students have done more or less +singing before they go to a teacher. During that time they +have, with scarcely an exception, formed bad habits. Now +bad habits of voice production are almost invariably some +form of throat interference, referred to as tension, rigidity, +resistance, etc. Instances without number could be cited +where students have been told to keep right on singing and +eventually they would outgrow these habits. Such a thing +never happened since time began. One may as well tell a +drunkard to keep on drinking and eventually he will outgrow +the habit. No. Something definite and specific must be done. +The antidote for tension is relaxation. A muscle cannot respond +while it is rigid, therefore the student must be taught +how to get rid of tension.</p> +</div><!--Voice training is simple--> +<div class="section"> +<h3 class="section_title">TWO THINGS INVOLVED</h3> +<p>There is nothing in voice training that is necessarily mysterious +and inscrutable. On the contrary, if one will acquaint +himself with its fundamental principles he will find that the +truth about voice training, like all truth, is simple and easily +understood, and when understood the element of uncertainty +is eliminated. These principles are few in number, in fact +they may all be brought under two general heads. The first +is <strong>KNOW WHAT YOU WANT</strong>. The second is <strong>HAVE THE +CONDITIONS RIGHT</strong>. The meaning of these statements +can never be learned from a study of vocal physiology; nevertheless +they contain all of the law and the prophets on this +<span class="pagenum"><a id="page52" name="page52"></a>52</span>subject. Any musician may be a successful teacher of singing +if he will master them. I use the word <em>musician</em> advisedly, +because musical sense is of such vital importance that no +amount of mechanical knowledge can take its place. To undertake +the training of voices with only a mechanical knowledge +of the subject is a handicap which no one can overcome.</p> + +<p>It is universally true that the less one knows of the art of +singing the more he concerns himself with the mechanism; and +it is also true that the more one is filled with the spirit of song +the less he concerns himself with the construction of the vocal +instrument. People with little or no musicianship have been +known to wrangle ceaselessly on whether or not the thyroid +cartilage should tip forward on high tones. It is such crude +mechanics masquerading under the name of science that has +brought voice training into general disrepute. The voice +teacher is primarily concerned with learning to play upon the +vocal instrument rather than upon its mechanical construction, +two things which some find difficulty in separating.</p> + +</div><!--Two things involved--> +<div class="section"> +<h3 class="section_title">KNOW WHAT YOU WANT</h3> + + +<p>This means much. In voice production it means the perfect +tone concept. It means far more than knowing what one likes. +What one likes and what he ought to like are usually quite different +things. What one likes is the measure of his taste at that particular +time and may or may not be an argument in its favor. I +have never seen a beginner whose taste was perfectly formed, but +the great majority of them know what they like, and because +they like a certain kind of tone, or a certain way of singing, +they take it for granted that it is right until they are shown +something better. This error is by no means confined to beginners.</p> + +<p><span class="pagenum"><a id="page53" name="page53"></a>53</span>If your pupil does not produce good tone one of two things +is responsible for it. Either he does not know a good tone or +else the conditions are not right. In the beginning it is usually +both. Your pupil must create his tone mentally before he +sings it. He must create its quality no less than its pitch. In +other words <em>he must hear his tone before he sings it and then +sing what he hears</em>. Until he can do this his voice will have no +character. His voice will be as indefinite as his tone concept, +and it will not improve until his concept, which is his taste, +improves. Inasmuch as everything exists first as idea, it +follows that everything which is included in the rightly produced +voice and in interpretation are first matters of concept. +The singer uses a certain tone quality because he mentally +conceives that quality to be right. He delivers a word or +phrase in a certain way because that is his concept of it.</p> + +<p>A word at this point on imitation. One faculty of a musical +mind is that of recording mentally what it hears and of producing +it mentally whenever desired. Most people possess this +in some degree, and some people in a marked degree. Almost +any one can hear mentally the tone of a cornet, violin, or any +instrument with which he is acquainted. In the same way the +vocal student must hear mentally the pure singing tone before +he can sing it. It is the business of the teacher to assist him in +forming a perfect tone concept, and if he can do this by example, +as well as by precept, he has a distinct advantage over the one +who cannot.</p> + +<p>Arguments against imitation are not uncommon, and yet the +teachers who offer them will advise their students to hear the +great singers as often as possible. Such incongruities do not +inspire confidence.</p> + +<p>On this human plane most things are learned by imitation. +What language would the child speak if it were never allowed +<span class="pagenum"><a id="page54" name="page54"></a>54</span>to hear spoken language? It would never be anything but</p> + +<div class="poem"> +<div class="stanza"> +<p>“An infant crying in the night.</p> +<p>And with no language but a cry.”</p></div> +</div> + + +<p>There are but few original thinkers on earth at any one time. +The rest are imitators and none too perfect at that. We are +imitators in everything from religion to breakfast foods. Few +of us ever have an original idea. We trail along from fifty to +a hundred years behind those we are trying to imitate.</p> + +<p>When there is little else but imitation going on in the world +why deny it to vocal students? The argument against imitation +can come from but two classes of people—those who +cannot produce a good tone and those who are more interested +in how the tone is made than in the tone itself.</p> + +<p>The following are the qualities the teacher undertakes to +develop in the student in preparing him for artistic singing. +They are fundamental and must be a part of the singer’s +equipment no matter what method is employed. They are +what all musicians expect to hear in the trained singer. They +all exist first as concepts.</p> + +<p>An even scale from top to bottom of the voice.</p> + +<p>Every tone full of strength and character.</p> + +<p>A sympathetic quality.</p> + +<p>Ample power.</p> + +<p>A clear, telling resonance in every tone.</p> + +<p>A pure legato and sostenuto.</p> + +<p>Perfect freedom in production throughout the compass.</p> + +<p>A perfect swell, that is, the ability to go from +pianissimo to full voice and return, on any tone in the +compass, without a break, and without sacrificing the +tone quality.</p> + +<p>The ability to pronounce distinctly and with ease to +the top of the compass.</p> + +<p>Equal freedom in the delivery of vowels and consonants.</p> + +<p><span class="pagenum"><a id="page55" name="page55"></a>55</span>Sufficient flexibility to meet all technical demands.</p> + +<p>An ear sensitive to the finest shades of intonation.</p> + +<p>An artistic concept or interpretive sense of the highest +possible order.</p> + +<p>The process of acquiring these things is not accretion but +<em>unfoldment</em>. It is the unfoldment of ideas or concepts. The +growth of ideas is similar to that of plants and flowers. The +growth of expression follows the growth of the idea, it never +precedes it. From the formation of the first vowel to the +perfect interpretation of a song the teacher is dealing with +mental concepts.</p> + +<p>At the Gobelin Tapestry works near Paris I was told that +the weavers of those wonderful tapestries use twenty-four +shades of each color, and that their color sense becomes so +acute that they readily recognize all of the different shades. +Now there are about as many shades of each vowel, and the +mental picture of the vowel must be so definite, the mental ear +so sensitive, that it will detect the slightest variation from the +perfect form. Direct control could never accomplish this. +Only the automatic response of the mechanism to the perfect +vowel concept can result in a perfect vowel.</p> + +<p>All of those qualities and elements mentioned above as constituting +the artist come under the heading <strong>KNOW WHAT +YOU WANT</strong>.</p> + +<p>The second step <strong>HAVE THE CONDITIONS RIGHT</strong> means, +in short, to free the mechanism of all interference and +properly manage the breath. This getting rid of interference +could be talked about indefinitely without wasting time. It is +far more important than most people suspect. Few voices are +entirely free from it, and when it is present in a marked degree +it is an effectual bar to progress. So long as it is present in +the slightest degree it affects the tone quality. Most students +think they are through with it long before they are.</p> + +<p><span class="pagenum"><a id="page56" name="page56"></a>56</span>This interference, which is referred to as tension, rigidity, +throatiness, etc., is in the nature of resistance to the free emission +of tone. It is not always confined to the vocal cords, +but usually extends to the walls of the pharynx and the body of +the tongue. The vocal cavities, the pharynx and mouth, +exert such a marked influence on tone quality that the least degree +of rigidity produces an effect that is instantly noticeable +to the trained ear. These parts of the vocal mechanism which +are so largely responsible not only for perfect vowels, but for +perfect tone quality as well, must at all times be so free from +tension that they can respond instantly to the tone concept. +If they fail to respond the tone will be imperfect, and these imperfections +are all classed under the general head “throaty.” +Throaty tone means that there is resistance somewhere, and +the conditions will never be right until the last vestige of it is +destroyed. The difficulty in voice placing which so many +have, lies in trying to produce the upper tones without first +getting rid of resistance. This condition is responsible for a +number of shop-worn statements, such as “bring the tone +forward,” “place the tone in the head,” “direct the tone into +the head,” etc. I recall a writer who says that the column of +breath must be directed against the hard palate toward the +front of the mouth in order to get a resonant tone. Consider +this a moment. When the breath is properly vocalized its +power is completely destroyed. Any one may test this by +vocalizing in an atmosphere cold enough to condense the moisture +in his breath. If he is vocalizing perfectly, he will observe +that the breath moves lazily out of the mouth and curls upward +not more than an inch from the face. The idea that this breath, +which has not a particle of force after leaving the vocal cords, can +be directed against the hard palate with an impact sufficient to +affect tone quality is the limit of absurdity. If the writer had +spoken of directing the sound waves to the front of the mouth +<span class="pagenum"><a id="page57" name="page57"></a>57</span>there would have been an element of reasonableness in it, for +sound waves can be reflected as well as light waves; but breath +and sound are quite different things.</p> + +<p>What does the teacher mean when he tells the pupil to place +the tone in the head? He doubtless means that the student +shall call into use the upper resonator. If one holds a vibrating +tuning-fork before a resonating tube, does he direct the vibrations +into that resonating cavity? No. Neither is it necessary +to try to drive the voice into the cavities of the head. +Such instructions are of doubtful value. They are almost +sure to result in a hard unsympathetic tone. They increase +rather than diminish the resistance. The only possible way to +place the tone in the head is to let it go there. This will always +occur when the resistance is destroyed and the channel is free.</p> + +<p>In numerous instances the resistance in the vocal cords is +so great that it is impossible to sing softly, or with half voice. +It requires so much breath pressure to start the vibration, that +is, to overcome the resistance, that when it does start it is +with full voice. In a majority of male voices the upper tone +must be taken either with full chest voice or with falsetto. +There is no <i>mezza voce</i>. This condition is abnormal and is +responsible for the “red in the face” brand of voice production +so often heard.</p> + +<p>Of this we may be sure, that no one can sing a good full tone +unless he can sing a good <i>mezza voce</i>. When the mechanism +is sufficiently free from resistance that a good pianissimo can +be sung then the conditions are right to begin to build toward a +<i>forte</i>.</p> + +<p>Further, when the mechanism is entirely free from resistance +there is no conscious effort required to produce tone. The +singer has the feeling of letting himself sing rather than of +making himself sing.</p> + +<p>The engineer of a great pumping station once told me that +<span class="pagenum"><a id="page58" name="page58"></a>58</span>his mammoth Corliss engine was so perfectly balanced that +he could run it with ten pounds of steam. When the voice is +free, and resting on the breath as it were, it seems to sing itself.</p> + +<p>An illustration of the opposite condition, of extreme resistance +was once told me by the president of a great street railway +system that was operated by a cable. He said it required +eighty-five per cent of the power generated to start the machinery, +that is, to overcome the resistance, leaving but fifteen +per cent for operating cars. It is not at all uncommon to hear +singers who are so filled with resistance that it requires all of +their available energy to make the vocal instrument produce +tone. Such singers soon find themselves exhausted and the +voice tired and husky. It is this type of voice production +rather than climatic conditions, that causes so much chronic +laryngitis among singers. I have seen the truth of this statement +verified in the complete and permanent disappearance +of many cases of laryngitis through learning to produce the +voice correctly.</p> + +<p>The second step in securing right conditions is the proper +management of the breath.</p> +</div><!--Know what you want--> +<div class="section"> +<h3 class="section_title">BREATH CONTROL</h3> + + +<p>An extremist always lacks the sense of proportion. He allows +a single idea to fill his mental horizon. He is fanciful, +and when an idea comes to him he turns his high power imagination +upon it, and it immediately becomes overwhelming in +magnitude and importance. Thereafter all things in his +universe revolve around it.</p> + +<p>The field of voice teaching is well stocked with extremists. +Everything involved in voice production and many things +that are not, have been taken up one at a time and made the +basis of a method.</p> + +<p><span class="pagenum"><a id="page59" name="page59"></a>59</span>One builds his reputation on a peculiar way of getting the +tone into the frontal sinuses by way of the infundibulum canal, +and makes all other things secondary.</p> + +<p>Another has discovered a startling effect which a certain +action of the arytenoid cartilages has on registers, and sees a +perfect voice as the result.</p> + +<p>Another has discovered that a particular movement of the +thyroid cartilage is the only proper way to tense the vocal cords +and when every one learns to do this all bad voices will disappear.</p> + +<p>Another has discovered something in breath control so revolutionary +in its nature that it alone will solve all vocal problems.</p> + +<p>Perhaps if all of these discoveries could be combined they +might produce something of value; but who will undertake +it? Not the extremists themselves, for they are barren of the +synthetic idea, and their sense of proportion is rudimentary. +They would be scientists were it not for their abnormal imaginations. +The scientist takes the voice apart and examines it +in detail, but the voice teacher must put all parts of it together +and mold it into a perfect whole. The process is synthetic +rather than analytic, and undue emphasis on any one element +destroys the necessary balance.</p> + +<p>The immediate danger of laying undue emphasis on any +one idea in voice training lies in its tendency toward the +mechanical and away from the spontaneous, automatic response +so vitally necessary. Here the extremists commit a +fatal error. To make breath management the all-in-all of +singing invariably leads to direct control, and soon the student +has become so conscious of the mechanism of breathing that +his mind is never off of it while singing; he finds himself +becoming rigid trying to prevent his breath from escaping, +and the more rigid he becomes the less control he has. A +<span class="pagenum"><a id="page60" name="page60"></a>60</span>large number of examples of this kind of breath management +have come under my observation. They all show the evil +results of over working an idea.</p> + +<p>But the followers of “the-breath-is-the-whole-thing” idea +say “You can’t sing without breath control.” Solomon never +said a truer thing, but the plan just mentioned is the worst +possible way to secure it.</p> + +<p>Every one should know that not a single one of the processes +of voice production is right until it is working automatically, +and automatic action is the result of indirect, never of direct +control.</p> + +<p>The profession has become pretty thoroughly imbued with +the idea that deep breathing, known as abdominal, or diaphragmatic +is the best for purposes of singing. But how deep? +The answer is, the deeper the better. Here again it is easy to +overstep the bounds. I have in mind numerous instances +where the singer, under the impression that he was practicing +deep breathing tried to control the breath with the lower +abdominal muscles, but no matter how great the effort made +there was little tonal response, for the reason that the pressure +exerted was not against the lungs but against the contents of +the abdomen. The diaphragm is the point of control. The +lungs lie above it, not below it. To concentrate the thought +on the lower abdominal muscles means to lose control of the +diaphragm, the most important thing involved in breath +management.</p> + +<p>The process of breathing is simple. The lungs are enclosed +in an air tight box of which the diaphragm is the bottom. It +rests under the lungs like an inverted saucer. In the act of +contracting it flattens toward a plane and in so doing it moves +downward and forward, away from the lungs. The ribs move +outward, forward and upward. The lungs which occupy this +box like a half compressed sponge follow the receding walls, +<span class="pagenum"><a id="page61" name="page61"></a>61</span>and a vacuum is created which air rushes in to fill. In exhalation +the action is reversed. The ribs press against the +lungs and the diaphragm slowly returns to its original position +and the breath is forced out like squeezing water out of a +sponge.</p> + +<p>The one important thing in breath management is the diaphragm. +If the student has the right action of the diaphragm +he will have no further trouble with breath control. In my +Systematic Voice Training will be found a list of exercises +which thoroughly cover the subject of breath control and if +properly used will correct all errors. Let this be understood, +that there is nothing in correct breathing that should make one +tired. On the contrary the practice of breathing should leave +one refreshed. Above all, the student should never make himself +rigid when trying to control the flow of breath. This is not +only of no advantage, but will effectually defeat the end for +which he is striving.</p> +</div><!--Breath Control--> +<div class="section"> +<h3 class="section_title">REGISTERS</h3> + +<p>In securing right conditions the teacher is often confronted +with the problem of registers. The literature on this subject +is voluminous and varied. Opinions are offered without stint +and the number of registers which have been discovered in the +human voice ranges from none to an indefinite number. How +one scientist can see two, and another one five registers in the +same voice might be difficult to explain were it not a well +known fact that some people are better at “seeing things” +than others.</p> + +<p>But here again the teacher soon learns that laboratory work +is of little value. His view point is so different from that of +the physicist that they can hardly be said to be working at the +<span class="pagenum"><a id="page62" name="page62"></a>62</span>same problem. The physicist tries to discover the action of +the mechanism, in other words, how the tone is made. The +voice teacher is concerned primarily with how it sounds. One +is looking at the voice, the other is listening to it, which things, +be it known, are essentially and fundamentally different; so +different that their relationship is scarcely traceable. The +ability to train the voice comes through working with voices +where the musical sense, rather than the scientific sense, is the +guide. It is a specific knowledge which can be gained in no +other way. It begins when one takes an untrained voice and +attempts to make it produce a musical tone.</p> + +<p>The problem of registers is, in short, how to make an even +scale out of an uneven one. It must be solved in the studio. +Anatomical knowledge is of no avail. The teacher who has +learned how to produce an even scale possesses knowledge which +is of more value to the student than all of the books ever written +on vocal mechanism.</p> + +<p>The depressions in the voice known as “changes of register” +result from tension. With one adjustment of the vocal cords +the singer can, by adding tension, make a series of four or five +tones, then by a change of adjustment he can produce another +similar series, and so on to the top of his compass. These +changes occur when there is such an accumulation of tension +that no more can be added to that adjustment without discomfort. +The solution of this problem lies in gaining such +freedom from tension in the vocal instrument that it automatically +readjusts itself for each tone. The tension is then +evenly distributed throughout the scale and the sudden changes +disappear. This is precisely what happens when the singer +has learned to produce an even scale throughout his compass; +his voice production is not right until he can do this.</p> + +<p>The statement is frequently made in public print that there +are no registers in the trained voice. This order of wisdom is +<span class="pagenum"><a id="page63" name="page63"></a>63</span>equally scintillating with that profound intellectual effort which +avers that a bald headed man has no hair on the top of his head, +or that hot weather is due to a rise in the temperature. These +statements may be heavy-laden with truth, but to the voice +teacher they are irrelevant. His work is at least seven-eighths +with untrained voices. By the time he has worked out +an even scale with all of the other problems that go hand in +hand with it, for a great deal of the art of singing will naturally +accompany it, a large majority of his pupils are ready to move +on. Only a small per cent prepare for a musical career. +Most of his work is with voices that still need to be perfected. +It is for voices of this kind that the teacher lives. It is for +such voices that vocal methods are evolved and books written.</p> + +<p>A lighthearted, easy going assurance is not sufficient alone +to compass the problems that present themselves in the studio. +If the teacher is conscientious there will be times when he will +feel deeply the need of something more than human wisdom. +The work in the studio has more to do with the future than +with the immediate present. The singing lesson is a small +part of what the student carries with him. The atmosphere +of the studio, which is the real personality of the teacher, his +ideals, aims, the depth of his sincerity, in short, his concept +of the meaning of life, goes with the student and will be remembered +when the lesson is forgotten.</p> +</div><!--Registers--> +</div><!--Chapter 4--> +<div class="chapter" id="Ch_V"> +<p><span class="pagenum"><a id="page64" name="page64"></a>64</span></p> + +<p class="chapter_number">V</p> + +<h2 class="chapter_title">THE NATURE AND MEANING OF ART</h2> + +<div class="epigram"> +<p>One function, then, of art is to feed and mature the imagination and the +spirit, and thereby enhance and invigorate the whole of human life.</p> + +<p class="citation"><i>Ancient Art and Ritual</i>. Jane Ellen Harrison.</p> +</div> + + + +<p>A large percentage of the population of the civilized world +has more or less to do with what is called art. In its various +forms art touches in some degree practically the entire human +race. Its various activities have developed great industries, +and for the entertainment it affords fabulous sums of money +are spent.</p> + +<p>What is this thing called art which takes such a hold upon +the human race? If it has no social or economic value then a +vast amount of time and money are wasted each year in its +study and practice. A brief inquiry into the nature and meaning +of art may well be associated with a discussion of the art of +singing.</p> + +<p>Art as a whole comes under the head of Aesthetics, which +may be defined as the philosophy of taste, the science of the +beautiful.</p> + +<p>It will doubtless be admitted without argument that ever +since the dawn of consciousness the visible world has produced +sense impressions differing from each other—some pleasant, +some unpleasant. From these different sense impressions +there gradually evolved what is known as beauty and ugliness. +An attempt to discover the principles underlying beauty and +ugliness resulted in Aesthetics, the founder of which was +Baumgarten (1714-1762).</p> + +<p>It will be interesting to hear what he and the later aestheticians +have to say about art. Most of them connect it in +<span class="pagenum"><a id="page65" name="page65"></a>65</span>some way with that which is beautiful, that is, pleasing, but +they do not all agree in their definition of beauty.</p> + +<p>Baumgarten defined beauty as the perfect, the absolute, +recognized through the senses. He held that the highest embodiment +of beauty is seen by us in nature, therefore the highest +aim of art is to copy nature.</p> + +<p>Winkelmann (1717-1768) held the law and aim of art to be +beauty independent of goodness. Hutcheson (1694-1747) was +of essentially the same opinion.</p> + +<p>According to Kant (1724-1804) beauty is that which pleases +without the reasoning process.</p> + +<p>Schiller (1758-1805) held that the aim of art is beauty, the +source of which is pleasure without practical advantage.</p> + +<p>These definitions do not wholly satisfy. They do not accord +to art the dignified position it should hold in social development. +But there are others who have a clearer vision. +Fichte (1762-1814) said that beauty exists not in the visible +world but in the beautiful soul, and that art is the manifestation +of this beautiful soul, and that its aim is the education of +the whole man.</p> + +<p>In this we begin to see the real nature and activity of art. +There are other aestheticians who define art in much the same +way.</p> + +<p>Shaftesbury (1670-1713) said that beauty is recognized by +the mind only. God is fundamental beauty.</p> + +<p>Hegel (1770-1831) said: “Art is God manifesting himself in +the form of beauty. Beauty is the idea shining through matter. +Art is a means of bringing to consciousness and expressing +the deepest problems of humanity and the highest truths.” +According to Hegel beauty and truth are one and the same +thing.</p> + +<p>Thus we see that the great thinkers of the world make art +of supreme importance in the perfecting of the human race. +<span class="pagenum"><a id="page66" name="page66"></a>66</span>They all agree that art is not in material objects, but is a +condition and activity of spirit. They agree in the main +that beauty and truth emanate from the same source. Said +Keats: </p> + +<div class="poem"> +<div class="stanza"> +<p>“Beauty is truth and truth beauty,</p> +<p>That is all ye know on earth and all ye need know.”</p></div> +</div> + +<p>Said Schelling: “Beauty is the perception of the Infinite in +the finite.”</p> + +<p>But perhaps the highest concept of art is from the great artist +Whistler. He said: “Art is an expression of eternal absolute +truth, and starting from the Infinite it cannot progress, +<strong>IT IS</strong>.”</p> + +<p>Art in some form and in some degree finds a response in every +one. Why? Because every one consciously or unconsciously +is looking toward and striving for perfection. This is the law +of being. Every one is seeking to improve his condition, and +this means that in some degree every one is an idealist. Ever +since time began idealism has been at work, and to it we owe +every improved condition—social, political and religious.</p> + +<p>Hegel believed that the aim of art is to portray nature in +perfect form, not with the imperfections seen around us; and +Herbert Spencer defined art as the attempt to realize the ideal +in the present. The artist tries to make his picture more perfect +than what he sees around him. The poet, the sculptor, +the musician, the craftsman, the mechanic, are all striving for +a more perfect expression, because perfection is the fundamental, +eternal law of being.</p> + +<p>Wagner said: “The world will be redeemed through art,” +and if Whistler’s definition be accepted he is not far from the +truth.</p> + +<p>The important thing to remember is that art is not a mere +pastime, but a great world force operating to lift mortals out +of mortality. It is the striving of the finite to reach the Infinite.</p> + +<p><span class="pagenum"><a id="page67" name="page67"></a>67</span>In human history art, no less than languages, has conformed +to the theory of evolution. Language in the beginning was +monosyllabic. Far back in the early dawn of the race, before +the development of the community spirit, when feelings, +emotions, ideas, were simple and few the medium of expression +was simple, and it grew with the demand for a larger expression.</p> + +<p>This same process of evolution is seen in the growth of each +individual. The child, seeing grimalkin stalk stealthily into +the room, points the finger and says “cat.” This is the complete +expression of itself on that subject. It is the sum total +of its knowledge of zoology at that particular moment; and a +long process of development must follow before it will refer to +the same animal as a “Felis Domestica.”</p> + +<p>In a similar way musical expression keeps step with musical +ideas. In the beginning musical ideas were short, simple, +fragmentary, monosyllabic, mere germs of melody (adherents +of the germ theory will make a note of this). The Arab with +his rudimentary fiddle will repeat this fragment of melody +<img src="images/fig_h.png" title="Figure H" alt="a musical fragment" id="figure_h" name="figure_h" width="200" height="58" /> by the hour, while a company of his unlaundered +brethren dance, until exhausted, in dust to their ankles, +with the temperature near the boiling point. This musical +monosyllable is ample to satisfy his artistic craving. In other +words it is the complete musical expression of himself.</p> + +<p>The following is a complete program of dance music for the +aborigines of Australia. <img src="images/fig_i.png" title="Figure I" alt="a musical fragment" id="figure_i" name="figure_i" width="300" height="56" /> The repetition +of this figure may continue for hours. If it were +inflicted on a metropolitan audience it would result in justifiable +homicide, but to the Australian it furnishes just the +emotional stimulus he desires.</p> + +<p><span class="pagenum"><a id="page68" name="page68"></a>68</span> <img src="images/fig_j.png" title="Figure J" alt="a musical fragment" id="figure_j" name="figure_j" width="367" height="56" /> This one from Tongtoboo, +played Allegro, would set the heels of any company, ancient +or modern, in motion.</p> + +<p>These people may be said to be in the rhythmic stage of +music, that is, a stage of development in which a rhythmic +movement which serves to incite the dance furnishes complete +artistic satisfaction.</p> + +<p>As it is a long distance from the monosyllabic expression of +the child to the point where he can think consecutively in +polysyllabic dissertation, so it is an equally long distance from +the inarticulate musical utterances of the barbarous tribes to +the endless melodies of Wagner, which begin at 8 P. M. +and continue until 12.15 A. M. without repetition.</p> + +<p>Following the course of music from the beginning we shall +see that it has kept pace with civilization. As the race has +grown mentally it has expressed itself in a larger and more +perfect way in its literature, its painting and music. Physically +the race has not grown perceptibly in the last five thousand +years, but mentally its growth can scarcely be measured. If +we follow each nation through the past thousand years we shall +see that its art product has not only kept pace with its development, +but that in its art we may see all of its racial characteristics, +those habits of mind which are peculiarly its own. A +nation left to itself will develop a certain trend of thought +which will differentiate it from all other nations. A trend of +thought which will affect its art, literature, politics, religion, +and in course of time will produce marked physical characteristics. +This is noticeable in all nations which have lived +long unto themselves.</p> + +<p>But modern methods of communication are destroying this. +As nations are brought into closer contact with each other they +<span class="pagenum"><a id="page69" name="page69"></a>69</span>begin to lose their peculiarities. The truth of this statement +may be seen in the fact that in the past fifty years composers +all over the world have been affected by the modern German +school of composition. Not one has escaped. While a nation +lived unto itself it could preserve its national life in its art, +but more and more the life of each nation is becoming a composite +of the life of all nations. The musical output of the +world shows this unmistakably.</p> + +<p>What will be the music of the future? We know the music +of yesterday and today, but the music of the future can be +foretold only by the prophet whose vision is clear enough to +see unmistakably what the trend of civilization will be during +the coming years. There are mighty forces operating in the +world today. If they succeed in bringing humanity to a saner, +more normal state of mind, to a clearer realization of what is +worth while and what is worthless, then all art will become purer +and more wholesome, more helpful and necessary, and music +speaking a language common to all will be supreme among the +arts.</p> +</div><!--Chapter 5--> +<div class="chapter" id="Ch_VI"> +<p><span class="pagenum"><a id="page70" name="page70"></a>70</span></p> +<p class="chapter_number">VI</p> +<h2 class="chapter_title">SINGING AS AN ART</h2> +<div class="epigram"> +<p>No artist can be graceful, imaginative, or original, unless he be truthful.</p> +<p class="citation">Ruskin. <i>Modern Painters</i>.</p> +</div> + +<p>“Art is a transfer of feeling” said Tolstoy. While this applies +to art in general it has a particular application to the art +of singing. The material of the singer’s art is feeling. By +means of the imagination he evokes within himself feelings he +has experienced and through the medium of his voice he transfers +these feelings to others. By his ability to reconstruct +moods, feelings and emotions within himself and express them +through his voice, the singer sways multitudes, plays upon them, +carries them whithersoever he will from the depths of sorrow +to the heights of exaltation. His direct and constant aim is +to make his hearers <em>feel</em>, and feel deeply. As a medium for +the transfer of feeling the human voice far transcends all +others. Since the beginning of the human race the voice has +been the means by which it has most completely revealed itself, +but the art is not in the voice, but in the feeling transferred. +It is the same whether the medium be the voice, painting, +sculpture, poetry or a musical instrument. We speak of a +painting as being a great work of art, but the art is not in the +painting, the art is the feeling of beauty which the painting +awakes in the observer. When we listen to an orchestra the +music is what we feel. Said Walt Whitman: “Music is what +awakes within us when we are reminded by the instruments.”</p> + +<p>Nothing exists separate from cognition. Real art therefore +consists of pure feeling rather than of material objects. <em>If +the singer succeeds in transferring his feelings to others he is an +artist</em>, this regardless of whether his voice is great or small. +<span class="pagenum"><a id="page71" name="page71"></a>71</span>Voice alone does not constitute an artist. One must have something +to give. Schumann said: “The reason the nightingale +sings love songs and the lap dog barks is because the soul of +the nightingale is filled with love and that of the lap dog with +bark.” It will be apparent therefore, that the study of the +art of singing should devote itself to developing in the singer +the best elements of his nature—all that is good, pure and +elevating. We have no right to transfer to others any feeling +that is impure or unwholesome. The technic of an art is of +small moment compared with its subject matter. <em>An unworthy +poem cannot be purified by setting it to music no matter how beautiful +the music may be.</em></p> + +<div class="section"> +<h3 class="section_title">THE PRINCIPLES OF INTERPRETATION</h3> + + +<p>I fancy there is nothing more intangible to most people than +the term “<em>phrasing</em>.” I have asked a great many students to +give me the principles of phrasing, but as yet I have seen none +who could do it, and yet all singers, from the youngest to the +oldest must make some use of these principles every time they +sing. Now a thing in such general use should be, and is, +subject to analysis.</p> + +<p><em>All of the rules of phrasing, like the rules of composition, grow +out of what sounds well.</em> Beauty and ugliness are matters of +mental correspondence. In music a thing to be beautiful +must satisfy a mental demand, and this demand is one’s <em>taste</em>. +The sense of fitness must obtain. When the singer interprets +a song the demand of the listener is that he shall do well what +he undertakes to do: that he shall portray whatever phase of +life the song contains, accurately, definitely, that he shall have +a <em>definite intent and purpose</em>, that he shall be in the mood of +the song. The singer must not portray one mood with his +<span class="pagenum"><a id="page72" name="page72"></a>72</span>face, another with his voice, while the poem suggests still a +third. He must avoid incongruity. All things must work +together. There must be therefore, the evidence of intelligent +design in every word and phrase.</p> + +<p>The song is a unit and each phrase contains a definite idea, +therefore it must not be detached or fragmentary, but must +have the element of continuity and each and every part must +be made to contribute to the central idea.</p> + +<p>The element of insecurity must not be allowed to enter. +If it does, the listener feels that the singer is not sure of himself, +that he cannot do what he set out to do: therefore he is a +failure.</p> + +<p>Another demand is that the singer shall be intelligent. A +poem does not lose its meaning or its strength by being associated +with music, and to this end the singer must deliver the text +with the same understanding and appreciation of its meaning +as would a public reader.</p> + +<p>Now from the above we infer certain principles. The demand +for continuity means that the singer must have a pure +<i>legato</i>. That is, he must be able to connect words smoothly, to +pass from one word to another without interrupting the tone, +that the tone may be continuous throughout each phrase.</p> + +<p>The feeling of security lies in what is known as <i>sostenuto</i>, the +ability to sustain the tone throughout the phrase with no sense +of diminishing power. It means in short the organ time.</p> + +<p>From the demand for design in each word and phrase comes +<em>contrast</em>. This may be made in the power of the tone by means +of cres. dim. sfz. It may be made in the tempo by means of +the retard, accelerando, the hold, etc. It may also be made in +the quality of the tone by using the various shades from bright +to somber.</p> + +<p>The basis of phrasing then, may be found in legato, sostenuto +and contrast. All of the other things involved in +<span class="pagenum"><a id="page73" name="page73"></a>73</span>interpretation cannot make a good performance if these fundamental +principles be lacking. A more complete outline of +interpretation follows:</p> + +<h4 class="subsection_title">AN OUTLINE OF INTERPRETATION</h4> +<table id="interpretation" summary="Outline of interpretation"> +<tr><td rowspan="3">READING</td> <td rowspan="3" class="brace3">{</td> <td>Pitches</td></tr> +<tr> <td>Note Lengths</td></tr> +<tr> <td>Rhythm</td></tr> + + +<tr><td rowspan="4">DICTION</td><td rowspan="4" class="brace4">{</td><td class="toprow">Enunciation</td><td class="brace2">{</td> <td class="leaf">Vowels<br />Consonants</td></tr> +<tr> <td>Pronunciation</td></tr> +<tr> <td>Accent</td></tr> +<tr> <td>Emphasis</td></tr> + +<tr><td rowspan="4">VOICE</td> <td rowspan="4" class="brace4">{</td> <td class="toprow">Even Scale</td></tr> +<tr> <td>Quality</td></tr> +<tr> <td>Freedom</td></tr> +<tr> <td>Breath Control</td></tr> + +<tr><td rowspan="3">TECHNIC</td> <td rowspan="3" class="brace3">{</td> <td class="toprow">Attack</td></tr> +<tr> <td>Flexibility</td></tr> +<tr> <td>Execution</td></tr> + +<tr><td rowspan="4">PHRASING</td> <td rowspan="4" class="brace4">{</td> <td class="toprow">Legato</td></tr> +<tr> <td>Sostenuto</td></tr> +<tr> <td>Contrast</td><td class="brace2">{</td><td class="leaf">Power<br />Tempo<br />Color</td></tr> +<tr> <td>Proportion</td></tr> + +<tr><td rowspan="3">MOOD</td> <td rowspan="3" class="brace3">{</td> <td class="toprow">Emotional Concept</td></tr> +<tr> <td>Facial Expression</td></tr> +<tr> <td>Stage Presence</td></tr> +</table> + +<p>Most of the things mentioned in this outline of interpretation +have been discussed elsewhere, but the subject of diction +requires further explanation.</p> + + +</div><!--Interpretation--> +<div class="section"> +<p><span class="pagenum"><a id="page74" name="page74"></a>74</span></p> +<h3 class="section_title">DICTION</h3> +<p>The mechanism of speech might be discussed at any length, +but to reduce it to its simplest form it consists of the sound +producing instrument,—the vocal cords, the organs of enunciation—lips, +tongue, teeth and soft palate, and the channel +leading to the outer air. When the vocal cords are producing +pitch and the channel is free the result is a vowel. If an obstruction +is thrown into the channel the result is a consonant. +Vowels and consonants, then, constitute the elements of speech. +The vowels are the emotional elements and the consonants are +the intellectual elements. By means of vowel sounds alone +emotions may be awakened, but when definite ideas are expressed, +words which are a combination of vowels and consonants +must be used. It is nothing short of amazing that with +this simple mechanism, by using the various combinations of +open and obstructed channel in connection with pitch, the entire +English language or any other language for that matter +can be produced.</p> + +<p>Vowels are produced with an open channel from the vocal +cords to the outer air. Consonants are produced by partial +or complete closing of the channel by interference of the lips, +tongue, teeth and soft palate.</p> + +<p>If language consisted entirely of vowels learning to sing would +be much simpler than it is. It is the consonants that cause +trouble. It is not uncommon to find students who can vocalize +with comparative ease, but the moment they attempt to +sing words the mechanism becomes rigid. The tendency toward +rigidity is much greater in enunciating consonants than +it is in enunciating vowels, and yet they should be equally +easy. Here is where the student finds his greatest difficulty +in mastering English diction.</p> + +<p>The most frequent criticism of American singers is their +<span class="pagenum"><a id="page75" name="page75"></a>75</span>deficiency in diction. Whether it please us or no, it must be +admitted that on the whole the criticism is not without foundation.</p> + +<p>The importance of effective speech is much underestimated +by students of singing, and yet it requires but a moment’s +consideration to see that the impression created by speech is +the result of forceful diction no less than of subject matter. +Words mean the same thing whether spoken or sung, and the +singer no less than the speaker should deliver them with a full +understanding of their meaning.</p> + +<p>The proposition confronting the singer is a difficult one. +When he attempts the dramatic he finds that it destroys his +legato. He loses the sustained quality of the organ tone, which +is the true singing tone, and <i>bel canto</i> is out of the question.</p> + +<p>This is what is urged against the operas of Wagner and practically +everything of the German school since his day. The +dramatic element is so intense and the demand so strenuous +that singers find it almost, if not quite impossible, to keep the +singing tone and reach the dramatic heights required. They +soon find themselves shouting in a way that not only destroys +the singing tone but also the organ that produces it. The +truth of this cannot be gainsaid. There is a considerable +amount of vocal wreckage strewn along the way, the result of +wrestling with Wagnerian recitative. Wagnerian singers are, +as a rule, vocally shorter lived than those that confine themselves +to French and Italian opera.</p> + +<p>But it will be argued by some that these people have not +learned how to sing, that if they had a perfect vocal method +they could sing Wagner as easily as Massenet. That they +have not learned to sing Wagner is evident, and this brings us +to the question—Shall the singer adjust himself to the composer +or the composer to the singer? A discussion of this would +probably lead nowhere, but I submit the observation, that +<span class="pagenum"><a id="page76" name="page76"></a>76</span>many modern composers show a disregard for the possibilities +and limitations of the human voice that amounts to stupidity. +Because a composer can write great symphonies the public +is inclined to think that everything he writes is great. Let it +be understood once for all that bad voice writing is bad +whether it is done by a symphonic writer or a popular songwriter. +In the present stage of human development there are +certain things the voice can do and other things it cannot do, +and these things can be known only by those who understand +the voice, and are accustomed to working with it. To ignore +them completely when writing for voices is no evidence of +genius. Composers seem to forget that the singer must create +the pitch of his instrument as well as its quality at the moment +he uses it. They also forget that his most important aid in this +is the feeling of tonality. When this is destroyed and the singer +is forced to measure intervals abstractedly he is called upon to +do something immeasurably more difficult than anything that +is asked of the instrumentalist. Many modern composers have +lost their heads and run amuck on the modern idiom, and their +writing for voices is so complex that it would require a greater +musician to sing their music than it did to write it.</p> + +<p>But to return, I do not say that it is impossible to apply the +principles of <i>bel canto</i> to Wagner’s dramatic style of utterance. +On the contrary I believe it is possible to gain such a mastery +of voice production and enunciation that the Wagnerian roles +may be sung, not shouted, and still not be lacking in dramatic +intensity, but it requires a more careful study of diction and its +relation to voice production than most singers are willing to +make.</p> + +<p>A majority of singers never succeed in establishing the right +relation between the vocal organ and the organs of enunciation. +Years of experience have verified this beyond peradventure.</p> + +<p>It is a very common thing for singers to vocalize for an indefinite +<span class="pagenum"><a id="page77" name="page77"></a>77</span>period with no ill effect, but become hoarse with ten +minutes of singing. The reason is apparent. They have learned +how to produce vowels with a free throat but not consonants. +The moment they attempt to form a consonant, tension appears, +not only in those parts of the mechanism which form +the consonant, but in the vocal organ as well. Under such +treatment the voice soon begins to show wear, and this is exactly +what happens to those singers who find it difficult to +sing the Wagner operas.</p> + +<p>The solution of this problem lies in the proper study of +diction. The intellectual elements of speech consonants are +formed almost entirely in the front of the mouth with various +combinations of lips, tongue and teeth. Three things are +necessary to their complete mastery.</p> + +<p><strong>First,</strong>—consonants must be produced without tension. It +will be well to remember in this connection that consonants +are not to be sung. They are points of interference and must +be distinct but short. The principle of freedom applies to +consonants no less than to vowels.</p> + +<p><strong>Second,</strong>—consonants must not be allowed to interrupt the +continuity of the pitch produced by the vocal cords. This is +necessary to preserve legato. Some consonants close the channel +completely, others only partially. It is a great achievement +to be able to sing all consonant combinations and still +preserve a legato.</p> + +<p><strong>Third,</strong>—consonants must in no way interfere with the freedom +of the vocal organ. If the student attempts to sing the +consonants, that is, to prolong them he is sure to make his +throat rigid and the pure singing tone at once disappears. He +must therefore learn dramatic utterance without throwing +the weight of it on the throat. To do this he must begin with a +consonant which offers the least resistance and practice it +until the three points mentioned have been mastered. The +<span class="pagenum"><a id="page78" name="page78"></a>78</span>one which will give the least trouble is l. At the pitch G sing +ah-lah-lah-lah-lah, until it can be done with relaxed tongue, +with perfect continuity of tone, and with perfect freedom in +the vocal instrument. In the same way practice n, d, v, th, m, +and the sub vocals, b, d, g. Always begin with a vowel.</p> + +<p>If the singer has the patience to work the problem out in +this way he can apply the principles of <i>bel canto</i> to dramatic +singing. The road to this achievement is long, longer than +most people suspect, but if one is industrious and persevering +it may be accomplished.</p> + +<p>But there remains yet to be mentioned the most important +element of artistic singing. To the pure tone and perfect diction +must be added the imagination. The <em>imagination</em> is the +image making power of the mind, the power to create or reproduce +ideally that which has been previously perceived: the +power to call up mental images. By means of the imagination +we take the materials of experience and mold them into idealized +forms. The aim of creative art is to idealize, that is, to +portray nature and experience in perfect forms not with the +imperfections of visible nature. “In this” says Hegel, “art +is superior to nature.”</p> + +<p>The activity of the imagination is directly responsible for +that most essential thing—emotional tone. Taking intelligence +for granted, the imagination is the most important factor +involved in interpretation. If the imagination be quick +and responsive it will carry the singer away from himself and +temporarily he will live the song.</p> + +<p>Every song has an atmosphere, a metaphysical something +which differentiates it from every other song. The singer +must discover it and find the mood which will perfectly express +it. If his imagination constructs the image, creates the +picture, recalls the feeling, the emotion, the result will be artistic +singing. The song is that which comes from the soul +<span class="pagenum"><a id="page79" name="page79"></a>79</span>of the singer. It is not on the printed page. If I study a +Schubert song until I have mastered it, I have done nothing +to Schubert. It is I who have grown. Through the activity +of the imagination, guided by the intelligence, I have built +up in my consciousness as nearly as possible what I conceive to +have been Schubert’s feeling when he wrote the song, but the +work has all been done on myself.</p> + +<p>A chapter might be written on the artistic personality. It +reveals itself in light, shade, nuance, inflection, accent, color, +always with a perfect sense of proportion, harmony and +unity, and free from all that is earthy. It is the expression of +individuality. It cannot be imitated. If you ask me for its +source I repeat again Whistler’s immortal saying: “Art is an +expression of eternal, absolute truth, and starting from the +Infinite it cannot progress, <strong>IT IS</strong>.”</p> +</div><!--Diction--> +</div><!--Chapter 6--> +<div class="chapter" id="Ch_VII"> +<p><span class="pagenum"><a id="page80" name="page80"></a>80</span></p> +<p class="chapter_number">VII</p> +<h2 class="chapter_title">THE CONSTRUCTION OF A SONG.</h2> +<div class="epigram"> +<p>Has he put the emphasis on his work in the place where it is most important? +Has he so completely expressed himself that the onlooker cannot +fail to find his meaning?</p> +<p class="citation"><i>Appreciation of Art</i>. Loveridge.</p> +</div> + +<p>When you listen to a song and at its close say, “That is +beautiful,” do you ever stop and try to discover why it is +beautiful? The quest may lead you far into the field of Aesthetics, +and unless you are accustomed to psychological processes +you may find yourself in a maze from which escape is difficult. +Let us remember that in studying the construction of a song we +are dealing with states of mind. A song is the product of a +certain mood and its direct aim is to awaken a similar mood +in others.</p> + +<p>It is a well established fact that sound is the most common +and the most effective way of expressing and communicating +the emotions, not only for man but for the lower animals as +well. This method of communication doubtless began far +back in the history of the race and was used to express bodily +pain or pleasure.</p> + +<p>The lower animals convey their feelings to each other by +sounds, not by words, and these sounds awaken in others the +same feeling as that which produced them.</p> + +<p>We see, then, that emotion may be expressed by sound +and be awakened by sound, and this obtains among human +beings no less than among the lower animals. In the long +process of ages sound qualities have become indissolubly associated +with emotional states, and have become the most exciting, +the most powerful sense stimulus in producing emotional +reactions. The cry of one human being in pain will excite +<span class="pagenum"><a id="page81" name="page81"></a>81</span>painful emotions in another. An exclamation of joy will excite +a similar emotion in others, and so on through the whole +range of human emotions.</p> + +<p>Herbert Spencer holds that the beginning of music may be +traced back to the cry of animals, which evidently has an emotional +origin and purpose. It is a far cry from the beginning +of music as described by Spencer to the modern art song, but +from that time to this the principle has remained the same. +The emotional range of the lower animals is small, doubtless +limited to the expression of bodily conditions, but the human +race through long ages of growth has developed an almost unlimited +emotional range, hence the vehicle for its expression has +of necessity increased in complexity.</p> + +<p>To meet this demand music as a science has evolved a tone +system. That is, from the infinite number of tones it has selected +something over a hundred having definite mathematical +relationships, fixed vibrational ratios. The art of music takes +this system of tones and by means of combinations, progressions +and movements which constitute what is called musical +composition, it undertakes to excite a wide variety of emotions.</p> + +<p>The aim and office of music is to create moods. It does not +arrive at definite expression. There is no musical progression +which is universally understood as an invitation to one’s +neighbor to pass the bread. The pianist cannot by any particular +tone combination make his audience understand that +his left shoe pinches, but he can make them smile or look serious. +He can fill them with courage or bring them to tears without +saying a word. In listening to the Bach <i>B Minor Mass</i> one +can tell the <i>Sanctus</i> from the <i>Gloria in Excelsis</i> without knowing +a word of Latin. The music conveys the mood unmistakably.</p> + +<p>A song is a union of music and poetry, a wedding if you please +and as in all matrimonial alliances the two contracting parties +should be in harmony. The poem creates a mood not alone by +<span class="pagenum"><a id="page82" name="page82"></a>82</span>what it expresses directly but by what it implies, what it +suggests. Its office is to stimulate the imagination rather than +to inform by direct statement of facts. The office of music is +to strengthen, accentuate, and supplement the mood of the +poem, to translate the poem into music. The best song then, +will be one in which both words and music most perfectly +create the same mood.</p> + +<p>Arnold Bennett’s definition of literature applies equally well +to the song. He says: “That evening when you went for a +walk with your faithful friend, the friend from whom you hid +nothing—or almost nothing—you were, in truth, somewhat +inclined to hide from him the particular matter which monopolized +your mind that evening, but somehow you contrived to +get on to it, drawn by an overpowering fascination. And as +your faithful friend was sympathetic and discreet, and flattered +you by a respectful curiosity, you proceeded further and +further into the said matter, growing more and more confidential, +until at last you cried out in a terrific whisper: ‘My +boy she is simply miraculous:’ At that moment you were in +the domain of literature.” Now when such impassioned, +spontaneous utterance is brought under the operation of musical +law we have a perfect song. The composer furnished the +words and music, but the thing which makes it a song comes +from the singer, from the earnestness and conviction with which +he delivers the message.</p> + +<p>Songs are divided into two general classes: those expressing +the relationships of human beings, such as love, joy, sorrow, +chivalry, patriotism, etc., and those expressing the relationship +of man to his creator; veneration, devotion, praise, etc. +The two great sources of inspiration to song writers have always +been love and religion.</p> + +<p>What are the principles of song construction? They are all +comprised in the law of fitness. The composer must do what +<span class="pagenum"><a id="page83" name="page83"></a>83</span>he sets out to do. The materials with which he has to work are +rhythm, melody and harmony. The most important thing +in a song is the melody. This determines to a very great extent +the health and longevity of the song. Most of the songs +that have passed the century mark and still live do so by reason +of their melody. There must be a sense of fitness between the +poem and the melody. A poem which expresses a simple +sentiment requires a simple melody. A simple story should be +told simply. If the poem is sad, joyous, or tragic the melody +must correspond. Otherwise the family discords begin at once. +Poetry cannot adapt itself to music, because its mood is +already established. It is the business of the composer to +create music which will supplement the poem. A lullaby +should not have a martial melody, neither should an exhortation +to lofty patriotism be given a melody which induces somnolence.</p> + +<p>The same sense of fitness must obtain in the accompaniment. +The office of the accompaniment is not merely to keep the +singer on the pitch. It must help to tell the story by strengthening +the mood of the poem. It must not be trivial or insincere, +neither must it overwhelm and thus draw the attention of the +listeners to itself and away from the singer.</p> + +<p>The accompaniment is the clothing, or dress, of the melody. +Melodies, like people, should be well dressed but not over +dressed. Some melodies, like some people, look better in +plain clothes than in a fancy costume. Other melodies appear +to advantage in a rich costume. Modern songwriters are much +inclined to overdress their melodies to the extent that the accompaniment +forces itself upon the attention to the exclusion +of the melody. Such writing is as incongruous as putting on +a dress suit to go to a fire.</p> + +<p>The significance of the theme should indicate the nature of +the accompaniment. To take a simple sentiment and overload +<span class="pagenum"><a id="page84" name="page84"></a>84</span>it with a modern complex harmonic accompaniment is like +going after sparrows with a sixteen inch siege gun.</p> + +<p>Comedy in the song should not be associated with tragedy +in the accompaniment. A lively poem should not have a lazy +accompaniment. The great songwriters were models in this +respect. This accounts for their greatness. Take for example +Schubert’s <i>Wohin</i> and <i>Der Wanderer</i>, Schumann’s <i>Der +Nussbaum</i>, Brahms’ <i>Feldeinsamkeit</i>. These accompaniments +are as full of mood as either poem or melody.</p> + +<p>The element of proportion enters into songwriting no less +than into architecture. A house fifteen by twenty feet with a +tower sixty feet high and a veranda thirty feet wide would be out +of proportion. A song with sixty-four measures of introduction +and sixteen measures for the voice would be out of proportion. +Making a song is similar to painting a landscape. In the painting +the grass, flowers, shrubbery etc., are in the foreground, +then come the hills and if there be a mountain range it is in the +background. If the mountain range were in the foreground +it would obscure everything else. So in making a song. If it +tells a story and reaches a climax the climax should come near +the end of the song. When the singer has carried his audience +with him up to a great emotional height then all it needs is to +be brought back safely and quickly to earth and left there.</p> + +<div class="section"> +<h3 class="section_title">ASSOCIATION</h3> + +<p>I have mentioned the principles of song construction, but +there are other things which have to do with making a song +effective. One of the most important of these is association. +Let us remember that the effect and consequent value of music +depends upon the class of emotions it awakens rather than upon +the technical skill of the composer, and that these emotions are +<span class="pagenum"><a id="page85" name="page85"></a>85</span>dependent to a considerable extent upon association. We all +remember the time honored expedient of tying a string around +a finger when a certain thing is to be remembered. The perception +of the digital decoration recalls the reason for it and +thus the incident is carried to a successful conclusion. In like +manner feelings become associated with ideas. Church bells +arouse feelings of reverence and devotion. To many of us a +brass band awakens pleasant memories of circus day. <i>Scots +Wha Hae</i> fills the Scotchman with love for his native heather. +The odor of certain flowers is offensive because we associate it +with a sad occasion. The beauty of a waltz is due not only +to its composition but also to our having danced to it under +particularly pleasant circumstances.</p> + +<p>At the opera there are many things that combine to make it a +pleasant occasion—the distant tuning of the orchestra, the +low hum of voices, the faint odor of violets, and the recollection +of having been there before with that miracle of a girl,—all +combine to fill us with pleasurable anticipation. In this +way we give as much to the performance as it gives to us. According +to some Aestheticians the indefinable emotions we +sometimes feel when listening to music are the reverberations +of feelings experienced countless ages ago. This may have +some foundation in fact, but it is somewhat like seeing in a +museum a mummy of ourselves in a previous incarnation.</p> + +<p>Songs which have the strongest hold upon us are those which +have been in some way associated with our experience. The intensity +with which such songs as <i>Annie Laurie</i>, <i>Dixie</i>, <i>The +Vacant Chair</i>, <i>Tramp, Tramp, Tramp</i> grip us is due almost entirely +to association.</p> + +<p>Therefore the value of a song consists not alone in what it +awakens in the present, but in what it recalls from the past. +Man is the sum of his experience; and to make past experience +contribute to the joy of the present is to add abundance to riches.</p> +</div> +</div><!--Chapter 7--> +<div class="chapter" id="Ch_VIII"> +<p><span class="pagenum"><a id="page86" name="page86"></a>86</span></p> +<p class="chapter_number">VIII</p> +<h2 class="chapter_title">HOW TO STUDY A SONG</h2> +<div class="epigram"> +<p>The accent of truth apparent in the voice when speaking naturally is the +basis of expression in singing.</p> +<p class="citation">Garcia. <i>Hints on Singing</i>.</p> +</div> + +<p>First determine the general character of the song. A careful +study of the words will enable the student to find its general +classification. It may be dramatic, narrative, reminiscent, +introspective, contemplative, florid, sentimental.</p> + +<p>The following are examples:</p> + +<p>Dramatic, <i>The Erl King</i>, Schubert.</p> + +<p>Narrative, <i>The Two Grenadiers</i>, Schumann.</p> + +<p>Reminiscent, <i>Der Doppelgänger</i>, Schubert.</p> + +<p>Florid, <i>Indian Bell Song</i>, from Lakme, Delibes.</p> + +<p>Introspective, <i>In der Frühe</i>, Hugo Wolf.</p> + +<p>Contemplative, <i>Feldeinsamkeit</i>, Brahms.</p> + +<p>Songs of sentiment. This includes all songs involving the +affections and the homely virtues.</p> + +<p>To these might be added songs of exaltation, such as Beethoven’s +“Nature’s Adoration.” Character songs, in which the +singer assumes a character and expresses its sentiments. A +good example of this is “The Poet’s Love” cycle by Schumann. +Classifying the song in this way is the first step toward discovering +its atmosphere. There is always one tempo at which +a song sounds best and this tempo must grow out of a thorough +understanding of its character. Metronome marks should be +unnecessary. Intelligent study of a song will unerringly suggest +the proper tempo.</p> + +<p>Next, study the poem until it creates the mood. Read it, +not once, but many times. Imbibe not only its intellectual +but its emotional content. It is the office of poetry to stimulate +<span class="pagenum"><a id="page87" name="page87"></a>87</span>the imagination. It is under the influence of this stimulus +that songs are written, and under its influence they must be +sung. Hugo Wolf said that he always studied the poem until +it composed the music. This means that he studied the poem +until he was so filled with its mood that the proper music came +of itself. Fix in mind the principal points in the poem and the +order in which they occur. There usually is development of +some kind in a poem. Learn what it is. Notice which part of +the poem contains the great or central idea. Read it aloud. +Determine its natural accent. The singing phrase grows out +of the spoken phrase. Singing is elongated, or sustained, +speech, but it should be none the less intelligent by reason of +this.</p> + +<p>Now adapt the words to the music. If the music has grown +out of the words as it should, it will follow the development of +the poem and give it additional strength.</p> + +<p>By this time one should be in the mood of the song, and he +should not emerge from it until the song is finished. If one is +filled with the spirit of the song, is sincere and earnest, and +is filled with a desire to express what is beautiful and good he +will not sing badly even if his voice be ordinary.</p> + +<p>The composer may do much toward creating the mood for +both singer and listener by means of his introduction. The introduction +to a song is not merely to give the singer the pitch. +It is for the purpose of creating the mood. It may be reminiscent +of the principal theme of the song, it may consist of some +fragment of the accompaniment, or any other materials which +will tend to create the desired mood.</p> + +<p>In the introduction to <i>Rhein-gold</i> where Wagner wishes to +portray a certain elemental condition he uses 136 measures of +the chord of E flat major.</p> + +<p>In <i>Feldeinsamkeit</i> (The Quiet of the Fields) where the mood +is such as would come to one lying in the deep grass in the field +<span class="pagenum"><a id="page88" name="page88"></a>88</span>watching “the fair white clouds ride slowly overhead,” in a +state of complete inaction, Brahms establishes the mood by +this treatment of the major chord.</p> + +<p><img class="large_inline_image" src="images/fig_k.png" title="Figure K" alt="a musical fragment" width="430" height="142" id="figure_k" name="figure_k" /></p> + +<p>In <i>Der Wanderer</i> (The Wanderer) Schubert uses this musical +figure to indicate the ceaseless motion of one condemned +to endless wandering.</p> + +<p><img class="large_inline_image" src="images/fig_l.png" title="Figure L" alt="a musical fragment" width="350" height="142" id="figure_l" name="figure_l" /></p> + +<p>In <i>The Maid of the Mill</i> cycle where the young miller discovers +the brook Schubert uses this figure, which gives a clear +picture of a chattering brooklet. This figure continues +throughout the song.</p> + +<p><img class="large_inline_image" src="images/fig_m.png" title="Figure M" alt="a musical fragment" width="319" height="132" id="figure_m" name="figure_m" /></p> + +<p>In the song <i>On the Journey Home</i>, which describes the feelings +of one who, after a long absence returns to view the “vales +and mountains” of his youth, Grieg, with two measures of +introduction grips us with a mood from which we cannot escape.</p> +<p><img class="large_inline_image" src="images/fig_n.png" title="Figure N" alt="a musical fragment" width="413" height="150" id="figure_n" name="figure_n" /></p> + +<p><span class="pagenum"><a id="page89" name="page89"></a>89</span>But one of the most striking examples of the operation of +genius is Schubert’s introduction to <i>Am Meer</i> (By the Sea). +Here with two chords he tells us the story of the lonely seashore, +the deserted hut, the tears, the dull sound of breakers +dying on a distant shore, and all around the unfathomable +mystery of the mighty deep.</p> +<p><img class="large_inline_image" src="images/fig_o.png" title="Figure O" alt="a musical fragment" width="369" height="143" id="figure_o" name="figure_o" /></p> + + +<p>Classic song literature is full of interesting examples of this +kind. If we learn how to study the works of these great ones +of the earth we shall see how unerring is the touch of genius, +and some day we shall awaken to see that these kings and +prophets are our friends, and that they possess the supreme +virtue of constancy.</p> +</div><!--Chapter 8--> +<div class="chapter" id="Ch_IX"> +<p><span class="pagenum"><a id="page90" name="page90"></a>90</span></p> +<p class="chapter_number">IX</p> +<h2 class="chapter_title">SCIENTIFIC VOICE PRODUCTION</h2> +<div class="epigram"> +<p>The immediate effect of the laryngoscope was to throw the whole subject +into almost hopeless confusion by the introduction of all sorts of errors +of observation, each claiming to be founded on ocular proof, and believed +in with corresponding obstinacy.</p> +<p class="citation">Sir Morell Mackenzie. <i>Hygiene of the Vocal Organs</i>.</p> +</div> + +<p>He who studies the voice in a physics laboratory naturally +considers himself a scientific man, and those teachers who make +his discoveries the basis of their teaching believe they are teaching +the science of voice production. The scientist says: +“Have I not studied the voice in action? I have seen, therefore +I know.” But the element of uncertainty in what he has +seen makes his knowledge little more than speculative. But +suppose he is sure of what he has seen. Of what importance +is it? He has seen a vocal organ in the act of producing tone +under trying conditions, for one under the conditions necessary +to the use of the laryngoscope is not at all likely to reach his +own standard of tone production.</p> + +<p>Scientists would have us believe that the action of the vocal +mechanism is the same in all voices. This claim must necessarily +be made or there would be no such thing as scientific +production. But of all the vocal vagaries advanced this has +the least foundation in fact.</p> + +<p>Scientifically and artistically speaking there is no such thing +at present as perfect voice, and there will be no such thing +until man manifests a perfect mind. The best examples of +voice production are not altogether perfect, and most of them +are still a considerable distance from perfection. It is with +these imperfect models that the scientific man in dealing and +on which he bases his deductions.</p> + +<p>Be it right or wrong singers do not all use the vocal mechanism +in the same way. I have in mind two well known contraltos +one of whom carried her chest register up to A, and even +<span class="pagenum"><a id="page91" name="page91"></a>91</span>to B flat occasionally. The other carried her middle register +down to the bottom of the voice. Can the tenor who carries +his chest voice up to <img src="images/fig_p.png" title="Figure P" alt="a fragment of music" id="figure_p" name="figure_p" width="72" height="64" /> be said to use his voice in +the same way as one who begins his head voice at <img src="images/fig_q.png" title="Figure Q" alt="a fragment of music" id="figure_q" name="figure_q" width="71" height="64" />?</p> + +<p>In the examination of a hundred voices selected at random all +manner of different things would be observed. Perhaps this +is responsible for the great diversity of opinion among scientists, +for it must be said that so far there is little upon which +they agree. Before absolute laws governing any organ or instrument +can be formulated the nature of the instrument must +be known. The scientists have never come anywhere near an +agreement as to what kind of an instrument man has in his +throat. They have not decided whether it is a stringed instrument, +a brass, a single or double reed, and these things are +vital in establishing a scientific basis of procedure. Not knowing +what the instrument is, it is not strange that we are not of +one mind as to how it should be played upon.</p> + +<p>If we are to know the science of voice production we must +first know the mechanism and action of the vocal organ. This +instrument, perhaps an inch and a half in length, produces +tones covering a compass, in rare instances, of three octaves. +How does it do it? According to the books, in a variety of ways.</p> + +<p>A majority of those voice teachers who believe in registers +recognize three adjustments, chest middle, and upper, or chest +medium, and head, but Dr. MacKenzie claims that in four +hundred female voices which he examined he found in most +cases the chest mechanism was used throughout. Mancini +(1774) says there are instances in which there is but one register +used throughout.</p> + +<p>Garcia says there are three mechanisms—chest, falsetto, +and head, and makes them common to both sexes.</p> + +<p><span class="pagenum"><a id="page92" name="page92"></a>92</span>Behnke divides the voice into five registers—lower and +upper thick, lower and upper thin, and small.</p> + +<p>Dr. Guilmette says that to hold that all of the tones of the +voice depend on one mechanism or register is an acknowledgment +of ignorance of vocal anatomy. He further declares +that the vocal cords have nothing to do with tone—that +it is produced by vibration of the mucous membrane of +the trachea, larynx, pharynx, mouth; in fact, all of the mucous +membrane of the upper half of the body.</p> + +<p>When it comes to the falsetto voice, that scarehead to so +many people who have no idea what it is, but are morally sure +it is wicked and ungodly, the scientists give their imaginations +carte blanche. Dr. Mackenzie, who says there are but two +mechanisms, the long and short reed, says the falsetto is produced +by the short reed.</p> + +<p>Lehfeldt and Muller hold that falsetto is produced by the +vibrations of the inner edges or mucous covering of the vocal +cords, the body of the cords being relaxed.</p> + +<p>Mr. Lunn feels sure that the true vocal cords are not involved +in falsetto, that voice being produced by the false vocal +cords.</p> + +<p>Mantels says that in the falsetto voice the vocal cords do not +produce pitch, that the quality and mechanism are both that +of the flute, that the cords set the air in vibration and the different +tones are made by alterations in the length of the tube.</p> + +<p>Davidson Palmer says that the falsetto is the remnant of the +boy’s voice which has deteriorated through lack of use, but +which is the correct mechanism to be used throughout the tenor +voice.</p> + +<p>Mr. Chater argues along the same lines as Mr. Mantels +except that he makes the instrument belong to the clarinet or +oboe class. Others believe the vocal cords act as the lips do +in playing a brass instrument.</p> + +<p><span class="pagenum"><a id="page93" name="page93"></a>93</span>But the action of the vocal cords is but the first part of the +unscientific controversy. What takes place above the vocal +cords is equally mystifying. The offices of the pharynx, the +mouth, the nasal cavities, the entire structure of the head in +fact, are rich in uncertainties.</p> + +<p>Some think the cavities of the pharynx and head are involved +acoustically and in some way enlarge, refine and purify +the tone, but one famous man says the head has nothing whatever +to do with it. Another gentleman of international reputation +says the nose is the most important factor in singing. +If your nasal cavities are right you can sing, otherwise you +cannot.</p> + +<p>And so this verbal rambling continues; so the search for +mind in matter goes on, with a seriousness scarcely equalled +in any other line of strife. There is nothing more certain to +permanently bewilder a vocal student than to deluge him with +pseudo-scientific twaddle about the voice. And this for the +simple reason that he comes to learn to sing, not for a course in +anatomy.</p> + +<p>What is scientific voice production? Books without number +have been written with the openly expressed intention to +give a clear exposition of the subject, but the seeker for a +scientific method soon finds himself in a maze of conflicting +human opinions from which he cannot extricate himself.</p> + +<p>We are told with much unction and warmth that science +means to know. That it is a knowledge of principles or causes, +ascertained truths or facts. A scientific voice teacher then +must know something. What must he know? Books on +scientific voice production usually begin with a picture of the +larynx, each part of which is labeled with a Greek word sometimes +longer than the thing itself. It then proceeds to tell the +unction of each muscle and cartilage and the part it plays in +<span class="pagenum"><a id="page94" name="page94"></a>94</span>tone production. Now if this is scientific, and if science is +exact knowledge, and this exact knowledge is the basis of +scientific voice teaching, then every one who has a perfect +knowledge of these facts about the voice, must in the eternal +and invariable nature of facts be a perfect voice teacher, and +every one of these perfect voice teachers must teach in exactly +the same way and produce exactly the same results. Does +history support this argument? Quite the reverse.</p> + +<p>There is a science of acoustics, and in this science one may +learn all about tones, vibrating bodies, vibrating strings, +vibrating cavities, simple, compound and complex vibrations. +Will this knowledge make him a scientific voice teacher? +When he has learned all of this he has not yet begun to prepare +for voice teaching. There is no record of a great voice teacher +having been trained in a physics laboratory.</p> + +<p>It is possible to analyze a tone and learn how fundamental +and upper partials are combined and how these combinations +affect quality. Does this constitute scientific voice production? +This knowledge may all be gained from the various +hand books on acoustics. Has any one the hardihood to assert +that such knowledge prepares one for the responsible work +of training voices? One may know all of this and still be as +ignorant of voice training as a Hottentot is of Calvinism.</p> + +<p>Further, who shall decide which particular combination of +fundamental and upper partials constitutes the perfect singing +tone? If a tone is produced and we say, there is the perfect +tone, all it proves is that it corresponds to our mental concept of +tone. It satisfies our ear, which is another term for our taste.</p> + +<p>Can a tone be disagreeable and still be scientifically produced? +One combination of fundamental and overtones is, strictly +speaking, just as scientific as another combination. The flute +tone with its two overtones is just as scientific as the string +tone with its six or eight. A tone is pleasant or disagreeable +<span class="pagenum"><a id="page95" name="page95"></a>95</span>according as it corresponds to a mental demand. Even the +most hardened scientist would not call a tone which offends his +ear scientific. Therefore he must first produce, or have produced +the tone that satisfies his ear. The question then naturally +arises—when he has secured the tone that satisfies +his ear of what value beyond satisfying his curiosity is a +physical analysis? A tone is something to hear, and when it +satisfies the ear that knows, that in itself is unmistakable +evidence that it is rightly produced.</p> + +<p>If this scientific knowledge of tone is necessary then every +great artist in the world is unscientific, because not one of +them makes any use whatsoever of such knowledge in his +singing.</p> + +<p>No. All of the scientific knowledge one may acquire is no +guaranty of success as a teacher, but is rather in the nature of a +hindrance, because it is likely to lead him into mechanical ways +of doing things. Further, the possession of such knowledge +is no indication that one will use it in his teaching. How much +of such knowledge can one use in teaching? How can he tell, +save from the tone itself whether the pupil is producing it +scientifically? It is a well established fact that the more the +teacher tries to use his scientific information in teaching the less +of an artist he becomes.</p> + +<p>Could it be possible that a beautiful tone could be produced +contrary to the laws of science? It would be an extraordinary +mind that would argue in the affirmative.</p> + +<p><strong>The most beautiful tone is the most perfectly produced, +whether the singer knows anything of vocal +mechanism or not.</strong> In such a tone there is no consciousness +of mechanics or scientific laws. The vocal mechanism is +responding automatically to the highest law in the universe—the +law of beauty. The most scientific thing possible is a +<span class="pagenum"><a id="page96" name="page96"></a>96</span>beautiful idea perfectly expressed, because a thing inherently +beautiful is eternally true, hence it is pure science.</p> + +<p>Every tone of the human voice is the expression of life, of an +idea, a feeling, an emotion, and unless interfered with the vocal +mechanism responds automatically.</p> + +<p>He who by experiment or reading has learned the action of +the vocal mechanism, and attempts to make his pupil control +every part of it by direct effort may imagine that he is teaching +scientific voice production, but he is not, he is only doing a +mechanical thing in a clumsy way.</p> + +<p>Is it a scientific act to tell a pupil to hold his tongue down, +as one writer argued recently? Is a teacher calling into action +the eternal laws of science when he tells his pupil to drive the +tone through the head, hoist the soft palate, groove the tongue, +and make the diaphragm rigid? No. He is simply doing a +mechanical thing badly for want of a better way. It is no +more scientific than kicking the cat out of the way if she gets +under your feet.</p> + +<p>Any one who has learned the elements of psychology or +philosophy knows that everything exists first as idea. The +real universe is the one that exists in the mind of the creator. +The real man is the part of him that thinks. To hold that the +body thinks or acts is equivalent to saying that Gray’s “Elegy” +was in the pen with which the poet wrote.</p> + +<p>To a natural scientist the only real thing is what he can see, +therefore he bases his faith on what he conceives to be matter; +but if we study the great ones—Oswald, Huxley, Grant, +Allen, and the like, we find that they have long ago reached the +conclusion that there is no such thing as matter. According +to Schopenhauer the world is idea, and this so called material +environment is thought objectifying itself.</p> + +<p>Vocal teachers, like the members of other professions, are +not altogether immune to an attack of intellect, and at such +<span class="pagenum"><a id="page97" name="page97"></a>97</span>times the thought that they are doing something scientific is +particularly agreeable.</p> + +<p>The only study of science that can benefit any one is the +study of causation, and causation cannot be cognized by the +physical senses. We never see, hear, feel, taste, or smell cause. +What we see or hear is effect. Causation is mental. Natural +science is dealing with phenomena, with effect not cause. A +regular recurrence of phenomena may establish a so called +natural law, but the law is that which caused the phenomena, +“Law is force” says Hegel, and it is therefore mental. We are +told that the law of the earth is its path around the sun. This +is not true, the law of the earth is the mind which makes it +revolve around the sun. If we would learn the nature, activity, +and cause of anything we must look for it in <em>mind</em> not +in matter. For this reason the process of voice production is +<em>psychologic</em> not physiologic. When a pupil sings, what we +hear is <em>effect</em> not cause. If he is doing all manner of unnecessary +things with his lips, tongue, larynx, etc. what we see is +effect and the cause is in wrong <em>mental</em> concepts. The thing +which caused the tone is <em>mental</em>, the force which produced it is +<em>mental</em>, and the means by which we know whether it is good, +or bad is <em>mental</em>.</p> + +<p>Of this we may be sure, that the tone the pupil sings will not +be better than the one he has in mind. <em>A tone exists first as a +mental concept, and the quality of the mental concept determines +the quality of the tone.</em></p> + +<p>If there be such a thing as scientific voice production it will +be found in the sense of what is inherently beautiful, and the +scientific tone is one which will perfectly express a right idea +or emotion, and in the nature of things there is an appropriate +tone for everything that may be legitimately expressed, for +they are correlated ideas.</p> + +<p>Whence originated this so called scientific voice teaching? +<span class="pagenum"><a id="page98" name="page98"></a>98</span>That the old Italian knew nothing of it is well understood. +They considered the process artistic rather than scientific. +<em>How does it sound</em>, was their slogan. The thing uppermost in +their minds was beautiful tone, and they were wise enough to +know that when one has a definite concept of the pure singing +tone he has a more valuable asset than all the mechanical +knowledge he can acquire. They had but one end in view, +namely, a finished artist, and everything they did was made to +contribute to it. The artist always has in mind the <em>finished +product</em>. The scientist tries to find out <em>how it is done</em>. The +artist begins with the idea and works forward to its complete +expression. The scientist begins with the physical mechanism +and works backward toward the idea.</p> + +<p>What is responsible for the change from the methods of the +the seventeenth and eighteenth centuries? It is safe to say +that it did not come through the voice teachers.</p> + +<p>In the early part of the nineteenth century an interesting thing +happened. How it happened or why it happened at that +particular time is not known nor does it matter. The human +mind became all at once aggressively inquisitive. The desire +to get at the ultimate of everything took possession of humanity +and still holds it. The result was an era of scientific analysis +and invention, the aim of which was to control the forces of +nature. Previous to that time methods of living, production, +transportation, agriculture, etc. were little different from that of +biblical times. People and nations lived much to themselves. +They looked within for their inspiration and developed their +own national characteristics. But with the invention of the +steamship, railway, and telegraph a change came. These improved +methods of transportation and communication brought +all of the mentalities of the world together, and soon all habitable +parts of the globe were in daily and hourly contact. The +result was a mental fermentation which increased the complexity +<span class="pagenum"><a id="page99" name="page99"></a>99</span>of civilization immeasurably and the present exaggerated +and unnatural condition of society is the outgrowth.</p> + +<p>Between 1809 and 1813 were born Mendelssohn, Chopin, +Schumann, Liszt, and Wagner. These men are known as the +founders of the modern romantic school of music. They grew +up with the new civilization and could not do otherwise than +reflect its complexity in their music. That the new civilization +was responsible for the new art there is no doubt whatever. +All old types have passed away. All branches of art have suffered +radical changes in conforming to new ideals.</p> + +<p>Since the wave of scientific investigation started around the +world nothing has been able to escape it. The hand of the +scientist has been upon everything, and to him rather than to +the voice teachers must be given the credit for originating +scientific voice teaching.</p> + +<p>When the scientists began publishing the results of their investigations +voice teachers at once became interested. The +plan looked promising. It offered them a method shorn of +uncertainties. A method that brought everything under the +operation of physical laws; a method that dealt only with +finalities, and would operate in spite of a lack of musical intelligence +on the part of the student, and at the same time +enable them to lay to their souls the flattering unction of science. +True it ignored altogether the psychology of the matter. It +said “do it this way and a beautiful tone will come whether +you are thinking it or not, because scientific laws eternally +operating in the same way eternally produce the same results.”</p> + +<p>The scientific method gave voice teachers an opportunity to +work with something tangible, something they could see; +whereas the development of tone concept, the artistic instinct, +musical feeling, and musicianship had to do with things which +to most of them were intangible and elusive. No one doubts +the honesty of the teachers who became obsessed with the +<span class="pagenum"><a id="page100" name="page100"></a>100</span>scientific idea. To them it meant increased efficiency and +accuracy, quicker results with less effort, and so they broke +with the old Italians, the basis of whose teaching was beautiful +tone and beautiful singing. In spite of the honesty of purpose +of all those who followed the new way, the results were calamitous. +The art of singing received a serious setback. +Voices without number were ruined. From the middle to the end +of the nineteenth century the scientific idea was rampant, +and during that period it is probable that the worst voice +teaching in the history of the world was done. Large numbers +of people with neither musicianship nor musical instincts acquired +a smattering of anatomy and a few mechanical rules +and advertised themselves as teachers of scientific voice +production. The great body of vocal students, anxious to +learn to sing in the shortest possible time, having no way of +telling the genuine from the spurious except by trying it, fell +an easy prey, and the amount of vocal damage and disaster +visited upon singers in the name of science is beyond calculation.</p> + +<p>Fortunately the reaction has begun. Slowly but surely we +are returning to a saner condition of mind. Every year adds +to the number of those who recognize singing as an art, whose +vision is clear enough to see that the work of the scientific investigator +should be confined to the laboratory and that it has +no place in the studio. We are beginning to see that the basic +principle of singing is <em>freedom in the expression of the beautiful</em>, +and that the less there is of the mechanical in the +process the better.</p> +</div><!--Chapter 9--> +<div id="bibliography"> +<p><span class="pagenum"><a id="page101" name="page101"></a>101</span></p> +<h2 class="biblio_title">BIBLIOGRAPHY</h2> +<ul id="biblio_list"> + <li>The Italian School of Florid Song. Pier Franceso Tosi. London, 1743.</li> + <li>Practical Reflections on the Figurative Art of Singing. Mancini (1716-1800) English Edition. Boston, 1912.</li> + <li>The Psychology of Singing. David Taylor. New York, 1908.</li> + <li>The Philosophy of Singing. Clara Kathleen Rogers. New York, 1898.</li> + <li>My Voice and I. Clara Kathleen Rogers. Chicago, 1910.</li> + <li>The Rightly Produced Voice. Davidson Palmer. London, 1897.</li> + <li>Expression in Singing. H. S. Kirkland. Boston, 1916.</li> + <li>The Art of the Singer. W. J. Henderson. New York, 1906.</li> + <li>English Diction for Singers and Speakers. Louis Arthur Russell. Boston, 1905.</li> + <li>Resonance in Speaking and Singing. Thomas Fillebrown. Boston, 1911.</li> + <li>Hints of Singing. Garcia. London, 1894.</li> + <li>The Singing of the Future. D. Ffrangcon-Davies. London, 1908.</li> + <li>Voice, Song, and Speech. Brown and Behnke. London, 1884.</li> + <li>Voice Building and Tone Placing. H. Holbrook Curtis, M. D. New York, 1896.</li> + <li>Vocal Physiology. Alex. Guilmette, M. D. Boston, 1878.</li> + <li>The Philosophy of Art. Edward Howard Griggs. New York, 1913.</li> + <li>Ancient Art and Ritual. Jane Ellen Harrison. New York, 1913.</li> + <li>The Musical Amateur. Robert Schauffler. New York, 1913.</li> + <li>Art for Art’s Sake. John C. Van Dyke. New York, 1914.</li> + <li>What is Art. Count Leo Tolstoi. New York.</li> + <li>The Life of Reason. George Santayana. New York, 1913.</li> + <li>The Creative Imagination. Ribot. Chicago, 1906.</li> + <li>Esthetics. Kate Gordon. New York, 1913.</li> + <li>The New Laocoon. Irving Babbit. Boston, 1910.</li> + <li><span class="pagenum"><a id="page102" name="page102"></a>102</span>A New Esthetic. Ferrucio Busoni. New York, 1911.</li> + <li>The Scientific Use of the Imagination. Fragments of Science. John Tyndall. London.</li> + <li>The Philosophy of Style. Herbert Spencer.</li> + <li>The Evolution of the Art of Music. Hubert Parry. New York, 1908.</li> + <li>Studies in Modern Music. W. H. Hadow. London, 1904.</li> + <li>Appreciation of Art. Blanche Loveridge. Granville, O., 1912.</li> + <li>Music and Nationalism. Cecil Forsyth. London, 1911.</li> + <li>The Sensations of Tone. H. L. F. Helmholtz. London, 1885.</li> +</ul> +</div><!--Bibliography--> +<div id="transcriber_note"> +<p>Transcriber’s Note</p> +<p>The musical illustrations have been transcribed and are available in two +pdfs. The <a href="images/Exercises.pdf" title="Link to Exercises.pdf file">Exercises</a> +follow the Exercises as numbered in the book in <a href="#Ch_II" title="Jump to Chapter 2">II. The Head Voice</a>. +The remainder of the musical fragments, which are unlabeled in the book, are +labeled Figures A through Q (in the order in which they appear), and can +be found in the <a href="images/Figures.pdf" title="Link to Figures.pdf file">Figures</a> pdf.</p> + +<p>In four instances, the original used a C clef centered on the third +<em>space</em> to notate a vocal tenor clef. These have been transcribed +using a modern vocal tenor clef.</p> + +<p>Figure M: In the original, the eighth rest was written as a quarter +rest.</p> + +<p>Exercise 13: In the third measure, the rest was originally written as a +dotted half rest. While no meter was specified, this was adjusted here +to a quarter rest to fit the meter of the preceding measures.</p> +</div><!--Transcriber's note--> + +<p> </p> +<p> </p> +<hr class="full" /> + +<p>***END OF THE PROJECT GUTENBERG EBOOK THE HEAD VOICE AND OTHER PROBLEMS***</p> +<p>******* This file should be named 19493-h.txt or 19493-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="http://www.gutenberg.org/dirs/1/9/4/9/19493">http://www.gutenberg.org/1/9/4/9/19493</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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A. +Clippinger + + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: The Head Voice and Other Problems + Practical Talks on Singing + + +Author: D. A. Clippinger + + + +Release Date: October 7, 2006 [eBook #19493] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK THE HEAD VOICE AND OTHER +PROBLEMS*** + + +E-text prepared by David Newman, Chuck Greif, Barbara Tozier, and the +Project Gutenberg Online Distributed Proofreading Team +(https://www.pgdp.net/) + + + +Note: Project Gutenberg also has an HTML version of this file + which includes the original illustrations. + See 19493-h.htm or 19493-h.zip: + (https://www.gutenberg.org/dirs/1/9/4/9/19493/19493-h/19493-h.htm) + or + (https://www.gutenberg.org/dirs/1/9/4/9/19493/19493-h.zip) + + The musical illustrations also have been transcribed and + collected in two pdf files, links to which can be found at + the beginning and the end of the html version. The Exercises + follow the Exercises as numbered in the book in chapter II + (The Head Voice). The remainder of the musical fragments, + which are unlabeled in the book, are noted as Figures A + through Q (in the order in which they appear), and can be + found in the Figures pdf. + + + + + +THE HEAD VOICE AND OTHER PROBLEMS + +Practical Talks on Singing + +by + +D. A. CLIPPINGER + +Author of +Systematic Voice Training +The Elements of Voice Culture + + + + + + + +1.00 + +[Illustration] + + +Boston +Oliver Ditson Company +New York Chicago +Chas. H. Ditson & Co. Lyon & Healy + +Copyright MCMXVII +By Oliver Ditson Company +International Copyright Secured + + + + + _To_ + MY STUDENTS + _Past, Present and Future_ + + + + + +INTRODUCTION + + +The following chapters are the outgrowth of an enthusiasm for the work +of voice training, together with a deep personal interest in a large +number of conscientious young men and women who have gone out of my +studio into the world to engage in the responsible work of voice +teaching. + +The desire to be of service to them has prompted me to put in permanent +form the principles on which I labored, more or less patiently, to +ground them during a course of three, four, or five years. The fact that +after having stood the "grind" for that length of time they are still +asking, not to say clamoring, for more, may, in a measure, justify the +decision to issue this book. It is not an arraignment of vocal teachers, +although there are occasional hints, public and private, which lead me +to believe that we are not altogether without sin. But if this be true +we take refuge in the belief that our iniquity is not inborn, but rather +is it the result of the educational methods of those immediately +preceding us. This at least shifts the responsibility. + +Words are dangerous things, and are liable at any moment to start a +verbal conflagration difficult to control. Nowhere is this more likely +to occur than in a discussion of voice training. + +From a rather wide acquaintance with what has been said on this subject +in the past hundred years, I feel perfectly safe in submitting the +proposition that the human mind can believe anything and be +conscientious in it. + +Things which have the approval of ages emit the odor of sanctity, and +whoever scoffs does so at his peril. Charles Lamb was once criticised +for speaking disrespectfully of the equator, and a noted divine was +severely taken to task for making unkind remarks about hell. Humanity +insists that these time honored institutions be treated with due +respect. I have an equal respect for those who believe as I do and those +who do not; therefore if anything in this book is not in accord with +popular opinion it is a crack at the head of the idol rather than that +of the worshipper. + +There is no legislative enactment in this great and free country to +prevent us from _believing_ anything we like, but there should be some +crumbs of comfort in the reflection that we cannot _know_ anything but +the truth. One may believe that eight and three are thirteen if it +please him, but he cannot know it because it is not true. Everything +that is true has for its basis certain facts, principles, laws, and +these are eternal and unchangeable. The instant the law governing any +particular thing becomes definitely known, that moment it becomes +undebatable. All argument is eliminated; but while we are searching for +these laws we are dealing largely in opinions, and here the offense +enters, for as Mr. Epictetus once said, "Men become offended at their +opinion of things, not at the things themselves." We can scarcely +imagine any one taking offense at the multiplication table, neither is +this interesting page from the arithmetic any longer considered a fit +subject for debate in polite society, but so far as we know this is the +only thing that is immune. + +Our musical judgments, which are our opinions, are governed by our +experience; and with the growth of experience they ripen into solid +convictions. For many years I have had a conviction that voice training +is much simpler and less involved than it is generally considered. I am +convinced that far too much is made of the vocal mechanism, which under +normal conditions always responds automatically. Beautiful tone should +be the primary aim of all voice teaching, and more care should be given +to forming the student's tone concept than to that of teaching him how +to control his throat by direct effort. The controlling power of a right +idea is still much underestimated. The scientific plan of controlling +the voice by means of mechanical directions leaves untouched the one +thing which prevents its normal, automatic action, namely tension. + +But, someone inquires, "If the student is singing with rigid throat and +tongue would you say nothing about it?" I would correct it, but not by +telling him to hold his tongue down. A relaxed tongue is always in the +right place, therefore all he needs to learn about the tongue is how to +relax it. + +It has been hinted that he who subscribes to Dr. Fillebrown's declaration +that [A]"The process of singing is psychologic rather than physiologic" +has nothing tangible to work with. Now tone concept and musical feeling +are absolutely essential to singing, and they are definite entities to one +who has them. All musical temperaments must be vitalized. Imaginations +must be trained until they will burst into flame at the slightest poetic +suggestion. Musical natures are not fixed quantities. They are all subject +to the law of growth. Every vocal student is an example of the law of +evolution. Few people find it easy in the beginning to assume instantly a +state of intense emotion. These things are habits of mind which must be +developed, and they furnish the teacher with definite problems. + + [A] _Resonance in Singing and Speaking_, by Thomas Fillebrown. + +To repeat, _the tone is the thing_, and _how it sounds_ is what +determines whether it is right or wrong. And so we come back again to +the ear, which is the taste. Does it please the ear? If so, is the ear +reliable? Not always. If all teachers were trying for the same tone +quality there would be no need of further writing on the subject, but +they are not. On the contrary no two of them are trying for exactly the +same quality. Each one is trying to make the voice produce his idea of +tone quality, and the astounding thing about the human voice is that for +a time at least, it can approximate almost anything that is demanded of +it. If a voice is ruined, the ear of the teacher is directly +responsible. It is useless to try to place the blame elsewhere. + +Truth is always simple. If it seems difficult it is due to our clumsy +way of stating it. Thought, like melodies, should run on the line of the +least resistance. In the following pages I have eschewed all mystifying +polysyllabic verbiage, and as Mark Twain once said, have "confined +myself to a categorical statement of facts unincumbered by an obscuring +accumulation of metaphor and allegory." + +It is hoped that this book will be useful. It is offered as a guide +rather than as a reformer. It aims to point in the right direction, and +"do its bit" in emphasizing those things which are fundamental in voice +training. Whatever is true in it will reach and help those who need it. +Nothing more could be asked or desired. + + [Illustration: (signed) D. A. Clippinger] + +Kimball Hall, Chicago. +May, 1917. + + + + +CONTENTS + + + INTRODUCTION + I. VOICE PLACING + II. THE HEAD VOICE + III. A GENERAL SURVEY OF THE SITUATION + IV. HINTS ON TEACHING + V. THE NATURE AND MEANING OF ART + VI. SINGING AS AN ART + VII. THE CONSTRUCTION OF A SONG + VIII. HOW TO STUDY A SONG + IX. SCIENTIFIC VOICE PRODUCTION + BIBLIOGRAPHY + + + + +THE HEAD VOICE AND OTHER PROBLEMS. + +I + +VOICE PLACING + + "The path of the sound, being formed of elastic and movable + parts, varies its dimensions and forms in endless ways, and + every modification--even the slightest--has a corresponding and + definite influence on the voice." + + Garcia. _Hints on Singing_. + + +Vocal teachers are rated primarily on their ability as voice builders. +When students look for a teacher the first thing they want to know is: +"Can he build a voice?" His ability as an interpreter in most instances +is taken for granted. Why this is so is easily understood. There is a +moving appeal in the pure singing tone of the human voice that cannot +even be approximated by any other instrument. We have all heard voices +that were so beautiful that to hear one of them vocalize for half an +hour would be a musical feast. Such a voice is so full of feeling, so +vibrant with life and emotion that it moves one to the depths even if no +words are used. It is only natural that all singers should be eager to +possess such a voice, for it covers up a multitude of other musical +misdemeanors. While it does not take the place altogether of the +interpretative instinct, it does make the work of the singer much easier +by putting his audience in sympathy with him from the beginning, thus to +a considerable extent disarming criticism. The old Italians attached so +much importance to beautiful tone that they were willing to work +conscientiously for half a dozen years to obtain it. To the beautiful +tone they added a faultless technic. Altogether it required from five to +eight years to prepare and equip a singer for a career, but when he was +thus prepared he could do astounding things in the way of trills, +roulades, and cadenzas. + +The stories of many of these singers have come down to us through the +musical histories, and the singing world has come to believe that the +teachers alone were responsible. Owing to her geographic location, her +climate, language, and racial characteristics Italy at one time +furnished most of the great singers of the world, and the world with its +usual lack of judgment and discrimination gave Italian teachers all of +the credit. That the best of the Italian teachers were as near right as +it is humanly possible to be, I have no doubt whatever, but along with +the few singers who became famous there were hundreds who worked equally +hard but were never heard of. A great voice is a gift of the creator, +and the greater the gift the less there is to be done by the teacher. +But in addition to what nature has done there is always much to be done +by the teacher, and the nature of the vocal instrument is such that its +training is a problem unique and peculiar. The voice can do so many +different things, produce so many different kinds of tone, in such a +variety of ways that the ability to determine which is right and which +is wrong becomes a matter of aesthetic judgment rather than scientific +or mechanical. + +If the scale, power, quality, and compass of the human voice were +established as are those of the piano, the great problem in the training +of a singer would be much simplified, possibly eliminated; but the +singer must form the pitch, power, and quality of each tone as he uses +it; therefore in the training of a singer we are constantly facing what +has crystallized into the term =Voice Placing=. + +This term has been used as a peg upon which to hang every whim, fancy, +formula, and vocal vagary that has floated through the human mind in the +last two centuries. It has furnished an excuse for inflicting upon vocal +students every possible product of the imagination, normal and abnormal, +disguised in the word =Method=, and the willingness with which students +submit themselves as subjects for experiment is beyond belief. The more +mysterious and abnormal the process the more faith they have in its +efficacy. + +The nature of the vocal instrument, its wide range of possibilities, and +its intimate relation to the imagination make it a peculiarly fit +subject for experiment. The scientist has tried to analyze it, the +mechanic has tried to make it do a thousand things nature never intended +it to do, the reformer has tried to reform both, and the psychologist, +nearest right of all, has attempted to remove it from the realm of the +material altogether. There seems to be no way to stop this theorizing, +and it doubtless will continue until the general musical intelligence +reaches such a point that it automatically becomes impossible. + +We are constantly hearing such remarks as "Mr. S knows how to place the +voice." "Mr. G does not." "Mr. B places the voice high." "Mr. R does not +place the voice high enough." "Mr. X is great at bringing the tone +forward," etc., etc. This goes on through a long list of fragments of +English difficult to explain even by those who use them. + +Now voice placing means just one thing, not half a dozen. It means +learning to produce =beautiful tone=. When one can produce beautiful +tone throughout his vocal compass his voice is placed, and it is not +placed until he can. The injunction to _place the voice_ invariably +leaves in the mind of the student the idea that he must direct the tone +to some particular point, in fact he is often urged to do so, whereas +the truth is that when the tone is properly produced there is no thought +of trying to put it anywhere. It seems to sing itself. There is a well +established belief among students that the tone must be consciously +directed to the point where it is supposed to focus. This belief is +intimately associated with another equally erroneous, that the only way +to tell whether a tone is good or bad, right or wrong, is by the way it +feels. A tone is something to hear. It makes its appeal to the ear, and +why one should rely on the sense of feeling to tell whether it sounds +right or wrong is something difficult to understand. + +Further, explicit directions are given for the action and control of +everything involved in making tone except the mind of the student. The +larynx seems to be particularly vulnerable and is subject to continuous +attack. One says it should be held low throughout the compass. Another +says it should rise as the pitch rises, and still another, that it +should drop as the pitch rises. Instructions of this kind do not +enlighten, they mystify. + +If there be any one thing upon which voice teachers theoretically agree +it is "free throat". Even those who argue for a fixed larynx agree to +this, notwithstanding it is a physical impossibility to hold the larynx +in a fixed position throughout the compass without a considerable amount +of rigidity. It is like believing in Infinite Love and eternal +punishment at the same time. + +When the larynx is free it will not and should not be in the same +position at all times. It will be a little lower for somber tones than +for bright tones. It will be a little higher for the vowel e than for oo +or o, but the adjustments will be _automatic_, never conscious. It +cannot be too often reiterated that every part of the vocal mechanism +must act automatically, and it is not properly controlled until it does. + +The soft palate also comes in for its share of instruction. I was once +taught to raise it until the uvula disappeared. Later I was taught to +relax it. Both of these movements of the soft palate were expected to +result in a beautiful tone. Now if two things which are directly opposed +to each other are equal to the same thing, then there is no use in +bothering our heads further with logic. + +Such directions I believe to be of doubtful value, if not irrelevant. We +must learn that _an idea has definite form_, and that when the mechanism +is free, that is, plastic, the idea molds it into a corresponding form +and the expression becomes a perfect picture of the idea. This is what +is meant by indirect control, involuntary, automatic action. + +One could write indefinitely on the peculiarities of voice training, the +unique suggestions made, the mechanical instructions given, the +unbelievable things students are made to do with lips, tongue and larynx +as a necessary preparation to voice production. In this as in everything +else there are extremists. Some have such an exquisite sense of detail +that they never get beyond it. At the other extreme are those who trust +everything to take care of itself. Both overlook the most important +thing, namely, how the voice sounds. + +It requires much time, study and experience to learn that voice training +is simple. It is a fact that truth is naturally, inherently simple. Its +mastery lies in removing those things which seem to make it difficult +and complex. Training the voice, this so called "voice placing," is +simple and easy when one has risen above that overwhelming amount of +fiction, falsity, and fallacy that has accumulated around it, obscuring +the truth and causing many well intentioned teachers to follow theories +and vagaries that have no foundation in fact, and which lead both +teacher and pupil astray. If there is any truth applicable to voice +training it has an underlying principle, for truth is the operation of +principle. If we start wrong we shall end wrong. If we start right and +continue according to principle we shall reach the desired goal. + +=Voice training has its starting point, its basis, its foundation, in +beautiful tone.= This should be the aim of both teacher and pupil from +the beginning. To produce something beautiful is the aim of all artistic +activity. Beautiful tone, as Whistler said of all art, has its origin in +absolute truth. That which is not beautiful cannot possibly be true, for +real nature, which is the expression of Infinite Mind, is always +perfect, and no perfect thing can be ugly, discordant, or inharmonious. +The imperfection we see is the result of our own imperfect understanding +of the real universe. + +A _tone is something to hear_, and =hearing is mental=. An old French +anatomist once said: "The eye sees what it is looking for, and it is +looking only for what it has in mind." The same is true of the ear. We +hear the tone mentally before we sing it, and we should hear it as +distinctly as if it were sung by another. A tone first of all is a +mental product, and its pitch, power, and quality are definite mental +entities. When we wish to convey this tone to another we do it through +the sound producing instrument which nature has provided for this +purpose. + +That everything exists first as idea has been the teaching of the +philosophers for ages. That the idea is the controlling, governing force +is equally well understood. Therefore, inasmuch as the aim of all voice +building is to produce beautiful tone we must start with the right idea +of tone. This is where the first and greatest difficulty appears. To +most people a tone is intangible and difficult to define. One will +rarely find a student that can formulate anything approaching a +definition of a musical tone and I fancy many teachers would find it far +from easy. Unless one has a grasp of the psychology of voice, and a +great many have not, he will begin to work with what he can see. Here +enters the long dreary mechanical grind that eventually ruins the temper +of both teacher and student, and results in nothing but mechanical +singing, instead of a joyous, inspiring musical performance. + +In studying the pure singing tone we find the following: It is _smooth_, +_steady_, _firm_, _rich_, _resonant_, _sympathetic_. We shall also find +that all of its qualities and attributes are mental. It must contain the +element of freedom (mental), firmness (mental), security (mental), +sympathy (mental), enthusiasm, sentiment, joy, compassion, pity, love, +sorrow (all mental). These are all qualities of the singing tone. They +are not intangible. On the contrary, to the one who has them they are +definite and are the things he works for from the beginning. They are +basic and fundamental. All are combined in what I call _tone concept_, +which is another word for musical ear, or musical taste. This tone +concept is by far the most important thing in voice training. The +student will not sing a tone better than the one he conceives mentally, +therefore the mental concept of tone, or tone concept must be the basis +of voice placing. + +This tone concept, or mental picture of tone qualities controls the +vocal instrument by indirection. True tone color does not come as the +result of trying by some physical process to make the tone light or +dark, but _from the automatic response to musical concept or feeling_. + +In leaving this subject I wish to pay my respects to that company of +cheerful sinners--the open throat propagandists. I was taught in my +youth that the punishment for a sin committed ignorantly was none the +less pungent and penetrating, and I trust that in administering justice +to these offenders the powers will be prompt, punctilious and +persevering. It is a worthy activity. + +No mistake of greater magnitude was ever made since voice training began +than that of holding the throat open by direct effort. It never resulted +in a tone a real musician's ear could endure, nevertheless during the +latter part of the nineteenth century and even the early part of the +twentieth it was made such an integral part of voice culture that it +seemed to be incorporated in the law of heredity, and vocal students, +even before they were commanded, would try to make a large cavity in the +back of the throat. I believe however, that there is much less of this +than formerly. Vocal teachers are beginning to see that the one +important thing is a free throat and that when this is gained the +response of the mechanism to the mental demand is automatic and +unerring. + + + + +II + +THE HEAD VOICE + + Let him take care, however, that the higher the notes, the more + it is necessary to touch them with softness, to avoid screaming. + + Tosi. (1647-1727) _Observations on Florid Song_. + + +That the development of the upper, or head voice, is the most difficult +as well as the most important part of the training of the singing voice, +will be readily admitted by every experienced singing teacher. + +That the upper voice should be produced with as much comfort as the +middle or lower, is scarcely debatable. + +That a majority of singers produce their upper voice with more or less +difficulty, need not be argued. + +Why is it that after two, three or more years of study so many upper +voices are still thick, harsh and unsteady? + +There is nothing in the tone world so beautiful as the male or female +head voice when properly produced, and there is nothing so +excruciatingly distressing as the same voice when badly produced. + +The pure head voice is unique in its beauty. It is full of freedom, +elasticity, spiritual exaltation. It seems to float, as it were, in the +upper air without connection with a human throat. Its charm is +irresistible. It is a joy alike to the singer and the listener. It is +the most important part of any singer's equipment. Why is it so +difficult and why do so few have it? Various reasons are at hand. + +The spirit of American enterprise has found its way into voice teaching. +It is in the blood of both teacher and pupil. The slogan is "Put it +over." This calls for big tone and they do not see why they should not +have it at once. + +The ability to use the full power of the upper voice when occasion +demands is necessary and right, but merely to be able to sing high and +loud means nothing. All that is required for that is a strong physique +and determination. Such voice building requires but little time and no +musical sense whatever; but to be able to sing the upper register with +full power, emotional intensity, musical quality and ease, is the result +of long and careful work under the ear of a teacher whose sense of tone +quality is so refined that it will detect instantly the slightest degree +of resistance and not allow it to continue. + +The ambitious young singer who has been told by the village oracle that +she has a great voice and all she needs is a little "finishing," balks +at the idea of devoting three or four years to the process, and so she +looks for some one who will do it quickly and she always succeeds in +finding him. To do this work correctly the old Italians insisted on from +five to eight years with an hour lesson each day. To take such a course +following the modern plan of one or two half hours a week, would have +the student treading on the heels of Methuselah before it was completed. + +It is not always easy to make students understand that the training of +the voice means the development of the musical mentality and at best is +never a short process. To most of them voice culture is a physical +process and as they are physically fit, why wait? + +Now the fact is that there is nothing physical in voice production save +the instrument, and a strong physique has no more to do with good +singing than it has with good piano playing. Voice production is a +mental phenomenon. It is mentality of the singer impressing itself on +the vocal instrument and expressing itself through it. The idea that the +vocal instrument alone without mental guidance will produce beautiful +tone is as fallacious as that a grand piano will produce good music +whether the one at the keyboard knows how to play it or not. + +Let it be understood once for all that _it is the mentality of the +individual, not his body, that is musical or unmusical_. Both teacher +and student must learn that there is much more to do mentally and much +less to do physically than most people suspect. They must learn that a +musical mentality is no less definite than a physical body, and is at +least equally important; also that right thinking is as necessary to +good voice production as it is to mathematics. + +At this point there will doubtless be a strenuous objection from those +who assert that tone cannot be produced without effort, and that a +considerable amount of it is necessary, especially in the upper voice. + +It will be readily admitted that the application of force is required to +produce tone, but how much force? Certainly not that extreme physical +effort that makes the singer red in the face and causes his upper tones +to shriek rather than sing. Such a display of force discloses an +erroneous idea of how to produce the upper voice. When there is the +right relation existing between the breath and the vocal instrument, +when there is the proper poise and balance of parts, no such effort is +necessary. On the contrary the tone seems to flow and the effort +required is only that of a light and pleasant physical exercise. + +The pianist does not have to strike the upper tones any harder than the +lower ones in order to bring out their full power. Why should the upper +part of the voice require such prodigious effort? + +Now _all voices should have a head register_. It is a part of nature's +equipment, and this calls for a word on the classification of voices. It +ought not to be difficult to determine whether a voice is soprano, alto, +tenor, baritone or bass, but I find each year a considerable number that +have been misled. Why? A number of things are responsible. One of the +most common is that of mistaking a soprano who has a chest register for +an alto. This singer finds the low register easier to sing than the +upper, consequently she and her friends decide she is an alto. +Thereafter she sings low songs and takes the alto part in the choir. The +longer she follows this plan the less upper voice she will have, and +when she goes to a teacher, unless he has a discriminating and +analytical ear, he will allow her to remain in the alto class. There is +always something in the fiber of a tone, even though it be badly +produced, that will disclose to the trained ear what it will be when +rightly produced. + +Again, the human voice can produce such a variety of tone qualities that +sometimes a soprano will cultivate a somber style of singing and a +majority of people will call her alto. It requires a trained ear to +detect what she is doing. The baritone also, because he often sings the +bass part in a quartet, tries to make himself sound like a bass; this he +does by singing with a somber, hollow quality which has little or no +carrying power. + +Another mistake is that of classifying a voice according to its compass. +This is the least reliable method of all. The mere fact of having high +tones does not necessarily make one a soprano, neither is a voice always +to be classified as alto by reason of not being able to sing high. It is +_quality_ that decides what a voice is. Soprano is a quality. Alto is a +quality. The terms tenor, baritone, bass, refer to a quality rather than +a compass. These qualities are determined primarily by the construction +of the organ. + +But when voices are properly trained there is not so much difference in +the compass as most people suppose. For example: the female head voice +lies approximately within this compass [Illustration: Figure A] and +altos who learn to use the real head voice will have no difficulty in +vocalizing that high. + +At the lower end of the voice sopranos who have a chest register will +often sing as low as most altos. But whether they sing high or low it is +always the quality that determines the classification of the voice. + +Many lyric sopranos have no chest register, and it would be a mistake to +attempt to develop one. In such voices, which rarely have anything below +middle C, the middle register must be strengthened and carried down and +made to take the place of the chest voice. + +It must not be understood that there is but one soprano quality, one +alto quality, etc. The voice is so individual that it cannot be thus +limited. There are many soprano qualities between the coloratura and the +dramatic, and the same is true of alto, tenor, baritone and bass. + +When the voice is rightly produced, its natural quality will invariably +appear, and there it must be allowed to remain. An attempt to change it +always means disaster. + +It will be observed that the piano string diminishes in length and +thickness as the pitch rises, and the voice must do something which +corresponds to this. Otherwise it will be doing that which approximates +stretching the middle C string, for example, until it will produce its +octave. + +In discussing the head voice it is the purpose to avoid as much as +possible the mechanical construction of the instrument. This may be +learned from the numerous books on the anatomy and physiology of the +voice. It is an interesting subject, but beyond an elementary knowledge +it is of little value to the teacher. A correct knowledge of how to +train the voice must be gained in the studio, not in the laboratory. Its +basis is the musical sense rather than the mechanical or scientific. All +of the scientific or mechanical knowledge that the world has to offer is +no preparation for voice training. A knowledge of the art of teaching +begins when the teacher takes his first pupil, not before. Therefore the +aim shall be to present the subject as it appears to the teacher. + +We hear much of the value of vocal physiology as a guide to good voice +production. It is also claimed that a knowledge of it will prevent the +singer from misusing his voice and at the same time act as a panacea for +vocal ills. These statements do not possess a single element of truth. +The only way the singer can injure the vocal instrument is by forcing +it. That is, by setting up a resistance in the vocal cords that prevents +their normal action. If this is persevered in it soon becomes a habit +which results in chronic congestion. Singing becomes increasingly +difficult, especially in the upper voice, and in course of time the +singer discovers that he has laryngitis. Will a knowledge of vocal +physiology cure laryngitis? Never. Will it prevent any one from singing +"throaty?" There is no instance of the kind on record. In a majority of +cases laryngitis and other vocal ills are the direct results of bad +voice production and disappear as the singer learns to produce his upper +tones without resistance. These things are effects, not causes, and to +destroy the effect we must remove the cause. This will be found to be a +wrong habit and habits are mental, not physical. When a mental impulse +and its consequent response become simultaneous and automatic the result +is a habit, but it is the mental impulse that has become automatic. + +The terms, _tension_, _rigidity_, _interference_, _resistance_, all mean +essentially the same thing. They mean the various forms of contraction +in the vocal instrument which prevents its involuntary action. If we +follow these things back far enough we shall find that they all have +their origin in some degree of fear. This fear, of which anxiety is a +mild form, begins to show itself whenever the singer attempts tones +above the compass of his speaking voice. Here is undeveloped territory. +The tone lacks power, quality and freedom, and as power is what the +untrained singer always seeks first, he begins to force it. In a short +time he has a rigid throat, and the longer he sings the more rigid it +becomes. By the time he decides to go to a teacher his voice is in such +a condition that he must take his upper tones with a thick, throaty +quality or with a light falsetto. Among female voices I have seen many +that could sing nothing but a full tone in the upper register, and that +only with an unsteady, unsympathetic quality. + +Now a point upon which all voice teachers can agree is that the upper +voice is not properly trained until it has a perfect _messa di voce_ +that is, until the singer can swell the tone from the lightest +pianissimo to full voice and return, on any tone in his compass, without +a break and without sacrificing the pure singing quality. How shall this +be accomplished? If the singer is forcing the upper voice it is safe to +say in the beginning that it never can be done by practicing with full +voice. Such practice will only fasten the habit of resistance more +firmly upon the singer. To argue in the affirmative is equivalent to +saying that the continued practice of a bad tone will eventually produce +a good tone. + +There is but one way to the solution of the problem; the singer must get +rid of resistance. When he has succeeded in doing that the problem of +the head voice is solved. The bugaboo of voice placing permanently +disappears. The difficulty so many have in placing the upper voice lies +in this, that they try to do it without removing the one thing which +prevents them from doing it. When the voice is free from resistance it +places itself, that is, it produces without effort whatever quality the +singer desires. The term "head voice," doubtless grew out of the +sensation in the head which accompanies the upper tones, and this +sensation is the result of the vibration of the air in the air head +cavities. Many have taken this sensation as a guide to the production of +the head voice, and in order to make sure of it they instruct the +student to direct the tone into the head. This is not only an uncertain +and unnecessary procedure, but is almost sure to develop a resistance +which effectually prevents the tone from reaching the head cavities. +When there is no interference the tone runs naturally into the proper +channel. It is not necessary to use force to put it there. + + +HEAD RESONANCE + +Whether or not the head cavities act as resonators is one of the many +mooted points in voice training. Those who believe they do are much in +the majority, but those in the minority are equally confident they do +not. What are the arguments? That there is a sensation in the head +cavities when singing in the upper part of the compass no one can deny. +Does it affect tone quality? The minority offers the argument that it +cannot do so because the soft palate automatically rises in singing a +high tone, thus closing the passage through the nose. On the other side +it is argued, and rightly, that the soft palate can be trained to remain +low in singing high tones. But whether the soft palate is high or low +does not settle the matter. It is not at all necessary that breath +should pass through the nasal cavities in order to make them act as +resonators. In fact it is necessary that it should not. It is the air +that is already in the cavities that vibrates. All who are acquainted +with resonating tubes understand this. Neither is it necessary that the +vibrations should be transmitted to the head cavities by way of the +pharynx and over the soft palate. They may be transmitted through the +bones of the head. John Howard proved this, to his satisfaction at +least, many years ago. + +I recall that in working with Emil Behnke he used an exercise to raise +the soft palate and completely close the channel, yet no one can deny +that his pupils had head resonance. There are certain facts in +connection with this that are hard to side-step. Plunket Greene once +told me that at one time he lost the resonance in the upper part of his +voice, and on consulting a specialist he found a considerable growth on +the septum. He had it removed and at once the resonance returned. Other +equally strong arguments could be offered in support of the claim that +the head cavities do act as resonators. At any rate the high or low +palate is not the deciding factor. + +Too much cannot be said on the subject of interference, or resistance. +So long as there is any of it in evidence it has its effect on tone +quality. It is the result of tension, and tension is a mental impulse of +a certain kind. Its antidote is relaxation, which is a mental impulse of +an opposite nature. It is necessary for most singers to work at this +until long after they think they have it. + +In preparing the head voice the student must begin with a tone that is +entirely free from resistance and build from that. In a large majority +of voices it means practicing with a light, soft tone. A voice that +cannot sing softly is not rightly produced. While the student is working +for the freedom which will give him a good half voice he is preparing +the conditions for a good full voice. The conditions are not right for +the practice of full voice until the last vestige of resistance has +disappeared. The light voice is as necessary to artistic success as the +full voice. The singer must have both, but he must never sacrifice +quality for power. + +In the female voice the readjustments of the mechanism known as changes +of register usually occur at about [Illustration: Figure B]. + +In many lyric soprano voices I have found the same readjustment at the B +and C above the staff [Illustration: Figure C]. + +I have also noted in many bass voices a similar change of adjustment at +the E and F below the bass clef [Illustration: Figure D]. + +It would seem therefore, that in a majority of voices until an even +scale has been developed, that these readjustments appear at about the E +and F and B and C throughout the vocal compass. The exceptions to this +rule are so numerous however, that it can scarcely be called a rule. +Some voices will have but one noticeable readjustment, and it may be any +one of the three. + +In some voices the changes are all imperceptible. In others, due to +wrong usage, they are abrupt breaks. In every instance the teacher must +give the voice what it needs to perfect an even scale. There should be +no more evidence of register changes in the vocal scale than in the +piano scale. + +Leaving the lower two changes for the moment, let us consider the one at +the upper E and F. This one is so common among sopranos that there are +few who have not one, two, or three weak tones at this point. To avoid +these weak tones many are taught to carry the thicker tones of the +middle register up as far as they can force them in order to get the +"big tone" which seems to be the sole aim of much modern voice teaching. +The victims of this manner of teaching never use the real head voice, +and one thing happens to them all. As time goes on the upper voice grows +more and more difficult, the high tones disappear one by one, and at the +time when they should be doing their best singing they find themselves +vocal wrecks. Some of them change from soprano to alto and end by that +route. + +Now these are not instances that appear at long intervals. They are in +constant evidence and the number is surprisingly large. The cause is +ignorance of how to treat the upper voice, together with an insane +desire for a "big tone" and a lack of patience to await until it grows. +The incredible thing is that there is a teacher living whose ear will +tolerate such a thing. + +Now there is a way to develop the head voice that gives the singer not +only the full power of his upper voice, but makes it free, flexible and +vibrant, a sympathetic quality, a perfect _messa di voce_, and enables +him to sing indefinitely without tiring his voice. He must learn that it +is possible to produce a full tone with a light mechanism. This is the +natural way of producing the head voice. Further, the light mechanism +must be carried far below the point where the so called change of +register occurs. + +Every voice should have a head register, and it may be developed in the +following way. With altos and sopranos I start with this exercise + +[Illustration: Exercise No. 1] + +Altos should begin at A. + +The student should neither feel nor hear the tone in the throat. +Therefore he should begin with a soft _oo_. The throat should be free, +lips relaxed but slightly forward. There should be no puckering of the +lips for _oo_. The tone should seem to form itself around the lips, not +in the throat. In the beginning the exercise must be practiced softly. +No attempt must be made to increase the power, until the tone is well +established in the light mechanism. When the _oo_ can be sung softly and +without resistance as high as E flat use the same exercise with _o_. + +The next step is to blend this light mechanism with the heavier +mechanism. It may be done in this way, + +[Illustration: Exercise No. 2] + +Sing this descending scale with a crescendo, always beginning it _pp_. +It should be practiced very slowly at first, and with portamento. +Carrying the head voice down over the middle and the middle down over +the lower will in a short time blend all parts of the voice, and lay the +foundation of an even scale. The exercise should be transposed upward by +half steps as the voice becomes more free until it reaches F or F sharp. + +The next step is the building process. Use the following: + +[Illustration: Exercise No. 3] + +Altos should begin at A. In practicing these swells great care must be +taken. Tone quality is the first consideration, and the tone must be +pressed no further than is possible while retaining the pure singing +quality. Where voices have been forced and are accustomed to sing +nothing but thick tones this building process is sometimes slow. The +student finds an almost irresistible tendency to increase the resistance +as he increases the power of the tone. Therefore the louder he sings the +worse it sounds. This kind of practice will never solve the problem. +When the student is able to swell the tone to full power without +increasing the resistance the problem is solved. + +The progress of the student in this, as in everything in voice training, +depends upon _the ear of the teacher_. The untrained ear of the student +is an unreliable guide. The sensitive ear of the teacher must at all +times be his guide. The belief that every one knows a good tone when he +hears it has no foundation in fact. If the student's concept of tone +were perfect he would not need a teacher. He would have the teacher +within himself. Every one knows what he likes, and what he likes is of +necessity his standard at that particular time, but it is only the +measure of his taste and may be different the next day. + +All things in voice training find their court of last resort in the ear +of the teacher. All other knowledge is secondary to this. He may believe +any number of things that are untrue about the voice, but if he have a +thoroughly refined ear it will prevent him from doing anything wrong. +His ear is his taste, his musical sense, and it is his musical sense, +his musical judgment, that does the teaching. + +So in building the head voice the teacher must see to it that musical +quality is never sacrificed for power. A full tone is worse than +useless, unless the quality is musical and this can never be +accomplished until the vocal instrument is free from resistance. + +Exercise No. 3 should be transposed upward by half steps, but never +beyond the point at which it can be practiced comfortably. + +As tension shows most in the upper part of the voice the student should +have, as a part of his daily practice, exercises which release the voice +as it rises. Use the following: + +[Illustration: Exercise No. 4] + +Begin with medium power and diminish to _pp_ as indicated. The upper +tone must not only be sung softly, but the throat must be entirely free. +There must be no sense of holding the tone. + +Transpose to the top of the voice. + +[Illustration: Exercise No. 5] + +No. 5 is for the same purpose as No. 4 but in an extended form. Begin +with rather full voice and diminish to _pp_ ascending. Increase to full +voice descending. + +Continue the building of the upper voice using the complete scale. + +[Illustration: Exercise No. 6] + +Thus far in preparing the head voice we have used the vowels _oo_ and +_o_. We may proceed to the vowel _ah_ in the following way. Using Ex. +No. 6 first sing _o_ with loose but somewhat rounded lips. When this +tone is well established sing _o_ with the same quality, the same focus, +or placing without rounding the lips. It amounts to singing _o_ with the +_ah_ position. When this can be done then use short _u_ as in the word +_hum_. This gives approximately the placing for _ah_ in the upper voice. +When these vowels can all be sung with perfect freedom transpose upward +by half steps. + +[Illustration: Exercise No. 7] + +In No. 7 when the crescendo has been made on the upper tone carry the +full voice to the bottom of the scale. + +[Illustration: Exercise No. 8] + +This is another way of blending the different parts of the voice. It +should be sung portamento in both directions. When sung by a female +voice it will be Middle, Head, Middle as indicated by the letters M, H, +M. When sung by the male voice it will be Chest, Head, Chest as +indicated by the letters C, H, C. Transpose upward by half steps. + +When the foregoing exercises are well in hand the head voice may be +approached from the middle and lower registers in scale form as in the +following: + +[Illustration: Exercise No. 9] + +[Illustration: Exercise No. 10] + +[Illustration: Exercise No. 11.] + +[Illustration: Exercise No. 12.] + +[Illustration: Exercise No. 13.] + +The fact that male voices are more often throaty in the upper register +then female voices calls for special comment. + +The following diagram showing the relationship of the two voices will +help to elucidate the matter. + +[Illustration: Figure E] + +I have here used three octaves of the vocal compass as sufficient for +the illustration. Remembering that the male voice is an octave lower +than the female voice we shall see that the female voice is a +continuation, as it were, of the male voice; the lower part of the +female compass overlapping the upper part of the male compass, the two +having approximately an octave G to G in common. Further it will be seen +that both male and female voices do about the same thing at the same +absolute pitches. At about E flat or E above middle C the alto or +soprano passes from the chest to the middle register. It is at the same +absolute pitches that the tenor passes from what is usually called open +to covered tone, but which might better be called from chest to head +voice. There is every reason to believe that the change in the mechanism +is the same as that which occurs in the female voice at the same +pitches. That there is oftentimes a noticeable readjustment of the +mechanism in uncultivated voices at these pitches no observing teacher +will deny, and these are the voices which are of special interest to the +teacher, and the ones for which books are made. It will be observed that +this change in the male voice takes place in the upper part of his +compass instead of in the lower, as in the female voice. This change +which is above the compass of the speaking voice of the tenor or +baritone, adds greatly to its difficulty. For this reason the training +of the male head voice requires more care and clearer judgment than +anything else in voice training. + +In treating this part of the female voice we have learned that if the +heavy, or chest voice, is carried up to G or A above middle C it weakens +the tones of the middle register until they finally become useless. Then +the chest tones become more difficult and disappear one by one and the +voice has no further value. Identically the same thing happens to the +tenor who, by reason of sufficient physical strength forces his chest +voice up to G, A, or B flat. He may be able to continue this for awhile, +sometimes for a few years, but gradually his upper tones become more +difficult and finally impossible and another vocal wreck is added to the +list. + +In restoring the female voice that has carried the chest voice too high +it is necessary to carry the middle register down, sometimes as low as +middle C until it has regained its power. The tenor or baritone must do +essentially the same thing. He must carry the head voice, which is a +lighter mechanism than the chest voice, down as low as this c +[Illustration: Figure F] using what is often called mixed voice. When +the pitches [Illustration: Figure G] are practiced with a sufficiently +relaxed throat the tone runs naturally into the head resonator with a +feeling almost the equivalent of that of a nasal tone, but this tone +will be in no sense nasal. It will be head voice. + + +THE FALSETTO + +Does the falsetto have any part in the development of the head voice? +This inoffensive thing is still the subject of a considerable amount of +more of less inflammatory debate both as to what it is and what it does. +Without delay let me assure every one that it is perfectly harmless. +There is no other one thing involved in singing, immediate or remote, +from which the element of harm is so completely eliminated. It is held +by some that it is produced by the false vocal chords. This position is +untenable for the reason that I have known many singers who could go +from the falsetto to a full ringing tone and return with no perceptible +break. Now since it will hardly be argued that a ringing, resonant tone +could be produced by the false vocal cords, it is evident that the +singer must change from the false to the true vocal cords somewhere in +the process--a thing which is unthinkable. + +It is held by others that the falsetto is a relic of the boy's voice, +which has deteriorated from lack of use. This seems not unreasonable, +and a considerable amount of evidence is offered in support of it. We +may safely assume however that it is produced by the true vocal cords +and the lightest register in the male voice. What is its use? Unless its +quality can be changed it has little or no musical value. There are some +teachers who claim that the falsetto mechanism is the correct one for +the tenor voice and should be used throughout the entire compass. I am +not prepared to subscribe to this. There are others who believe that the +falsetto should be developed, resonated, so that it loses its flute +quality, and blended with the head voice. This seems in the light of my +experience to be reasonable. When this can be done it gives the singer +the most perfect mechanism known. But it cannot always be done. The +voice is individual, and the entire sum of individual experience leaves +its impression on it. I have found many voices where the falsetto was so +completely detached from the head voice that it would be a waste of time +to attempt to blend them. + +But there is one place in voice training where the practice of the +falsetto has a distinct value. I have seen many tenors and baritones who +forced the heavy chest voice up until they developed an automatic +clutch, and could sing the upper tones only with extreme effort. To +allow them to continue in that way would never solve their problem. In +such a condition half voice is impossible. It must be one thing or the +other, either the thick chest voice or falsetto. The falsetto they can +produce without effort, and herein lies its value. They become +accustomed to hearing their high tones without the association of +effort, and after a time the real head voice appears. The thing which +prevented the head voice from appearing in the beginning was extreme +resistance, and as soon as the resistance disappeared the head voice +made its appearance. This was accomplished by the practice of the very +light register known as falsetto. When the head voice appears the use of +the falsetto may be discontinued. + +The thing expected of the teacher is results and he should not be afraid +to use anything that will contribute to that end. + +It is in the upper part of the voice that mistakes are most likely to be +made and ninety nine per cent of the mistakes is forcing the voice, that +is, singing with too much resistance. So long as the resistance +continues a good full tone is impossible. The plan outlined above for +eliminating resistance has been tested with many hundreds of voices and +has never failed. The idea held by some that such practice can never +produce a large tone shows a complete misunderstanding of the whole +matter. That it produces the full power of the voice without sacrificing +its musical quality is being proved constantly. + +Every day we hear the story of voices ruined by forcing high tones. Who +is responsible? Each one must answer for himself. With the hope of +diminishing it in some degree, this outline is offered. + + + + +III + +A GENERAL SURVEY OF THE SITUATION + + "I will roar you as gently as any sucking dove: I will roar you + an't were any nightingale." + + Shakespeare. _A Midsummer Night's Dream_. + + +The singing world is confronted with a situation unique in its humor. On +every side we hear the lachrymose lament that voice training is in a +chaotic condition, that _bel canto_ is a lost art, and that the golden +age of song has vanished from the earth. + +The unanimity of this dolorous admission would seem to be a sad +commentary on the fraternity of voice teachers; but here enters the +element of humor. There is not recorded a single instance of a voice +teacher admitting that his own knowledge of the voice is chaotic. He +will admit cheerfully and oftentimes with ill concealed enthusiasm that +every other teacher's knowledge is in a chaotic condition, but his own +is a model of order and intelligence. + +If we accept what voice teachers think of themselves the future looks +rosy. If we accept what they think of each other the future is ominous +and the need for reform is dire and urgent. + +But if a reform be ordered where shall it begin? Obviously among the +teachers themselves. But judging from the estimate each one puts upon +himself how shall we reform a thing which is already perfect? On the +other hand, if we take the pessimistic attitude that all teachers are +wrong will it not be a case of the blind leading the blind, in which +instance their destination is definitely determined somewhere in the New +Testament. Verily the situation is difficult. Nevertheless it is not +altogether hopeless. The impulse to sing still remains. More people are +studying singing, and more people sing well today than at any other time +in the history of the world. The impulse to sing is as old as the human +race. When the joy of life first welled up within man and demanded +utterance the vocal instrument furnished by nature was ready to respond +and the art of singing began, and if we may venture a prophecy it will +never end in this world or the next. It cannot be destroyed even by the +teachers themselves. It is this natural, inborn desire to sing that is +directly responsible for the amazing perseverance of many vocal +students. If after a year or two of study they find they are wrong they +are not greatly disturbed, but select another teacher, firm in the faith +that eventually they will find the right one and be safely led to the +realization of their one great ambition--to be an artist. It is this +that has kept the art alive through the centuries and will perpetuate +it. This impulse to sing is something no amount of bad teaching can +destroy. + + +THE REFORM + +Everything in the universe that has come under the scrutiny of mortal +man has been subjected to a perpetual reformation. Nothing is too great +or too small to engage the attention of the reformer. Religion, +politics, medicine and race suicide are objects of his special +solicitude, but nothing else has been forgotten. No phase of human +activity has been allowed to remain at rest. So far as we know nothing +but the multiplication table has escaped the reformer. There is a +general feeling that nothing is exactly right. This may be the operation +of the law of progress, doubtless it is, but it occasions a mighty +unrest, and keeps the world wondering what will happen next. This law of +progress is but another name for idealism to which the world owes +everything. Idealism is that which sees a better condition than the one +which now obtains. The process of realizing this better condition is in +itself reformation. + +As far back as we have any knowledge of the art of singing the reformers +have been at work, and down through the centuries their energies have +been unflagging. We owe to them whatever advance has been made toward a +perfect system of voice training, but they are also responsible for many +things pernicious in their nature which have been incorporated in +present day methods of teaching, for it must be admitted that there are +false prophets among singing teachers no less than among the members of +other professions. There is one interesting thing connected with the +work of these vocal reformers. From the beginning they have insisted +that the art of _bel canto_ is lost. Tosi (1647-1727), Porpora +(1686-1766), Mancini (1716-1800), three of the greatest teachers of the +old Italian school, all lamented the decadence of the art of singing. +Others before and since have done the same thing. It seems that in all +times any one who could get the public ear has filled it with this sort +of pessimistic wail. From this we draw some interesting conclusions: +First, that the real art of singing was lost immediately after it was +found. Second, that the only time it was perfect was when it began. +Third, that ever since it began we have been searching for it without +success. If any of this is true it means that all of the great singers +of the past two hundred years have been fakers, because they never +really learned how to sing. It is surprising that we did not see through +these musical Jeremiahs long ago. In all ages there have been good +teachers and bad ones, and it would not be surprising if the bad ones +outnumbered the good ones; but the weak link in the chain of argument is +in estimating the profession by its failures. This is a cheap and much +overworked device and discloses the egotism of the one using it. There +are teachers today who thoroughly understand the art of _bel canto_. +They have not lost it, and the others never had it. This condition has +obtained for centuries and will continue indefinitely. An art should be +measured by its best exponents, not by its worst. To measure it by its +failures is illogical and dishonest. + +In recent years the process of reformation has been applied to all +branches of music teaching with the hope of reducing these failures to a +minimum. The profession has suddenly awakened to the fact that it must +give a better reason for its existence than any heretofore offered. It +has become clear to the professional mind that in order to retain and +enlarge its self-respect music must be recognized as a part of the great +human uplift. To this end it has been knocking at the doors of the +institutions of learning asking to be admitted and recognized as a part +of public education. The reply has been that music teaching must first +develop coherence, system and standards. This has caused music teachers +to look about and realize as never before that the profession as a whole +has no organization and no fixed educational standards. Every teacher +fixes his own standard and is a law unto himself. The standard is +individual, and if the individual conscience is sufficiently elastic the +standard gives him no serious concern. But as a result of this awakening +there is a concerted action throughout the country to standardize, to +define the general scope of learning necessary to become a music +teacher. The trend of this is in the right direction, and good may be +expected from it, although at best it can be but a very imperfect method +of determining one's fitness to teach. The determining factors in +teaching are things which cannot be discovered in any ten questions. In +fact an examination must necessarily confine itself to general +information, but in teaching, the real man reveals himself. His high +sense of order, logic, patience, his love and appreciation of the +beautiful, his personality, his moral sense, the mental atmosphere of +his studio, these all enter into his teaching and they are things +difficult to discover in an examination. Unconsciously the teacher gives +out himself along with the music lesson, and it is equally important +with his knowledge of music. Therefore it is as difficult to establish +definite standards of teaching as it is of piano or violin making. + +In attempting to establish standards of voice teaching the problem +becomes positively bewildering. The voice is so completely and +persistently individual, and in the very nature of things must always +remain so, that an attempt to standardize it or those who train it is +dangerous. Yet notwithstanding this, voice teachers are the most +industrious of all in their efforts to organize and standardize. The +insistence with which this aim is prosecuted is worthy of something +better than is likely to be achieved. + +That there is no standard among voice teachers save that of the +individual will be admitted without argument; and until there is such a +thing as a fixed standard of musical taste this condition will remain, +for the musical taste of the teacher is by far the most potent factor in +the teaching of tone production. + +Of late there have been vigorous efforts to establish a standard tone +for singers. This, according to the apostles of "Harmony in the ranks," +is the one way of unifying the profession. As an argument this is +nothing short of picturesque, and can be traced to those unique and +professedly scientific mentalities that solve all vocal problems by a +mathematical formula. As an example of the chimerical, impossible and +altogether undesirable, it commands admiration. If it is impossible to +establish a standard tone for pianos where the problem is mechanical, +what may we expect to do with voice where the problem is psychological? + +When we have succeeded in making all people look alike, act alike, think +alike; when we have eliminated all racial characteristics and those +resulting from environment; when people are all of the same size, +weight, proportion, structure; when skulls are all of the same size, +thickness and density; when all vocal organs and vocal cavities are of +the same form and size; when we have succeeded in equalizing all +temperaments; when there is but one climate, one language, one +government, one religion; when there is no longer such a thing as +individuality--then perhaps a standard tone may be considered. Until +that time nothing could be more certain of failure. The great charm of +voices is their individuality, which is the result not alone of +training, but of ages of varied experience, for man is the sum of all +that has preceded him. It is, to say the least, an extraordinary +mentality that would destroy this most vital element in singing for the +sake of working out a scientific theory. + +But there is no immediate danger. Nature, whose chief joy is in variety +and contrast, is not likely to sacrifice it suddenly to a mere whim. + +When we speak of a standard tone we enter the domain of acoustics and +must proceed according to the laws of physics. In this standard tone +there must be a fundamental combined with certain overtones. But who +shall say which overtones, and why the particular combination? The +answer must be "because it sounds best." A tone being something to hear, +this is a logical and legitimate answer. But if the listener knows when +it sounds right he knows it entirely separate and apart from any +knowledge he may have of its scientific construction; hence such +knowledge is of no value whatever in determining what is good and what +is bad in tone quality. A tone is not a thing to see and the teacher +cannot use a camera and a manometric flame in teaching tone production. +Any knowledge he may have gained from the use of such instruments in the +laboratory is valueless in teaching. + +If it were possible to adopt as a standard tone a certain combination of +fundamental and overtones (which it is not), and if it were possible to +make all singers use this particular tone (which, thank heaven it is +not), then all voices would sound alike and individuality would at once +disappear. + +The advocates of this kind of standard tone cannot disengage themselves +from the belief that all vocal organs are alike. The exact opposite is +the truth. Vocal organs are no more alike than are eyes, noses, hands +and dispositions. Each of these conforms only to a general type. The +variation is infinite. + + +MENTALITY + +The mentality of the individual forms the organ through which it can +express itself, and this mentality is the accumulation of all of the +experience which has preceded it. Further, muscles and cartilages are +not all of the same texture. Thyroid cartilages vary in size and shape. +The vocal cavities, pharynx, mouth and nasal cavities are never exactly +the same in any two people. The contours of the upper and lower jaw and +teeth, and of the palatal arch are never found to be exactly alike. All +of these variations are a part of the vocal instrument and determine its +quality. Every vocal organ when properly directed will produce the best +quality of which that particular instrument is capable. An attempt to +make it produce something else must necessarily be a failure. The +structure of the instrument determines whether the voice is bass, tenor, +alto or soprano with all of the variations of these four classes. The +individuality of the voice is fixed by nature no less definitely. + +The effort to standardize tone quality discloses a misapprehension of +what it means to train a voice. Its advocates look upon man as so much +matter, and the voice as something which must be made to operate +according to fixed mathematical rules and ignore completely its +psychology. + +But the rich humor of it all appears when the propagandists of standard +tone meet to establish the standard. It is soon observed that there are +as many standards as there are members present and the only result is a +mental fermentation. + + +GETTING TOGETHER + +In recent years many attempts have been made by vocal teachers to "get +together." As nearly as can be ascertained this getting together means +that all shall teach in the same way, that all shall agree on the +disputed points in voice training, or that certain articles of faith to +which all can subscribe, shall be formulated; but when it comes to +deciding whose way it shall be or whose faith shall be thus exalted, +each one is a Gibraltar and the only perceptible result is an +enlargement of the individual ego. And so it endeth. + + +WHY TEACHERS DISAGREE + +Voice teachers are divided into two general classes--those who make a +knowledge of vocal physiology the basis of teaching and those who do +not. The members of the first class follow the teachings of some one of +the scientific investigators. Each one will follow the scientist or +physiologist whose ideas most nearly coincide with his own, or which +seem most reasonable to him. In as much as the scientists have not yet +approached anything resembling an agreement, it follows that their +disciples are far from being of one mind. + +The members of the second class hold that a knowledge of vocal anatomy +and physiology beyond the elements has no value in teaching, and that +the less the student thinks about mechanism the better. The scientific +voice teachers usually believe in direct control of the vocal organs. +The members of the opposite class believe in indirect control. This +establishes a permanent disagreement between the two general classes, +but the disagreement between those who believe in indirect control is +scarcely less marked. Here it is not so much a matter of how the tone is +produced, but rather the tone itself. This is due entirely to the +difference in taste among teachers. The diversity of taste regarding +tone quality is even greater than that regarding meat and drink. This +fact seems to be very generally overlooked. It is this that so mystifies +students. After studying with a teacher for one or more years they go to +another to find that he at once tries to get a different tone quality +from that of the first. When they go to the third teacher he tries for +still another quality. If they go to a half dozen teachers each one will +try to make them produce a tone differing in some degree from all of the +others. The student doubtless thinks this is due to the difference in +understanding of the voice among teachers, but this is not so. It is due +entirely to their differing tastes in tone quality. The marvelous thing +is that the voice will respond in a degree to all of these different +demands made upon it; but it forces the student to the conclusion that +voice training is an indefinite something without order, system, or +principle. + +So, in studying the conditions which obtain in voice teaching at the +present time it must be admitted that the evidence of unity is slight; +and the probability of increasing it by organization or legislative +enactment is not such as to make one enthusiastic. What one believes is +very real to himself. In fact it is the only thing that seems right to +him, therefore he sees no valid reason why he should change his belief +or why others should not believe as he does. This positive element in +the human ego is advantageous at times, but it is also responsible for +all conflicts from mild disagreements to war among nations. + +But arguments and battles rarely ever result in anything more than an +armed truce. Difference of opinion will continue indefinitely, but of +this we may be sure, that the solution of the vocal problem will never +come through a study of vocal mechanism however conscientious and +thorough it may be, but through a purer musical thought, a deeper +musical feeling, a clearer vision of what is cause and what is effect, a +firmer conviction of the sanctity of music, an unerring knowledge of the +relationship existing between the singer and his instrument. + + + + +IV + +HINTS ON TEACHING + + "We live in a world of unseen realities, the world of thoughts + and feelings. But 'thoughts are things,' and frequently they + weigh more and obtain far more in the making of a man than do + all the tangible realities which surround him. Thoughts and + feelings are the stuff of which life is made. They are the + language of the soul. By means of them we follow the development + of character, the shaping of the soul which is the one great + purpose of life." + + _Appreciation of Art_. Loveridge. + + +Every year a large number of young men and women go in quest of a +singing teacher. The impulse to sing, which is inborn, has become so +insistent and irrepressible that it must be heeded; and the desire to do +things well, which is a part of the mental equipment of every normal +human being, makes outside assistance imperative. Wherever there is a +real need the supply is forthcoming, so there is little difficulty in +finding some one who is ready, willing, in fact rather anxious, to +undertake the pleasant task of transforming these enthusiastic amateurs +into full-fledged professionals. + +The meeting of the teacher and student always takes place in the studio, +and it is there that all vocal problems are solved. Let no one imagine +that any vocal problem can be solved in a physics laboratory. Why? +_Because not one of the problems confronting the vocal student is +physical. They are all mental._ The writer has reached this conclusion +not from ignoring the physical, but from making a comprehensive study of +the vocal mechanism and its relation to the singer. + +The anatomy and physiology of the vocal mechanism are absorbing to one +who is interested in knowing how man, through untold centuries of growth +has perfected an instrument through which he can express himself; but no +matter how far we go in the study of anatomy and physiology all we +really learn is what mind has done. If man has a more perfect and highly +organized vocal instrument than the lower animals it is because his +higher manifestation of mind has formed an instrument necessary to its +needs. + +When man's ideas and needs were few and simple his vocabulary was small, +for language is the means by which members of the species communicate +with each other. Whenever man evolved a new idea he necessarily invented +some way of communicating it, and so language grew. A word is the symbol +of an idea, but invariably the idea originates the word. The word does +not originate the idea. The idea always arrives first. All we can ever +learn from the study of matter is phenomena, the result of the activity +of mind. + +Thus we see that so called "scientific study" of the vocal mechanism is +at best, but a study of phenomena. It creates nothing. It only discovers +what is already taking place, and what has been going on indefinitely +without conscious direction will, in all probability, continue. + +The value attached by some to the study of vocal physiology is greatly +overestimated. In fact its value is so little as to be practically +negligible. It furnishes the teacher nothing he can use in giving a +singing lesson, unless, perchance he should be so unwise as to begin the +lesson with a talk on vocal mechanism, which, by the way, would much +better come at the last lesson than the first. All we can learn from the +study of vocal physiology is the construction of the vocal instrument, +and this bears the same relation to singing that piano making bears to +piano playing. The singer and his instrument are two different things, +and a knowledge of the latter exerts very little beneficial influence on +the former. + +To reach a solution of the vocal problem we must understand the relation +existing between the singer and his instrument. + +The singer is a mentality, consequently everything he does is an +activity of his mentality. Seeing, hearing, knowing, is this mentality +in action. The two senses most intimately associated with artistic +activity are seeing and hearing, and these are mental. In painting, +sculpture, and architecture we perceive beauty through the eye. In music +it reaches us through the ear; but _the only thing that is cognizant is +the mind_. To man the universe consists of mental impressions, and that +these impressions differ with each individual is so well understood that +it need not be argued. Two people looking at the same picture will not +see exactly the same things. Two people listening to a musical +composition may hear quite different things and are affected in +different ways, because _it is the mind that hears_, and as no two +mentalities are precisely the same, it must be apparent that the +impressions they receive will be different. The things these mentalities +have in common they will see and hear in common, but wherein they differ +they will see and hear differently. Each will see and hear to the limit +of his experience, but no further. + +To be a musician one must become conscious of that particular thing +called music. He must learn to think music. The elements of music are +rhythm, melody, harmony, and form, and their mastery is no less a mental +process than is the study of pure mathematics. + +The human mind is a composite. It is made up of a large number of +faculties combined in different proportions. The germs of all knowledge +exist in some form and degree in every mind. When one faculty +predominates we say the individual has talent for that particular thing. +If the faculty is abnormally developed we say he is a genius, but all +things exist as possibilities in every mind. Nature puts no limitations +on man. Whatever his limitations, they are self imposed, nature is not a +party to the act. + +Now this is what confronts the teacher whenever a student comes for a +lesson. He has before him a mentality that has been influenced not only +by its present environment, but by everything that has preceded it. "Man +is," as an old philosopher said, "a bundle of habits," and habits are +mental trends. His point of view is the product of his experience, and +it will be different from that of every one else. The work of the +teacher is training this mentality. Understanding this it will be seen +how futile would be a fixed formula for all students, and how +necessarily doomed to failure is any method of voice training which +makes anatomy and physiology its basis. Further, there is much to be +done in the studio beside giving the voice lesson. Whistler said that +natural conditions are never right for a perfect picture. From the +picture which nature presents the artist selects what suits his purpose +and rejects the rest. It is much the same in the training of a singer. +In order that the lesson be effective the conditions must be right. This +only rarely obtains in the beginning. The student's attitude toward the +subject must be right or the lesson will mean little to him. The lesson +to be effective must be protected by _honesty_, _industry_ and +_perseverance_. If these are lacking in various degrees, as they often +are, little progress will be made. If the student is studying merely for +"society purposes," not much can be expected until that mental attitude +is changed. Students always want to sing well, but they are not always +willing to make the sacrifice of time and effort; consequently they lack +concentration and slight their practice. Sometimes the thought uppermost +in the student's mind is the exaltation of the ego, in other words, +fame. Sometimes he measures his efforts by the amount of money he thinks +he may ultimately earn, be it great or small. Sometimes he overestimates +himself, or what is equally bad, underestimates himself. It is a very +common thing to find him putting limitations on himself and telling of +the few things he will be able to do and the large number he never will +be able to do, thus effectually barring his progress. Then there is +always the one who is habitually late. She feels sure that all of the +forces of nature are leagued in a conspiracy to prevent her from ever +being on time anywhere. She, therefore, is guiltless. There is another +one who is a riot of excuses, apologies and reasons why she has not been +able to practice. Her home and neighborhood seem to be the special +object of providential displeasure, which is manifested in an unbroken +series of calamitous visitations ranging from croup to bubonic plague, +each one making vocal practice a physical and moral impossibility. + +All of these things are habits of mind which must be corrected by the +teacher before satisfactory growth may be expected. In fact he must +devote no inconsiderable part of his time to setting students right on +things which in themselves are no part of music, but which are elements +of character without which permanent success is impossible. + +A great musical gift is of no value unless it is protected by those +elements of character which are in themselves fundamentally right. +Innumerable instances could be cited of gifted men and women who have +failed utterly because their gifts were not protected by honesty, +industry and perseverance. + +I have spoken at some length of the importance of the right mental +attitude toward study and the necessity of correcting false conceptions. +Continuing, it must be understood that the work of the teacher is all +that of training the mind of his student. It is developing concepts and +habits of mind which when exercised result in beautiful tone and +artistic singing. It must also be understood that the teacher does not +look at the voice, he listens to it. Here voice teachers automatically +separate themselves from each other. No two things so diametrically +opposite as physics and metaphysics can abide peaceably in the same +tent. + +Let me emphasize the statement that _the teacher does not look at the +voice, he listens to it_. The teacher who bases his teaching on what he +can see, that is, on watching the singer and detecting his mistakes +through the eye, is engaged in an activity that is mechanical, not +musical. No one can tell from observation alone whether a tone is +properly produced. A tone is something to hear, not something to see, +and no amount of seeing will exert any beneficial influence on one's +hearing. + +The process of learning to read vocal music at sight is that of learning +to _think tones_, to _think in the key_, and to _think all manner of +intervals and rhythmic forms_. It is altogether mental, and it is no +less absurd to hold that a knowledge of anatomy is necessary to this +than it is essential to the solution of a mathematical problem. The +formation of tone quality is no less a mental process than is thinking +the pitch. If the student sings a wrong pitch it is because he has +thought a wrong pitch, and this is true to a large extent at least, if +his tone quality in not good. He may at least be sure of this, that _he +never will sing a better tone than the one he thinks_. + +A large part of the vocal teacher's training should be learning how to +listen and what to listen for. This means training the ear, which is the +mind, until it is in the highest degree sensitive to tone quality as +well as to pitch. When there is a failure in voice training it may be +counted upon that the teacher's listening faculty is defective. The gist +of the whole thing is what the teacher's ear will stand for. If a tone +does not offend his ear he will allow it to continue. If it does offend +his ear he will take measures to stop it. + +More is known of vocal mechanism today than at any other time in the +world's history, and yet who dares to say that voice teaching has been +improved by it? Is voice teaching any more accurate now than it was a +hundred years ago? Did the invention of the laryngoscope add anything of +value to the voice teacher's equipment? No. Even the inventor of it said +that all it did was to confirm what he had always believed. An enlarged +mechanical knowledge has availed nothing in the studio. The character of +the teacher's work has improved to the degree in which he has recognized +two facts--first, the necessity of developing his own artistic sense as +well as that of his pupil, second, that the process of learning to sing +is psychologic rather than physiologic. + +When the student takes his first singing lesson what does the teacher +hear? He hears the tone the student sings, but what is far more +important, he hears in his own mind the tone the student ought to sing. +He hears his own tone concept and this is the standard he sets for the +student. He cannot demand of him anything beyond his own concept either +in tone quality or interpretation. + +Young teachers and some old ones watch the voice rather than listen to +it. At the slightest deviation from their standard of what the tongue, +larynx, and soft palate ought to do they pounce upon the student and +insist that he make the offending organ assume the position and form +which they think is necessary to produce a good tone. This results in +trying to control the mechanism by direct effort which always induces +tension and produces a hard, unsympathetic tone. + +The blunder here is in mistaking effect for cause. The tongue which +habitually rises and fills the cavity of the mouth does so in response +to a wrong mental concept of cause. The only way to correct this +condition is to change the cause. The rigid tongue we see is effect, and +to tinker with the effect while the cause remains is unnecessarily +stupid. An impulse of tension has been directed to the tongue so often +that the impulse and response have become simultaneous and automatic. +The correction lies in directing an impulse of relaxation to it. When it +responds to this impulse it will be found to be lying in the bottom of +the mouth, relaxed, and ready to respond to any demand that may be made +upon it. To try to make the tongue lie in the bottom of the mouth by +direct effort while it is filled with tension is like trying to sweep +back the tide with a broom. The only way to keep the tide from flowing +is to find out what causes it to flow and remove the cause. The only way +to correct faulty action of any part of the vocal mechanism is to go +back into mentality and remove the cause. It will always be found there. + + +DIRECT AND INDIRECT CONTROL + +In view of the generally understood nature of involuntary action and the +extent to which it obtains in all good singing it is difficult to +understand why any teacher should work from the basis of direct control. +It is a fact, however, that teachers who have not the psychological +vision find it difficult to work with a thing they cannot see. To such, +direct control seems to be the normal and scientific method of +procedure. + +Let me illustrate: A student comes for his first lesson. I "try his +voice." His tone is harsh, white, throaty and unsympathetic. It is not +the singing tone and I tell him it is "all wrong." He does not +contradict me but places himself on the defensive and awaits +developments. I question him to find out what he thinks of his own +voice, how it impresses him, etc. I find it makes no impression on him +because he has no standard. He says he doesn't know whether he ought to +like his voice or not, but rather supposes he should not. As I watch him +I discover many things that are wrong and I make a mental note of them. +Suppose I say to him as a very celebrated European teacher once said to +me: "Take a breath, and concentrate your mind on the nine little muscles +in the throat that control the tone." This is asking a good deal when he +does not know the name or the exact location of a single one of them, +but he seems impressed, although a little perplexed, and to make it +easier for him I say as another famous teacher once said to me: "Open +your mouth, put two fingers and a thumb between your teeth, yawn, now +sing _ah_." He makes a convulsive effort and the tone is a trifle worse +than it was before. I say to him, "Your larynx is too high, and it jumps +up at the beginning of each tone. You must keep it down. It is +impossible to produce good tone with a high larynx. When the larynx +rises, the throat closes and you must always have your throat open. +Don't forget, your throat must be _open_ and you can get it open only by +keeping the larynx low." He tries again with the same result and awaits +further instructions. I take another tack and say to him, "Your tongue +rises every time you sing and impairs the form of the vocal cavity. Keep +it down below the level of the teeth, otherwise your vowels will be +imperfect. You should practice a half hour each day grooving your +tongue." I say these things impressively and take the opportunity to +tell him some interesting scientific facts about fundamental and upper +partials, and how different combinations produce different vowels, also +how these combinations are affected by different forms of the vocal +cavities, leading up to the great scientific truth that he must hold the +tongue down and the throat open in order that these great laws of +acoustics may become operative. He seems very humble in the presence of +such profound erudition and makes several unsuccessful attempts to do +what I tell him, but his tone is no better. I tell him so, for I do not +wish to mislead him. He is beginning to look helpless and discouraged +but waits to see what I will do next. He vexes me not a little, because +I feel that anything so simple and yet so scientific as the exercises I +am giving him ought to be grasped and put into practice at once; but I +still have resources, and I say to him, "Bring the tone forward, direct +it against the hard palate just above the upper teeth, send it up +through the head with a vigorous impulse of the diaphragm. You must +always feels the tone in the nasal cavities. That is the way you can +tell whether your tone is right or not." He tries to do these things, +but of necessity fails. + +This sort of thing goes on with mechanical instructions for raising the +soft palate, making the diaphragm rigid, grooving the tongue, etc., +etc., and at the end of the lesson I tell him to go home and practice an +hour a day on what I have given him. If he obeys my instructions he will +return in worse condition, for he will be strengthening the bad habits +he already has and forming others equally pernicious. + +This is a sample of teaching by direct control. It is not overdrawn. It +is a chapter from real life, and I was the victim. + +You will have observed that this lesson was devoted to teaching the +student how to do certain things with the vocal mechanism. The real +thing, the tone, the result at which all teaching should aim was placed +in the background. It was equivalent to trying to teach him to do +something but not letting him know what. It was training the body, not +the mind, and the result was what invariably happens when this plan is +followed. + +In the lesson given above no attempt was made to give the student a +correct mental picture of a tone, and yet this is the most important +thing for him to learn, for _he never will sing a pure tone until he has +a definite mental picture of it_. _A tone is something to hear and the +singer himself must hear it before he can sing it._ + +Not one of the suggestions made to this student could be of any possible +benefit to him at the time. Not even the sensation of feeling the tone +in the head can be relied upon, for physical sensations are altogether +uncertain and unreliable. As I have observed in numberless instances, +there may be a sensation in the head when there are disagreeable +elements in the tone. If the ear of the teacher does not tell him when +the tone is good and when it is bad he is hopeless. If his ear is +reliable, why resort to a physical sensation as a means of deciding? In +the properly produced voice there is a feeling of vibration in the head +cavities, especially in the upper part of the voice, but that alone is +not a guaranty of good tone. + +This teaching from the standpoint of sensation and direct control will +never produce a great singer so long as man inhabits a body. It is +working from the wrong end of the proposition. Control of the mechanism +is a very simple matter when the mental concept is formed. It is then +only a question of learning how to relax, how to free the mechanism of +tension, and the response becomes automatic. + +Is there no way out of this maze of mechanical uncertainties? There is. +Is voice culture a sort of catch-as-catch-can with the probabilities a +hundred to one against success? It is not. Is singing a lost art? It is +not. Let us get away from fad, fancy and formula and see the thing as it +is. The problem is psychologic rather than physiologic. The fact that +one may learn all that can be known about physiology and still know +nothing whatever about voice training should awaken us to its +uselessness. + +Man is a mental entity. When I speak to a student _it is his mind that +hears, not his body_. It is his mind that acts. It is his mind that +originates and controls action. Therefore it is his mind that must be +trained. + +Action is not in the body. In fact, the body as matter has no sensation. +Remove mind from the body and it does not feel. It is the mind that +feels. If you believe that the body feels you must be prepared to +explain where in the process of digestion and assimilation the beefsteak +and potato you ate for dinner become conscious, because to feel they +must be conscious. We know that the fluids and solids composing the body +have no sensation when they are taken into the body, nor do they ever +become sentient. Therefore the body of itself has no initiative, no +action, no control. All of these are the functions of mind, hence the +incongruity of attempting to solve a problem which is altogether +psychological, which demands qualities of mind, habits of mind, mental +concepts of a particular kind and quality, by a process of manipulation +of the organ through which mind expresses itself, making the training of +the mind a secondary matter; and then absurdly calling it scientific. + +In every form of activity two things are involved: first, the idea: +second, its expression. It must be apparent then, that the quality of +the thing expressed will be governed by the quality of the idea. Or, to +put it in another way: In the activity of art two things are +involved--subject-matter and technic. The subject-matter, the substance +of art, is mental. Technic is gaining such control of the medium that +the subject-matter, or idea, may be fully and perfectly expressed. Ideas +are the only substantial things in the universe, and that there is a +difference in the quality of ideas need not be argued. Two men of the +same avoirdupois may be walking side by side on the street, but one of +them may be a genius and the other a hod carrier. + +I have dwelt at some length on this because I wish to show where the +training of a singer must begin, and that when we understand the real +nature of the problem its solution becomes simple. + + +INDIRECT CONTROL + +What is meant by indirect control? It means, in short, the automatic +response of the mechanism to the idea. By way of illustration. If I +should ask my pupil to make her vocal cords vibrate at the rate of 435 +times per second she could not do it because she would have no mental +concept of how it should sound: but if I strike the A above middle C and +ask her to sing it her vocal cords respond automatically at that rate of +vibration. It is the concept of pitch which forms the vocal instrument, +gives it the exact amount of tension necessary to vibrate at the rate of +the pitch desired, but the action is automatic, not the result of direct +effort. + +It may be said that in artistic singing everything is working +automatically. There can be no such thing as artistic singing until +everything involved is responding automatically to the mental demands of +the singer. + +Mention has been made of the automatic response of the vocal cords to +the thought of pitch. That part of the mechanism which is so largely +responsible for tone quality, the pharynx and mouth, must respond in the +same way. This it will do unerringly if it is free from tension. But if +the throat is full of rigidity, as is so often the condition, it cannot +respond; consequently the quality is imperfect and the tone is throaty. +The vocal cavity must vibrate in sympathy with the pitch in order to +create pure resonance. It can do this only when it is free and is +responding automatically to the concept of tone quality. To form the +mouth and throat by direct effort and expect a good tone to result +thereby, is an action not only certain of failure but exceedingly +stupid. + + +VOICE TRAINING IS SIMPLE + +There is a belief amounting to a solid conviction in the public mind +that the training of the voice is so difficult that the probabilities of +success are about one in ten. What is responsible for this? Doubtless +the large number of failures. But this calls for another interrogation. +What is the cause of these failures? Here is one. All students have done +more or less singing before they go to a teacher. During that time they +have, with scarcely an exception, formed bad habits. Now bad habits of +voice production are almost invariably some form of throat interference, +referred to as tension, rigidity, resistance, etc. Instances without +number could be cited where students have been told to keep right on +singing and eventually they would outgrow these habits. Such a thing +never happened since time began. One may as well tell a drunkard to keep +on drinking and eventually he will outgrow the habit. No. Something +definite and specific must be done. The antidote for tension is +relaxation. A muscle cannot respond while it is rigid, therefore the +student must be taught how to get rid of tension. + + +TWO THINGS INVOLVED + +There is nothing in voice training that is necessarily mysterious and +inscrutable. On the contrary, if one will acquaint himself with its +fundamental principles he will find that the truth about voice training, +like all truth, is simple and easily understood, and when understood the +element of uncertainty is eliminated. These principles are few in +number, in fact they may all be brought under two general heads. The +first is =KNOW WHAT YOU WANT=. The second is =HAVE THE CONDITIONS +RIGHT=. The meaning of these statements can never be learned from a +study of vocal physiology; nevertheless they contain all of the law and +the prophets on this subject. Any musician may be a successful teacher +of singing if he will master them. I use the word _musician_ advisedly, +because musical sense is of such vital importance that no amount of +mechanical knowledge can take its place. To undertake the training of +voices with only a mechanical knowledge of the subject is a handicap +which no one can overcome. + +It is universally true that the less one knows of the art of singing the +more he concerns himself with the mechanism; and it is also true that +the more one is filled with the spirit of song the less he concerns +himself with the construction of the vocal instrument. People with +little or no musicianship have been known to wrangle ceaselessly on +whether or not the thyroid cartilage should tip forward on high tones. +It is such crude mechanics masquerading under the name of science that +has brought voice training into general disrepute. The voice teacher is +primarily concerned with learning to play upon the vocal instrument +rather than upon its mechanical construction, two things which some find +difficulty in separating. + + +KNOW WHAT YOU WANT + +This means much. In voice production it means the perfect tone concept. +It means far more than knowing what one likes. What one likes and what +he ought to like are usually quite different things. What one likes is +the measure of his taste at that particular time and may or may not be +an argument in its favor. I have never seen a beginner whose taste was +perfectly formed, but the great majority of them know what they like, +and because they like a certain kind of tone, or a certain way of +singing, they take it for granted that it is right until they are shown +something better. This error is by no means confined to beginners. + +If your pupil does not produce good tone one of two things is +responsible for it. Either he does not know a good tone or else the +conditions are not right. In the beginning it is usually both. Your +pupil must create his tone mentally before he sings it. He must create +its quality no less than its pitch. In other words _he must hear his +tone before he sings it and then sing what he hears_. Until he can do +this his voice will have no character. His voice will be as indefinite +as his tone concept, and it will not improve until his concept, which is +his taste, improves. Inasmuch as everything exists first as idea, it +follows that everything which is included in the rightly produced voice +and in interpretation are first matters of concept. The singer uses a +certain tone quality because he mentally conceives that quality to be +right. He delivers a word or phrase in a certain way because that is his +concept of it. + +A word at this point on imitation. One faculty of a musical mind is that +of recording mentally what it hears and of producing it mentally +whenever desired. Most people possess this in some degree, and some +people in a marked degree. Almost any one can hear mentally the tone of +a cornet, violin, or any instrument with which he is acquainted. In the +same way the vocal student must hear mentally the pure singing tone +before he can sing it. It is the business of the teacher to assist him +in forming a perfect tone concept, and if he can do this by example, as +well as by precept, he has a distinct advantage over the one who cannot. + +Arguments against imitation are not uncommon, and yet the teachers who +offer them will advise their students to hear the great singers as often +as possible. Such incongruities do not inspire confidence. + +On this human plane most things are learned by imitation. What language +would the child speak if it were never allowed to hear spoken language? +It would never be anything but + + "An infant crying in the night. + And with no language but a cry." + +There are but few original thinkers on earth at any one time. The rest +are imitators and none too perfect at that. We are imitators in +everything from religion to breakfast foods. Few of us ever have an +original idea. We trail along from fifty to a hundred years behind those +we are trying to imitate. + +When there is little else but imitation going on in the world why deny +it to vocal students? The argument against imitation can come from but +two classes of people--those who cannot produce a good tone and those +who are more interested in how the tone is made than in the tone itself. + +The following are the qualities the teacher undertakes to develop in the +student in preparing him for artistic singing. They are fundamental and +must be a part of the singer's equipment no matter what method is +employed. They are what all musicians expect to hear in the trained +singer. They all exist first as concepts. + +An even scale from top to bottom of the voice. + +Every tone full of strength and character. + +A sympathetic quality. + +Ample power. + +A clear, telling resonance in every tone. + +A pure legato and sostenuto. + +Perfect freedom in production throughout the compass. + +A perfect swell, that is, the ability to go from pianissimo to full +voice and return, on any tone in the compass, without a break, and +without sacrificing the tone quality. + +The ability to pronounce distinctly and with ease to the top of the +compass. + +Equal freedom in the delivery of vowels and consonants. + +Sufficient flexibility to meet all technical demands. + +An ear sensitive to the finest shades of intonation. + +An artistic concept or interpretive sense of the highest possible order. + +The process of acquiring these things is not accretion but _unfoldment_. +It is the unfoldment of ideas or concepts. The growth of ideas is +similar to that of plants and flowers. The growth of expression follows +the growth of the idea, it never precedes it. From the formation of the +first vowel to the perfect interpretation of a song the teacher is +dealing with mental concepts. + +At the Gobelin Tapestry works near Paris I was told that the weavers of +those wonderful tapestries use twenty-four shades of each color, and +that their color sense becomes so acute that they readily recognize all +of the different shades. Now there are about as many shades of each +vowel, and the mental picture of the vowel must be so definite, the +mental ear so sensitive, that it will detect the slightest variation +from the perfect form. Direct control could never accomplish this. Only +the automatic response of the mechanism to the perfect vowel concept can +result in a perfect vowel. + +All of those qualities and elements mentioned above as constituting the +artist come under the heading =KNOW WHAT YOU WANT=. + +The second step =HAVE THE CONDITIONS RIGHT= means, in short, to free the +mechanism of all interference and properly manage the breath. This +getting rid of interference could be talked about indefinitely without +wasting time. It is far more important than most people suspect. Few +voices are entirely free from it, and when it is present in a marked +degree it is an effectual bar to progress. So long as it is present in +the slightest degree it affects the tone quality. Most students think +they are through with it long before they are. + +This interference, which is referred to as tension, rigidity, +throatiness, etc., is in the nature of resistance to the free emission +of tone. It is not always confined to the vocal cords, but usually +extends to the walls of the pharynx and the body of the tongue. The +vocal cavities, the pharynx and mouth, exert such a marked influence on +tone quality that the least degree of rigidity produces an effect that +is instantly noticeable to the trained ear. These parts of the vocal +mechanism which are so largely responsible not only for perfect vowels, +but for perfect tone quality as well, must at all times be so free from +tension that they can respond instantly to the tone concept. If they +fail to respond the tone will be imperfect, and these imperfections are +all classed under the general head "throaty." Throaty tone means that +there is resistance somewhere, and the conditions will never be right +until the last vestige of it is destroyed. The difficulty in voice +placing which so many have, lies in trying to produce the upper tones +without first getting rid of resistance. This condition is responsible +for a number of shop-worn statements, such as "bring the tone forward," +"place the tone in the head," "direct the tone into the head," etc. I +recall a writer who says that the column of breath must be directed +against the hard palate toward the front of the mouth in order to get a +resonant tone. Consider this a moment. When the breath is properly +vocalized its power is completely destroyed. Any one may test this by +vocalizing in an atmosphere cold enough to condense the moisture in his +breath. If he is vocalizing perfectly, he will observe that the breath +moves lazily out of the mouth and curls upward not more than an inch +from the face. The idea that this breath, which has not a particle of +force after leaving the vocal cords, can be directed against the hard +palate with an impact sufficient to affect tone quality is the limit of +absurdity. If the writer had spoken of directing the sound waves to the +front of the mouth there would have been an element of reasonableness in +it, for sound waves can be reflected as well as light waves; but breath +and sound are quite different things. + +What does the teacher mean when he tells the pupil to place the tone in +the head? He doubtless means that the student shall call into use the +upper resonator. If one holds a vibrating tuning-fork before a +resonating tube, does he direct the vibrations into that resonating +cavity? No. Neither is it necessary to try to drive the voice into the +cavities of the head. Such instructions are of doubtful value. They are +almost sure to result in a hard unsympathetic tone. They increase rather +than diminish the resistance. The only possible way to place the tone in +the head is to let it go there. This will always occur when the +resistance is destroyed and the channel is free. + +In numerous instances the resistance in the vocal cords is so great that +it is impossible to sing softly, or with half voice. It requires so much +breath pressure to start the vibration, that is, to overcome the +resistance, that when it does start it is with full voice. In a majority +of male voices the upper tone must be taken either with full chest voice +or with falsetto. There is no _mezza voce_. This condition is abnormal +and is responsible for the "red in the face" brand of voice production +so often heard. + +Of this we may be sure, that no one can sing a good full tone unless he +can sing a good _mezza voce_. When the mechanism is sufficiently free +from resistance that a good pianissimo can be sung then the conditions +are right to begin to build toward a _forte_. + +Further, when the mechanism is entirely free from resistance there is no +conscious effort required to produce tone. The singer has the feeling of +letting himself sing rather than of making himself sing. + +The engineer of a great pumping station once told me that his mammoth +Corliss engine was so perfectly balanced that he could run it with ten +pounds of steam. When the voice is free, and resting on the breath as it +were, it seems to sing itself. + +An illustration of the opposite condition, of extreme resistance was +once told me by the president of a great street railway system that was +operated by a cable. He said it required eighty-five per cent of the +power generated to start the machinery, that is, to overcome the +resistance, leaving but fifteen per cent for operating cars. It is not +at all uncommon to hear singers who are so filled with resistance that +it requires all of their available energy to make the vocal instrument +produce tone. Such singers soon find themselves exhausted and the voice +tired and husky. It is this type of voice production rather than +climatic conditions, that causes so much chronic laryngitis among +singers. I have seen the truth of this statement verified in the +complete and permanent disappearance of many cases of laryngitis through +learning to produce the voice correctly. + +The second step in securing right conditions is the proper management of +the breath. + + +BREATH CONTROL + +An extremist always lacks the sense of proportion. He allows a single +idea to fill his mental horizon. He is fanciful, and when an idea comes +to him he turns his high power imagination upon it, and it immediately +becomes overwhelming in magnitude and importance. Thereafter all things +in his universe revolve around it. + +The field of voice teaching is well stocked with extremists. Everything +involved in voice production and many things that are not, have been +taken up one at a time and made the basis of a method. + +One builds his reputation on a peculiar way of getting the tone into the +frontal sinuses by way of the infundibulum canal, and makes all other +things secondary. + +Another has discovered a startling effect which a certain action of the +arytenoid cartilages has on registers, and sees a perfect voice as the +result. + +Another has discovered that a particular movement of the thyroid +cartilage is the only proper way to tense the vocal cords and when every +one learns to do this all bad voices will disappear. + +Another has discovered something in breath control so revolutionary in +its nature that it alone will solve all vocal problems. + +Perhaps if all of these discoveries could be combined they might produce +something of value; but who will undertake it? Not the extremists +themselves, for they are barren of the synthetic idea, and their sense +of proportion is rudimentary. They would be scientists were it not for +their abnormal imaginations. The scientist takes the voice apart and +examines it in detail, but the voice teacher must put all parts of it +together and mold it into a perfect whole. The process is synthetic +rather than analytic, and undue emphasis on any one element destroys the +necessary balance. + +The immediate danger of laying undue emphasis on any one idea in voice +training lies in its tendency toward the mechanical and away from the +spontaneous, automatic response so vitally necessary. Here the +extremists commit a fatal error. To make breath management the +all-in-all of singing invariably leads to direct control, and soon the +student has become so conscious of the mechanism of breathing that his +mind is never off of it while singing; he finds himself becoming rigid +trying to prevent his breath from escaping, and the more rigid he +becomes the less control he has. A large number of examples of this kind +of breath management have come under my observation. They all show the +evil results of over working an idea. + +But the followers of "the-breath-is-the-whole-thing" idea say "You can't +sing without breath control." Solomon never said a truer thing, but the +plan just mentioned is the worst possible way to secure it. + +Every one should know that not a single one of the processes of voice +production is right until it is working automatically, and automatic +action is the result of indirect, never of direct control. + +The profession has become pretty thoroughly imbued with the idea that +deep breathing, known as abdominal, or diaphragmatic is the best for +purposes of singing. But how deep? The answer is, the deeper the better. +Here again it is easy to overstep the bounds. I have in mind numerous +instances where the singer, under the impression that he was practicing +deep breathing tried to control the breath with the lower abdominal +muscles, but no matter how great the effort made there was little tonal +response, for the reason that the pressure exerted was not against the +lungs but against the contents of the abdomen. The diaphragm is the +point of control. The lungs lie above it, not below it. To concentrate +the thought on the lower abdominal muscles means to lose control of the +diaphragm, the most important thing involved in breath management. + +The process of breathing is simple. The lungs are enclosed in an air +tight box of which the diaphragm is the bottom. It rests under the lungs +like an inverted saucer. In the act of contracting it flattens toward a +plane and in so doing it moves downward and forward, away from the +lungs. The ribs move outward, forward and upward. The lungs which occupy +this box like a half compressed sponge follow the receding walls, and a +vacuum is created which air rushes in to fill. In exhalation the action +is reversed. The ribs press against the lungs and the diaphragm slowly +returns to its original position and the breath is forced out like +squeezing water out of a sponge. + +The one important thing in breath management is the diaphragm. If the +student has the right action of the diaphragm he will have no further +trouble with breath control. In my Systematic Voice Training will be +found a list of exercises which thoroughly cover the subject of breath +control and if properly used will correct all errors. Let this be +understood, that there is nothing in correct breathing that should make +one tired. On the contrary the practice of breathing should leave one +refreshed. Above all, the student should never make himself rigid when +trying to control the flow of breath. This is not only of no advantage, +but will effectually defeat the end for which he is striving. + + +REGISTERS + +In securing right conditions the teacher is often confronted with the +problem of registers. The literature on this subject is voluminous and +varied. Opinions are offered without stint and the number of registers +which have been discovered in the human voice ranges from none to an +indefinite number. How one scientist can see two, and another one five +registers in the same voice might be difficult to explain were it not a +well known fact that some people are better at "seeing things" than +others. + +But here again the teacher soon learns that laboratory work is of little +value. His view point is so different from that of the physicist that +they can hardly be said to be working at the same problem. The physicist +tries to discover the action of the mechanism, in other words, how the +tone is made. The voice teacher is concerned primarily with how it +sounds. One is looking at the voice, the other is listening to it, which +things, be it known, are essentially and fundamentally different; so +different that their relationship is scarcely traceable. The ability to +train the voice comes through working with voices where the musical +sense, rather than the scientific sense, is the guide. It is a specific +knowledge which can be gained in no other way. It begins when one takes +an untrained voice and attempts to make it produce a musical tone. + +The problem of registers is, in short, how to make an even scale out of +an uneven one. It must be solved in the studio. Anatomical knowledge is +of no avail. The teacher who has learned how to produce an even scale +possesses knowledge which is of more value to the student than all of +the books ever written on vocal mechanism. + +The depressions in the voice known as "changes of register" result from +tension. With one adjustment of the vocal cords the singer can, by +adding tension, make a series of four or five tones, then by a change of +adjustment he can produce another similar series, and so on to the top +of his compass. These changes occur when there is such an accumulation +of tension that no more can be added to that adjustment without +discomfort. The solution of this problem lies in gaining such freedom +from tension in the vocal instrument that it automatically readjusts +itself for each tone. The tension is then evenly distributed throughout +the scale and the sudden changes disappear. This is precisely what +happens when the singer has learned to produce an even scale throughout +his compass; his voice production is not right until he can do this. + +The statement is frequently made in public print that there are no +registers in the trained voice. This order of wisdom is equally +scintillating with that profound intellectual effort which avers that a +bald headed man has no hair on the top of his head, or that hot weather +is due to a rise in the temperature. These statements may be heavy-laden +with truth, but to the voice teacher they are irrelevant. His work is at +least seven-eighths with untrained voices. By the time he has worked out +an even scale with all of the other problems that go hand in hand with +it, for a great deal of the art of singing will naturally accompany it, +a large majority of his pupils are ready to move on. Only a small per +cent prepare for a musical career. Most of his work is with voices that +still need to be perfected. It is for voices of this kind that the +teacher lives. It is for such voices that vocal methods are evolved and +books written. + +A lighthearted, easy going assurance is not sufficient alone to compass +the problems that present themselves in the studio. If the teacher is +conscientious there will be times when he will feel deeply the need of +something more than human wisdom. The work in the studio has more to do +with the future than with the immediate present. The singing lesson is a +small part of what the student carries with him. The atmosphere of the +studio, which is the real personality of the teacher, his ideals, aims, +the depth of his sincerity, in short, his concept of the meaning of +life, goes with the student and will be remembered when the lesson is +forgotten. + + + + +V + +THE NATURE AND MEANING OF ART + + One function, then, of art is to feed and mature the imagination + and the spirit, and thereby enhance and invigorate the whole of + human life. + + _Ancient Art and Ritual_. Jane Ellen Harrison. + + +A large percentage of the population of the civilized world has more or +less to do with what is called art. In its various forms art touches in +some degree practically the entire human race. Its various activities +have developed great industries, and for the entertainment it affords +fabulous sums of money are spent. + +What is this thing called art which takes such a hold upon the human +race? If it has no social or economic value then a vast amount of time +and money are wasted each year in its study and practice. A brief +inquiry into the nature and meaning of art may well be associated with a +discussion of the art of singing. + +Art as a whole comes under the head of Aesthetics, which may be defined +as the philosophy of taste, the science of the beautiful. + +It will doubtless be admitted without argument that ever since the dawn +of consciousness the visible world has produced sense impressions +differing from each other--some pleasant, some unpleasant. From these +different sense impressions there gradually evolved what is known as +beauty and ugliness. An attempt to discover the principles underlying +beauty and ugliness resulted in Aesthetics, the founder of which was +Baumgarten (1714-1762). + +It will be interesting to hear what he and the later aestheticians have +to say about art. Most of them connect it in some way with that which is +beautiful, that is, pleasing, but they do not all agree in their +definition of beauty. + +Baumgarten defined beauty as the perfect, the absolute, recognized +through the senses. He held that the highest embodiment of beauty is +seen by us in nature, therefore the highest aim of art is to copy +nature. + +Winkelmann (1717-1768) held the law and aim of art to be beauty +independent of goodness. Hutcheson (1694-1747) was of essentially the +same opinion. + +According to Kant (1724-1804) beauty is that which pleases without the +reasoning process. + +Schiller (1758-1805) held that the aim of art is beauty, the source of +which is pleasure without practical advantage. + +These definitions do not wholly satisfy. They do not accord to art the +dignified position it should hold in social development. But there are +others who have a clearer vision. Fichte (1762-1814) said that beauty +exists not in the visible world but in the beautiful soul, and that art +is the manifestation of this beautiful soul, and that its aim is the +education of the whole man. + +In this we begin to see the real nature and activity of art. There are +other aestheticians who define art in much the same way. + +Shaftesbury (1670-1713) said that beauty is recognized by the mind only. +God is fundamental beauty. + +Hegel (1770-1831) said: "Art is God manifesting himself in the form of +beauty. Beauty is the idea shining through matter. Art is a means of +bringing to consciousness and expressing the deepest problems of +humanity and the highest truths." According to Hegel beauty and truth +are one and the same thing. + +Thus we see that the great thinkers of the world make art of supreme +importance in the perfecting of the human race. They all agree that art +is not in material objects, but is a condition and activity of spirit. +They agree in the main that beauty and truth emanate from the same +source. Said Keats: + + "Beauty is truth and truth beauty, + That is all ye know on earth and all ye need know." + +Said Schelling: "Beauty is the perception of the Infinite in the +finite." + +But perhaps the highest concept of art is from the great artist +Whistler. He said: "Art is an expression of eternal absolute truth, and +starting from the Infinite it cannot progress, IT IS." + +Art in some form and in some degree finds a response in every one. Why? +Because every one consciously or unconsciously is looking toward and +striving for perfection. This is the law of being. Every one is seeking +to improve his condition, and this means that in some degree every one +is an idealist. Ever since time began idealism has been at work, and to +it we owe every improved condition--social, political and religious. + +Hegel believed that the aim of art is to portray nature in perfect form, +not with the imperfections seen around us; and Herbert Spencer defined +art as the attempt to realize the ideal in the present. The artist tries +to make his picture more perfect than what he sees around him. The poet, +the sculptor, the musician, the craftsman, the mechanic, are all +striving for a more perfect expression, because perfection is the +fundamental, eternal law of being. + +Wagner said: "The world will be redeemed through art," and if Whistler's +definition be accepted he is not far from the truth. + +The important thing to remember is that art is not a mere pastime, but a +great world force operating to lift mortals out of mortality. It is the +striving of the finite to reach the Infinite. + +In human history art, no less than languages, has conformed to the +theory of evolution. Language in the beginning was monosyllabic. Far +back in the early dawn of the race, before the development of the +community spirit, when feelings, emotions, ideas, were simple and few +the medium of expression was simple, and it grew with the demand for a +larger expression. + +This same process of evolution is seen in the growth of each individual. +The child, seeing grimalkin stalk stealthily into the room, points the +finger and says "cat." This is the complete expression of itself on that +subject. It is the sum total of its knowledge of zoology at that +particular moment; and a long process of development must follow before +it will refer to the same animal as a "Felis Domestica." + +In a similar way musical expression keeps step with musical ideas. In +the beginning musical ideas were short, simple, fragmentary, +monosyllabic, mere germs of melody (adherents of the germ theory will +make a note of this). The Arab with his rudimentary fiddle will repeat +this fragment of melody [Illustration: Figure H] by the hour, while a +company of his unlaundered brethren dance, until exhausted, in dust to +their ankles, with the temperature near the boiling point. This musical +monosyllable is ample to satisfy his artistic craving. In other words it +is the complete musical expression of himself. + +The following is a complete program of dance music for the aborigines of +Australia. [Illustration: Figure I] The repetition of this figure may +continue for hours. If it were inflicted on a metropolitan audience it +would result in justifiable homicide, but to the Australian it furnishes +just the emotional stimulus he desires. + +[Illustration: Figure J] This one from Tongtoboo, played Allegro, would +set the heels of any company, ancient or modern, in motion. + +These people may be said to be in the rhythmic stage of music, that is, +a stage of development in which a rhythmic movement which serves to +incite the dance furnishes complete artistic satisfaction. + +As it is a long distance from the monosyllabic expression of the child +to the point where he can think consecutively in polysyllabic +dissertation, so it is an equally long distance from the inarticulate +musical utterances of the barbarous tribes to the endless melodies of +Wagner, which begin at 8 P. M. and continue until 12.15 A. M. without +repetition. + +Following the course of music from the beginning we shall see that it +has kept pace with civilization. As the race has grown mentally it has +expressed itself in a larger and more perfect way in its literature, its +painting and music. Physically the race has not grown perceptibly in the +last five thousand years, but mentally its growth can scarcely be +measured. If we follow each nation through the past thousand years we +shall see that its art product has not only kept pace with its +development, but that in its art we may see all of its racial +characteristics, those habits of mind which are peculiarly its own. A +nation left to itself will develop a certain trend of thought which will +differentiate it from all other nations. A trend of thought which will +affect its art, literature, politics, religion, and in course of time +will produce marked physical characteristics. This is noticeable in all +nations which have lived long unto themselves. + +But modern methods of communication are destroying this. As nations are +brought into closer contact with each other they begin to lose their +peculiarities. The truth of this statement may be seen in the fact that +in the past fifty years composers all over the world have been affected +by the modern German school of composition. Not one has escaped. While a +nation lived unto itself it could preserve its national life in its art, +but more and more the life of each nation is becoming a composite of the +life of all nations. The musical output of the world shows this +unmistakably. + +What will be the music of the future? We know the music of yesterday and +today, but the music of the future can be foretold only by the prophet +whose vision is clear enough to see unmistakably what the trend of +civilization will be during the coming years. There are mighty forces +operating in the world today. If they succeed in bringing humanity to a +saner, more normal state of mind, to a clearer realization of what is +worth while and what is worthless, then all art will become purer and +more wholesome, more helpful and necessary, and music speaking a +language common to all will be supreme among the arts. + + + + +VI + +SINGING AS AN ART + + No artist can be graceful, imaginative, or original, unless he + be truthful. + + Ruskin. _Modern Painters_. + + +"Art is a transfer of feeling" said Tolstoy. While this applies to art +in general it has a particular application to the art of singing. The +material of the singer's art is feeling. By means of the imagination he +evokes within himself feelings he has experienced and through the medium +of his voice he transfers these feelings to others. By his ability to +reconstruct moods, feelings and emotions within himself and express them +through his voice, the singer sways multitudes, plays upon them, carries +them whithersoever he will from the depths of sorrow to the heights of +exaltation. His direct and constant aim is to make his hearers _feel_, +and feel deeply. As a medium for the transfer of feeling the human voice +far transcends all others. Since the beginning of the human race the +voice has been the means by which it has most completely revealed +itself, but the art is not in the voice, but in the feeling transferred. +It is the same whether the medium be the voice, painting, sculpture, +poetry or a musical instrument. We speak of a painting as being a great +work of art, but the art is not in the painting, the art is the feeling +of beauty which the painting awakes in the observer. When we listen to +an orchestra the music is what we feel. Said Walt Whitman: "Music is +what awakes within us when we are reminded by the instruments." + +Nothing exists separate from cognition. Real art therefore consists of +pure feeling rather than of material objects. _If the singer succeeds in +transferring his feelings to others he is an artist_, this regardless of +whether his voice is great or small. Voice alone does not constitute an +artist. One must have something to give. Schumann said: "The reason the +nightingale sings love songs and the lap dog barks is because the soul +of the nightingale is filled with love and that of the lap dog with +bark." It will be apparent therefore, that the study of the art of +singing should devote itself to developing in the singer the best +elements of his nature--all that is good, pure and elevating. We have no +right to transfer to others any feeling that is impure or unwholesome. +The technic of an art is of small moment compared with its subject +matter. _An unworthy poem cannot be purified by setting it to music no +matter how beautiful the music may be._ + + +THE PRINCIPLES OF INTERPRETATION + +I fancy there is nothing more intangible to most people than the term +"_phrasing_." I have asked a great many students to give me the +principles of phrasing, but as yet I have seen none who could do it, and +yet all singers, from the youngest to the oldest must make some use of +these principles every time they sing. Now a thing in such general use +should be, and is, subject to analysis. + +_All of the rules of phrasing, like the rules of composition, grow out +of what sounds well._ Beauty and ugliness are matters of mental +correspondence. In music a thing to be beautiful must satisfy a mental +demand, and this demand is one's _taste_. The sense of fitness must +obtain. When the singer interprets a song the demand of the listener is +that he shall do well what he undertakes to do: that he shall portray +whatever phase of life the song contains, accurately, definitely, that +he shall have a _definite intent and purpose_, that he shall be in the +mood of the song. The singer must not portray one mood with his face, +another with his voice, while the poem suggests still a third. He must +avoid incongruity. All things must work together. There must be +therefore, the evidence of intelligent design in every word and phrase. + +The song is a unit and each phrase contains a definite idea, therefore +it must not be detached or fragmentary, but must have the element of +continuity and each and every part must be made to contribute to the +central idea. + +The element of insecurity must not be allowed to enter. If it does, the +listener feels that the singer is not sure of himself, that he cannot do +what he set out to do: therefore he is a failure. + +Another demand is that the singer shall be intelligent. A poem does not +lose its meaning or its strength by being associated with music, and to +this end the singer must deliver the text with the same understanding +and appreciation of its meaning as would a public reader. + +Now from the above we infer certain principles. The demand for +continuity means that the singer must have a pure _legato_. That is, he +must be able to connect words smoothly, to pass from one word to another +without interrupting the tone, that the tone may be continuous +throughout each phrase. + +The feeling of security lies in what is known as _sostenuto_, the +ability to sustain the tone throughout the phrase with no sense of +diminishing power. It means in short the organ time. + +From the demand for design in each word and phrase comes _contrast_. +This may be made in the power of the tone by means of cres. dim. sfz. It +may be made in the tempo by means of the retard, accelerando, the hold, +etc. It may also be made in the quality of the tone by using the various +shades from bright to somber. + +The basis of phrasing then, may be found in legato, sostenuto and +contrast. All of the other things involved in interpretation cannot make +a good performance if these fundamental principles be lacking. A more +complete outline of interpretation follows: + + +AN OUTLINE OF INTERPRETATION + + { Pitches + READING { Note Lengths + { Rhythm + + { Vowels + { Enunciation { Consonants + DICTION { Pronunciation + { Accent + { Emphasis + + { Even Scale + VOICE { Quality + { Freedom + { Breath Control + + { Attack + TECHNIC { Flexibility + { Execution + + { Legato + PHRASING { Sostenuto + { Power + { Contrast { Tempo + { Color + { Proportion + + + { Emotional Concept + MOOD { Facial Expression + { Stage Presence + +Most of the things mentioned in this outline of interpretation have been +discussed elsewhere, but the subject of diction requires further +explanation. + + +DICTION + +The mechanism of speech might be discussed at any length, but to reduce +it to its simplest form it consists of the sound producing +instrument,--the vocal cords, the organs of enunciation--lips, tongue, +teeth and soft palate, and the channel leading to the outer air. When +the vocal cords are producing pitch and the channel is free the result +is a vowel. If an obstruction is thrown into the channel the result is a +consonant. Vowels and consonants, then, constitute the elements of +speech. The vowels are the emotional elements and the consonants are the +intellectual elements. By means of vowel sounds alone emotions may be +awakened, but when definite ideas are expressed, words which are a +combination of vowels and consonants must be used. It is nothing short +of amazing that with this simple mechanism, by using the various +combinations of open and obstructed channel in connection with pitch, +the entire English language or any other language for that matter can be +produced. + +Vowels are produced with an open channel from the vocal cords to the +outer air. Consonants are produced by partial or complete closing of the +channel by interference of the lips, tongue, teeth and soft palate. + +If language consisted entirely of vowels learning to sing would be much +simpler than it is. It is the consonants that cause trouble. It is not +uncommon to find students who can vocalize with comparative ease, but +the moment they attempt to sing words the mechanism becomes rigid. The +tendency toward rigidity is much greater in enunciating consonants than +it is in enunciating vowels, and yet they should be equally easy. Here +is where the student finds his greatest difficulty in mastering English +diction. + +The most frequent criticism of American singers is their deficiency in +diction. Whether it please us or no, it must be admitted that on the +whole the criticism is not without foundation. + +The importance of effective speech is much underestimated by students of +singing, and yet it requires but a moment's consideration to see that +the impression created by speech is the result of forceful diction no +less than of subject matter. Words mean the same thing whether spoken or +sung, and the singer no less than the speaker should deliver them with a +full understanding of their meaning. + +The proposition confronting the singer is a difficult one. When he +attempts the dramatic he finds that it destroys his legato. He loses the +sustained quality of the organ tone, which is the true singing tone, and +_bel canto_ is out of the question. + +This is what is urged against the operas of Wagner and practically +everything of the German school since his day. The dramatic element is +so intense and the demand so strenuous that singers find it almost, if +not quite impossible, to keep the singing tone and reach the dramatic +heights required. They soon find themselves shouting in a way that not +only destroys the singing tone but also the organ that produces it. The +truth of this cannot be gainsaid. There is a considerable amount of +vocal wreckage strewn along the way, the result of wrestling with +Wagnerian recitative. Wagnerian singers are, as a rule, vocally shorter +lived than those that confine themselves to French and Italian opera. + +But it will be argued by some that these people have not learned how to +sing, that if they had a perfect vocal method they could sing Wagner as +easily as Massenet. That they have not learned to sing Wagner is +evident, and this brings us to the question--Shall the singer adjust +himself to the composer or the composer to the singer? A discussion of +this would probably lead nowhere, but I submit the observation, that +many modern composers show a disregard for the possibilities and +limitations of the human voice that amounts to stupidity. Because a +composer can write great symphonies the public is inclined to think that +everything he writes is great. Let it be understood once for all that +bad voice writing is bad whether it is done by a symphonic writer or a +popular songwriter. In the present stage of human development there are +certain things the voice can do and other things it cannot do, and these +things can be known only by those who understand the voice, and are +accustomed to working with it. To ignore them completely when writing +for voices is no evidence of genius. Composers seem to forget that the +singer must create the pitch of his instrument as well as its quality at +the moment he uses it. They also forget that his most important aid in +this is the feeling of tonality. When this is destroyed and the singer +is forced to measure intervals abstractedly he is called upon to do +something immeasurably more difficult than anything that is asked of the +instrumentalist. Many modern composers have lost their heads and run +amuck on the modern idiom, and their writing for voices is so complex +that it would require a greater musician to sing their music than it did +to write it. + +But to return, I do not say that it is impossible to apply the +principles of _bel canto_ to Wagner's dramatic style of utterance. On +the contrary I believe it is possible to gain such a mastery of voice +production and enunciation that the Wagnerian roles may be sung, not +shouted, and still not be lacking in dramatic intensity, but it requires +a more careful study of diction and its relation to voice production +than most singers are willing to make. + +A majority of singers never succeed in establishing the right relation +between the vocal organ and the organs of enunciation. Years of +experience have verified this beyond peradventure. + +It is a very common thing for singers to vocalize for an indefinite +period with no ill effect, but become hoarse with ten minutes of +singing. The reason is apparent. They have learned how to produce vowels +with a free throat but not consonants. The moment they attempt to form a +consonant, tension appears, not only in those parts of the mechanism +which form the consonant, but in the vocal organ as well. Under such +treatment the voice soon begins to show wear, and this is exactly what +happens to those singers who find it difficult to sing the Wagner +operas. + +The solution of this problem lies in the proper study of diction. The +intellectual elements of speech consonants are formed almost entirely in +the front of the mouth with various combinations of lips, tongue and +teeth. Three things are necessary to their complete mastery. + +=First,=--consonants must be produced without tension. It will be well +to remember in this connection that consonants are not to be sung. They +are points of interference and must be distinct but short. The principle +of freedom applies to consonants no less than to vowels. + +=Second,=--consonants must not be allowed to interrupt the continuity of +the pitch produced by the vocal cords. This is necessary to preserve +legato. Some consonants close the channel completely, others only +partially. It is a great achievement to be able to sing all consonant +combinations and still preserve a legato. + +=Third,=--consonants must in no way interfere with the freedom of the +vocal organ. If the student attempts to sing the consonants, that is, to +prolong them he is sure to make his throat rigid and the pure singing +tone at once disappears. He must therefore learn dramatic utterance +without throwing the weight of it on the throat. To do this he must +begin with a consonant which offers the least resistance and practice it +until the three points mentioned have been mastered. The one which will +give the least trouble is l. At the pitch G sing ah-lah-lah-lah-lah, +until it can be done with relaxed tongue, with perfect continuity of +tone, and with perfect freedom in the vocal instrument. In the same way +practice n, d, v, th, m, and the sub vocals, b, d, g. Always begin with +a vowel. + +If the singer has the patience to work the problem out in this way he +can apply the principles of _bel canto_ to dramatic singing. The road to +this achievement is long, longer than most people suspect, but if one is +industrious and persevering it may be accomplished. + +But there remains yet to be mentioned the most important element of +artistic singing. To the pure tone and perfect diction must be added the +imagination. The _imagination_ is the image making power of the mind, +the power to create or reproduce ideally that which has been previously +perceived: the power to call up mental images. By means of the +imagination we take the materials of experience and mold them into +idealized forms. The aim of creative art is to idealize, that is, to +portray nature and experience in perfect forms not with the +imperfections of visible nature. "In this" says Hegel, "art is superior +to nature." + +The activity of the imagination is directly responsible for that most +essential thing--emotional tone. Taking intelligence for granted, the +imagination is the most important factor involved in interpretation. If +the imagination be quick and responsive it will carry the singer away +from himself and temporarily he will live the song. + +Every song has an atmosphere, a metaphysical something which +differentiates it from every other song. The singer must discover it and +find the mood which will perfectly express it. If his imagination +constructs the image, creates the picture, recalls the feeling, the +emotion, the result will be artistic singing. The song is that which +comes from the soul of the singer. It is not on the printed page. If I +study a Schubert song until I have mastered it, I have done nothing to +Schubert. It is I who have grown. Through the activity of the +imagination, guided by the intelligence, I have built up in my +consciousness as nearly as possible what I conceive to have been +Schubert's feeling when he wrote the song, but the work has all been +done on myself. + +A chapter might be written on the artistic personality. It reveals +itself in light, shade, nuance, inflection, accent, color, always with a +perfect sense of proportion, harmony and unity, and free from all that +is earthy. It is the expression of individuality. It cannot be imitated. +If you ask me for its source I repeat again Whistler's immortal saying: +"Art is an expression of eternal, absolute truth, and starting from the +Infinite it cannot progress, =IT IS=." + + + + +VII + +THE CONSTRUCTION OF A SONG. + + Has he put the emphasis on his work in the place where it is + most important? Has he so completely expressed himself that the + onlooker cannot fail to find his meaning? + + _Appreciation of Art_. Loveridge. + + +When you listen to a song and at its close say, "That is beautiful," do +you ever stop and try to discover why it is beautiful? The quest may +lead you far into the field of Aesthetics, and unless you are accustomed +to psychological processes you may find yourself in a maze from which +escape is difficult. Let us remember that in studying the construction +of a song we are dealing with states of mind. A song is the product of a +certain mood and its direct aim is to awaken a similar mood in others. + +It is a well established fact that sound is the most common and the most +effective way of expressing and communicating the emotions, not only for +man but for the lower animals as well. This method of communication +doubtless began far back in the history of the race and was used to +express bodily pain or pleasure. + +The lower animals convey their feelings to each other by sounds, not by +words, and these sounds awaken in others the same feeling as that which +produced them. + +We see, then, that emotion may be expressed by sound and be awakened by +sound, and this obtains among human beings no less than among the lower +animals. In the long process of ages sound qualities have become +indissolubly associated with emotional states, and have become the most +exciting, the most powerful sense stimulus in producing emotional +reactions. The cry of one human being in pain will excite painful +emotions in another. An exclamation of joy will excite a similar emotion +in others, and so on through the whole range of human emotions. + +Herbert Spencer holds that the beginning of music may be traced back to +the cry of animals, which evidently has an emotional origin and purpose. +It is a far cry from the beginning of music as described by Spencer to +the modern art song, but from that time to this the principle has +remained the same. The emotional range of the lower animals is small, +doubtless limited to the expression of bodily conditions, but the human +race through long ages of growth has developed an almost unlimited +emotional range, hence the vehicle for its expression has of necessity +increased in complexity. + +To meet this demand music as a science has evolved a tone system. That +is, from the infinite number of tones it has selected something over a +hundred having definite mathematical relationships, fixed vibrational +ratios. The art of music takes this system of tones and by means of +combinations, progressions and movements which constitute what is called +musical composition, it undertakes to excite a wide variety of emotions. + +The aim and office of music is to create moods. It does not arrive at +definite expression. There is no musical progression which is +universally understood as an invitation to one's neighbor to pass the +bread. The pianist cannot by any particular tone combination make his +audience understand that his left shoe pinches, but he can make them +smile or look serious. He can fill them with courage or bring them to +tears without saying a word. In listening to the Bach _B Minor Mass_ one +can tell the _Sanctus_ from the _Gloria in Excelsis_ without knowing a +word of Latin. The music conveys the mood unmistakably. + +A song is a union of music and poetry, a wedding if you please and as in +all matrimonial alliances the two contracting parties should be in +harmony. The poem creates a mood not alone by what it expresses directly +but by what it implies, what it suggests. Its office is to stimulate the +imagination rather than to inform by direct statement of facts. The +office of music is to strengthen, accentuate, and supplement the mood of +the poem, to translate the poem into music. The best song then, will be +one in which both words and music most perfectly create the same mood. + +Arnold Bennett's definition of literature applies equally well to the +song. He says: "That evening when you went for a walk with your faithful +friend, the friend from whom you hid nothing--or almost nothing--you +were, in truth, somewhat inclined to hide from him the particular matter +which monopolized your mind that evening, but somehow you contrived to +get on to it, drawn by an overpowering fascination. And as your faithful +friend was sympathetic and discreet, and flattered you by a respectful +curiosity, you proceeded further and further into the said matter, +growing more and more confidential, until at last you cried out in a +terrific whisper: 'My boy she is simply miraculous:' At that moment you +were in the domain of literature." Now when such impassioned, +spontaneous utterance is brought under the operation of musical law we +have a perfect song. The composer furnished the words and music, but the +thing which makes it a song comes from the singer, from the earnestness +and conviction with which he delivers the message. + +Songs are divided into two general classes: those expressing the +relationships of human beings, such as love, joy, sorrow, chivalry, +patriotism, etc., and those expressing the relationship of man to his +creator; veneration, devotion, praise, etc. The two great sources of +inspiration to song writers have always been love and religion. + +What are the principles of song construction? They are all comprised in +the law of fitness. The composer must do what he sets out to do. The +materials with which he has to work are rhythm, melody and harmony. The +most important thing in a song is the melody. This determines to a very +great extent the health and longevity of the song. Most of the songs +that have passed the century mark and still live do so by reason of +their melody. There must be a sense of fitness between the poem and the +melody. A poem which expresses a simple sentiment requires a simple +melody. A simple story should be told simply. If the poem is sad, +joyous, or tragic the melody must correspond. Otherwise the family +discords begin at once. Poetry cannot adapt itself to music, because its +mood is already established. It is the business of the composer to +create music which will supplement the poem. A lullaby should not have a +martial melody, neither should an exhortation to lofty patriotism be +given a melody which induces somnolence. + +The same sense of fitness must obtain in the accompaniment. The office +of the accompaniment is not merely to keep the singer on the pitch. It +must help to tell the story by strengthening the mood of the poem. It +must not be trivial or insincere, neither must it overwhelm and thus +draw the attention of the listeners to itself and away from the singer. + +The accompaniment is the clothing, or dress, of the melody. Melodies, +like people, should be well dressed but not over dressed. Some melodies, +like some people, look better in plain clothes than in a fancy costume. +Other melodies appear to advantage in a rich costume. Modern songwriters +are much inclined to overdress their melodies to the extent that the +accompaniment forces itself upon the attention to the exclusion of the +melody. Such writing is as incongruous as putting on a dress suit to go +to a fire. + +The significance of the theme should indicate the nature of the +accompaniment. To take a simple sentiment and overload it with a modern +complex harmonic accompaniment is like going after sparrows with a +sixteen inch siege gun. + +Comedy in the song should not be associated with tragedy in the +accompaniment. A lively poem should not have a lazy accompaniment. The +great songwriters were models in this respect. This accounts for their +greatness. Take for example Schubert's _Wohin_ and _Der Wanderer_, +Schumann's _Der Nussbaum_, Brahms' _Feldeinsamkeit_. These +accompaniments are as full of mood as either poem or melody. + +The element of proportion enters into songwriting no less than into +architecture. A house fifteen by twenty feet with a tower sixty feet +high and a veranda thirty feet wide would be out of proportion. A song +with sixty-four measures of introduction and sixteen measures for the +voice would be out of proportion. Making a song is similar to painting a +landscape. In the painting the grass, flowers, shrubbery etc., are in +the foreground, then come the hills and if there be a mountain range it +is in the background. If the mountain range were in the foreground it +would obscure everything else. So in making a song. If it tells a story +and reaches a climax the climax should come near the end of the song. +When the singer has carried his audience with him up to a great +emotional height then all it needs is to be brought back safely and +quickly to earth and left there. + + +ASSOCIATION + +I have mentioned the principles of song construction, but there are +other things which have to do with making a song effective. One of the +most important of these is association. Let us remember that the effect +and consequent value of music depends upon the class of emotions it +awakens rather than upon the technical skill of the composer, and that +these emotions are dependent to a considerable extent upon association. +We all remember the time honored expedient of tying a string around a +finger when a certain thing is to be remembered. The perception of the +digital decoration recalls the reason for it and thus the incident is +carried to a successful conclusion. In like manner feelings become +associated with ideas. Church bells arouse feelings of reverence and +devotion. To many of us a brass band awakens pleasant memories of circus +day. _Scots Wha Hae_ fills the Scotchman with love for his native +heather. The odor of certain flowers is offensive because we associate +it with a sad occasion. The beauty of a waltz is due not only to its +composition but also to our having danced to it under particularly +pleasant circumstances. + +At the opera there are many things that combine to make it a pleasant +occasion--the distant tuning of the orchestra, the low hum of voices, +the faint odor of violets, and the recollection of having been there +before with that miracle of a girl,--all combine to fill us with +pleasurable anticipation. In this way we give as much to the performance +as it gives to us. According to some Aestheticians the indefinable +emotions we sometimes feel when listening to music are the +reverberations of feelings experienced countless ages ago. This may have +some foundation in fact, but it is somewhat like seeing in a museum a +mummy of ourselves in a previous incarnation. + +Songs which have the strongest hold upon us are those which have been in +some way associated with our experience. The intensity with which such +songs as _Annie Laurie_, _Dixie_, _The Vacant Chair_, _Tramp, Tramp, Tramp_ +grip us is due almost entirely to association. + +Therefore the value of a song consists not alone in what it awakens in +the present, but in what it recalls from the past. Man is the sum of his +experience; and to make past experience contribute to the joy of the +present is to add abundance to riches. + + + + +VIII + +HOW TO STUDY A SONG + + The accent of truth apparent in the voice when speaking + naturally is the basis of expression in singing. + + Garcia. _Hints on Singing_. + + +First determine the general character of the song. A careful study of +the words will enable the student to find its general classification. It +may be dramatic, narrative, reminiscent, introspective, contemplative, +florid, sentimental. + +The following are examples: + +Dramatic, _The Erl King_, Schubert. + +Narrative, _The Two Grenadiers_, Schumann. + +Reminiscent, _Der Doppelgaenger_, Schubert. + +Florid, _Indian Bell Song_, from Lakme, Delibes. + +Introspective, _In der Fruehe_, Hugo Wolf. + +Contemplative, _Feldeinsamkeit_, Brahms. + +Songs of sentiment. This includes all songs involving the affections and +the homely virtues. + +To these might be added songs of exaltation, such as Beethoven's +"Nature's Adoration." Character songs, in which the singer assumes a +character and expresses its sentiments. A good example of this is "The +Poet's Love" cycle by Schumann. Classifying the song in this way is the +first step toward discovering its atmosphere. There is always one tempo +at which a song sounds best and this tempo must grow out of a thorough +understanding of its character. Metronome marks should be unnecessary. +Intelligent study of a song will unerringly suggest the proper tempo. + +Next, study the poem until it creates the mood. Read it, not once, but +many times. Imbibe not only its intellectual but its emotional content. +It is the office of poetry to stimulate the imagination. It is under the +influence of this stimulus that songs are written, and under its +influence they must be sung. Hugo Wolf said that he always studied the +poem until it composed the music. This means that he studied the poem +until he was so filled with its mood that the proper music came of +itself. Fix in mind the principal points in the poem and the order in +which they occur. There usually is development of some kind in a poem. +Learn what it is. Notice which part of the poem contains the great or +central idea. Read it aloud. Determine its natural accent. The singing +phrase grows out of the spoken phrase. Singing is elongated, or +sustained, speech, but it should be none the less intelligent by reason +of this. + +Now adapt the words to the music. If the music has grown out of the +words as it should, it will follow the development of the poem and give +it additional strength. + +By this time one should be in the mood of the song, and he should not +emerge from it until the song is finished. If one is filled with the +spirit of the song, is sincere and earnest, and is filled with a desire +to express what is beautiful and good he will not sing badly even if his +voice be ordinary. + +The composer may do much toward creating the mood for both singer and +listener by means of his introduction. The introduction to a song is not +merely to give the singer the pitch. It is for the purpose of creating +the mood. It may be reminiscent of the principal theme of the song, it +may consist of some fragment of the accompaniment, or any other +materials which will tend to create the desired mood. + +In the introduction to _Rhein-gold_ where Wagner wishes to portray a +certain elemental condition he uses 136 measures of the chord of E flat +major. + +In _Feldeinsamkeit_ (The Quiet of the Fields) where the mood is such as +would come to one lying in the deep grass in the field watching "the +fair white clouds ride slowly overhead," in a state of complete +inaction, Brahms establishes the mood by this treatment of the major +chord. + +[Illustration: Figure K] + +In _Der Wanderer_ (The Wanderer) Schubert uses this musical figure to +indicate the ceaseless motion of one condemned to endless wandering. + +[Illustration: Figure L] + +In _The Maid of the Mill_ cycle where the young miller discovers the +brook Schubert uses this figure, which gives a clear picture of a +chattering brooklet. This figure continues throughout the song. + +[Illustration: Figure M] + +In the song _On the Journey Home_, which describes the feelings of one +who, after a long absence returns to view the "vales and mountains" of +his youth, Grieg, with two measures of introduction grips us with a mood +from which we cannot escape. + +[Illustration: Figure N] + +But one of the most striking examples of the operation of genius is +Schubert's introduction to _Am Meer_ (By the Sea). Here with two chords +he tells us the story of the lonely seashore, the deserted hut, the +tears, the dull sound of breakers dying on a distant shore, and all +around the unfathomable mystery of the mighty deep. + +[Illustration: Figure O] + +Classic song literature is full of interesting examples of this kind. If +we learn how to study the works of these great ones of the earth we +shall see how unerring is the touch of genius, and some day we shall +awaken to see that these kings and prophets are our friends, and that +they possess the supreme virtue of constancy. + + + + +IX + +SCIENTIFIC VOICE PRODUCTION + + The immediate effect of the laryngoscope was to throw the whole + subject into almost hopeless confusion by the introduction of + all sorts of errors of observation, each claiming to be founded + on ocular proof, and believed in with corresponding obstinacy. + + Sir Morell Mackenzie. _Hygiene of the Vocal Organs_. + + +He who studies the voice in a physics laboratory naturally considers +himself a scientific man, and those teachers who make his discoveries +the basis of their teaching believe they are teaching the science of +voice production. The scientist says: "Have I not studied the voice in +action? I have seen, therefore I know." But the element of uncertainty +in what he has seen makes his knowledge little more than speculative. +But suppose he is sure of what he has seen. Of what importance is it? He +has seen a vocal organ in the act of producing tone under trying +conditions, for one under the conditions necessary to the use of the +laryngoscope is not at all likely to reach his own standard of tone +production. + +Scientists would have us believe that the action of the vocal mechanism +is the same in all voices. This claim must necessarily be made or there +would be no such thing as scientific production. But of all the vocal +vagaries advanced this has the least foundation in fact. + +Scientifically and artistically speaking there is no such thing at +present as perfect voice, and there will be no such thing until man +manifests a perfect mind. The best examples of voice production are not +altogether perfect, and most of them are still a considerable distance +from perfection. It is with these imperfect models that the scientific +man in dealing and on which he bases his deductions. + +Be it right or wrong singers do not all use the vocal mechanism in the +same way. I have in mind two well known contraltos one of whom carried +her chest register up to A, and even to B flat occasionally. The other +carried her middle register down to the bottom of the voice. Can the +tenor who carries his chest voice up to [Illustration: Figure P] be said +to use his voice in the same way as one who begins his head voice at +[Illustration: Figure Q]? + +In the examination of a hundred voices selected at random all manner of +different things would be observed. Perhaps this is responsible for the +great diversity of opinion among scientists, for it must be said that so +far there is little upon which they agree. Before absolute laws +governing any organ or instrument can be formulated the nature of the +instrument must be known. The scientists have never come anywhere near +an agreement as to what kind of an instrument man has in his throat. +They have not decided whether it is a stringed instrument, a brass, a +single or double reed, and these things are vital in establishing a +scientific basis of procedure. Not knowing what the instrument is, it is +not strange that we are not of one mind as to how it should be played +upon. + +If we are to know the science of voice production we must first know the +mechanism and action of the vocal organ. This instrument, perhaps an +inch and a half in length, produces tones covering a compass, in rare +instances, of three octaves. How does it do it? According to the books, +in a variety of ways. + +A majority of those voice teachers who believe in registers recognize +three adjustments, chest middle, and upper, or chest medium, and head, +but Dr. MacKenzie claims that in four hundred female voices which he +examined he found in most cases the chest mechanism was used throughout. +Mancini (1774) says there are instances in which there is but one +register used throughout. + +Garcia says there are three mechanisms--chest, falsetto, and head, and +makes them common to both sexes. + +Behnke divides the voice into five registers--lower and upper thick, +lower and upper thin, and small. + +Dr. Guilmette says that to hold that all of the tones of the voice +depend on one mechanism or register is an acknowledgment of ignorance of +vocal anatomy. He further declares that the vocal cords have nothing to +do with tone--that it is produced by vibration of the mucous membrane of +the trachea, larynx, pharynx, mouth; in fact, all of the mucous membrane +of the upper half of the body. + +When it comes to the falsetto voice, that scarehead to so many people +who have no idea what it is, but are morally sure it is wicked and +ungodly, the scientists give their imaginations carte blanche. Dr. +Mackenzie, who says there are but two mechanisms, the long and short +reed, says the falsetto is produced by the short reed. + +Lehfeldt and Muller hold that falsetto is produced by the vibrations of +the inner edges or mucous covering of the vocal cords, the body of the +cords being relaxed. + +Mr. Lunn feels sure that the true vocal cords are not involved in +falsetto, that voice being produced by the false vocal cords. + +Mantels says that in the falsetto voice the vocal cords do not produce +pitch, that the quality and mechanism are both that of the flute, that +the cords set the air in vibration and the different tones are made by +alterations in the length of the tube. + +Davidson Palmer says that the falsetto is the remnant of the boy's voice +which has deteriorated through lack of use, but which is the correct +mechanism to be used throughout the tenor voice. + +Mr. Chater argues along the same lines as Mr. Mantels except that he +makes the instrument belong to the clarinet or oboe class. Others +believe the vocal cords act as the lips do in playing a brass +instrument. + +But the action of the vocal cords is but the first part of the +unscientific controversy. What takes place above the vocal cords is +equally mystifying. The offices of the pharynx, the mouth, the nasal +cavities, the entire structure of the head in fact, are rich in +uncertainties. + +Some think the cavities of the pharynx and head are involved +acoustically and in some way enlarge, refine and purify the tone, but +one famous man says the head has nothing whatever to do with it. Another +gentleman of international reputation says the nose is the most +important factor in singing. If your nasal cavities are right you can +sing, otherwise you cannot. + +And so this verbal rambling continues; so the search for mind in matter +goes on, with a seriousness scarcely equalled in any other line of +strife. There is nothing more certain to permanently bewilder a vocal +student than to deluge him with pseudo-scientific twaddle about the +voice. And this for the simple reason that he comes to learn to sing, +not for a course in anatomy. + +What is scientific voice production? Books without number have been +written with the openly expressed intention to give a clear exposition +of the subject, but the seeker for a scientific method soon finds +himself in a maze of conflicting human opinions from which he cannot +extricate himself. + +We are told with much unction and warmth that science means to know. +That it is a knowledge of principles or causes, ascertained truths or +facts. A scientific voice teacher then must know something. What must he +know? Books on scientific voice production usually begin with a picture +of the larynx, each part of which is labeled with a Greek word sometimes +longer than the thing itself. It then proceeds to tell the unction of +each muscle and cartilage and the part it plays in tone production. Now +if this is scientific, and if science is exact knowledge, and this exact +knowledge is the basis of scientific voice teaching, then every one who +has a perfect knowledge of these facts about the voice, must in the +eternal and invariable nature of facts be a perfect voice teacher, and +every one of these perfect voice teachers must teach in exactly the same +way and produce exactly the same results. Does history support this +argument? Quite the reverse. + +There is a science of acoustics, and in this science one may learn all +about tones, vibrating bodies, vibrating strings, vibrating cavities, +simple, compound and complex vibrations. Will this knowledge make him a +scientific voice teacher? When he has learned all of this he has not yet +begun to prepare for voice teaching. There is no record of a great voice +teacher having been trained in a physics laboratory. + +It is possible to analyze a tone and learn how fundamental and upper +partials are combined and how these combinations affect quality. Does +this constitute scientific voice production? This knowledge may all be +gained from the various hand books on acoustics. Has any one the +hardihood to assert that such knowledge prepares one for the responsible +work of training voices? One may know all of this and still be as +ignorant of voice training as a Hottentot is of Calvinism. + +Further, who shall decide which particular combination of fundamental +and upper partials constitutes the perfect singing tone? If a tone is +produced and we say, there is the perfect tone, all it proves is that it +corresponds to our mental concept of tone. It satisfies our ear, which +is another term for our taste. + +Can a tone be disagreeable and still be scientifically produced? One +combination of fundamental and overtones is, strictly speaking, just as +scientific as another combination. The flute tone with its two overtones +is just as scientific as the string tone with its six or eight. A tone +is pleasant or disagreeable according as it corresponds to a mental +demand. Even the most hardened scientist would not call a tone which +offends his ear scientific. Therefore he must first produce, or have +produced the tone that satisfies his ear. The question then naturally +arises--when he has secured the tone that satisfies his ear of what +value beyond satisfying his curiosity is a physical analysis? A tone is +something to hear, and when it satisfies the ear that knows, that in +itself is unmistakable evidence that it is rightly produced. + +If this scientific knowledge of tone is necessary then every great +artist in the world is unscientific, because not one of them makes any +use whatsoever of such knowledge in his singing. + +No. All of the scientific knowledge one may acquire is no guaranty of +success as a teacher, but is rather in the nature of a hindrance, +because it is likely to lead him into mechanical ways of doing things. +Further, the possession of such knowledge is no indication that one will +use it in his teaching. How much of such knowledge can one use in +teaching? How can he tell, save from the tone itself whether the pupil +is producing it scientifically? It is a well established fact that the +more the teacher tries to use his scientific information in teaching the +less of an artist he becomes. + +Could it be possible that a beautiful tone could be produced contrary to +the laws of science? It would be an extraordinary mind that would argue +in the affirmative. + +=The most beautiful tone is the most perfectly produced, whether the +singer knows anything of vocal mechanism or not.= In such a tone there +is no consciousness of mechanics or scientific laws. The vocal mechanism +is responding automatically to the highest law in the universe--the law +of beauty. The most scientific thing possible is a beautiful idea +perfectly expressed, because a thing inherently beautiful is eternally +true, hence it is pure science. + +Every tone of the human voice is the expression of life, of an idea, a +feeling, an emotion, and unless interfered with the vocal mechanism +responds automatically. + +He who by experiment or reading has learned the action of the vocal +mechanism, and attempts to make his pupil control every part of it by +direct effort may imagine that he is teaching scientific voice +production, but he is not, he is only doing a mechanical thing in a +clumsy way. + +Is it a scientific act to tell a pupil to hold his tongue down, as one +writer argued recently? Is a teacher calling into action the eternal +laws of science when he tells his pupil to drive the tone through the +head, hoist the soft palate, groove the tongue, and make the diaphragm +rigid? No. He is simply doing a mechanical thing badly for want of a +better way. It is no more scientific than kicking the cat out of the way +if she gets under your feet. + +Any one who has learned the elements of psychology or philosophy knows +that everything exists first as idea. The real universe is the one that +exists in the mind of the creator. The real man is the part of him that +thinks. To hold that the body thinks or acts is equivalent to saying +that Gray's "Elegy" was in the pen with which the poet wrote. + +To a natural scientist the only real thing is what he can see, therefore +he bases his faith on what he conceives to be matter; but if we study +the great ones--Oswald, Huxley, Grant, Allen, and the like, we find that +they have long ago reached the conclusion that there is no such thing as +matter. According to Schopenhauer the world is idea, and this so called +material environment is thought objectifying itself. + +Vocal teachers, like the members of other professions, are not +altogether immune to an attack of intellect, and at such times the +thought that they are doing something scientific is particularly +agreeable. + +The only study of science that can benefit any one is the study of +causation, and causation cannot be cognized by the physical senses. We +never see, hear, feel, taste, or smell cause. What we see or hear is +effect. Causation is mental. Natural science is dealing with phenomena, +with effect not cause. A regular recurrence of phenomena may establish a +so called natural law, but the law is that which caused the phenomena, +"Law is force" says Hegel, and it is therefore mental. We are told that +the law of the earth is its path around the sun. This is not true, the +law of the earth is the mind which makes it revolve around the sun. If +we would learn the nature, activity, and cause of anything we must look +for it in _mind_ not in matter. For this reason the process of voice +production is _psychologic_ not physiologic. When a pupil sings, what we +hear is _effect_ not cause. If he is doing all manner of unnecessary +things with his lips, tongue, larynx, etc. what we see is effect and the +cause is in wrong _mental_ concepts. The thing which caused the tone is +_mental_, the force which produced it is _mental_, and the means by +which we know whether it is good, or bad is _mental_. + +Of this we may be sure, that the tone the pupil sings will not be better +than the one he has in mind. _A tone exists first as a mental concept, +and the quality of the mental concept determines the quality of the +tone._ + +If there be such a thing as scientific voice production it will be found +in the sense of what is inherently beautiful, and the scientific tone is +one which will perfectly express a right idea or emotion, and in the +nature of things there is an appropriate tone for everything that may be +legitimately expressed, for they are correlated ideas. + +Whence originated this so called scientific voice teaching? That the old +Italian knew nothing of it is well understood. They considered the +process artistic rather than scientific. _How does it sound_, was their +slogan. The thing uppermost in their minds was beautiful tone, and they +were wise enough to know that when one has a definite concept of the +pure singing tone he has a more valuable asset than all the mechanical +knowledge he can acquire. They had but one end in view, namely, a +finished artist, and everything they did was made to contribute to it. +The artist always has in mind the _finished product_. The scientist +tries to find out _how it is done_. The artist begins with the idea and +works forward to its complete expression. The scientist begins with the +physical mechanism and works backward toward the idea. + +What is responsible for the change from the methods of the the +seventeenth and eighteenth centuries? It is safe to say that it did not +come through the voice teachers. + +In the early part of the nineteenth century an interesting thing +happened. How it happened or why it happened at that particular time is +not known nor does it matter. The human mind became all at once +aggressively inquisitive. The desire to get at the ultimate of +everything took possession of humanity and still holds it. The result +was an era of scientific analysis and invention, the aim of which was to +control the forces of nature. Previous to that time methods of living, +production, transportation, agriculture, etc. were little different from +that of biblical times. People and nations lived much to themselves. +They looked within for their inspiration and developed their own +national characteristics. But with the invention of the steamship, +railway, and telegraph a change came. These improved methods of +transportation and communication brought all of the mentalities of the +world together, and soon all habitable parts of the globe were in daily +and hourly contact. The result was a mental fermentation which increased +the complexity of civilization immeasurably and the present exaggerated +and unnatural condition of society is the outgrowth. + +Between 1809 and 1813 were born Mendelssohn, Chopin, Schumann, Liszt, +and Wagner. These men are known as the founders of the modern romantic +school of music. They grew up with the new civilization and could not do +otherwise than reflect its complexity in their music. That the new +civilization was responsible for the new art there is no doubt whatever. +All old types have passed away. All branches of art have suffered +radical changes in conforming to new ideals. + +Since the wave of scientific investigation started around the world +nothing has been able to escape it. The hand of the scientist has been +upon everything, and to him rather than to the voice teachers must be +given the credit for originating scientific voice teaching. + +When the scientists began publishing the results of their investigations +voice teachers at once became interested. The plan looked promising. It +offered them a method shorn of uncertainties. A method that brought +everything under the operation of physical laws; a method that dealt +only with finalities, and would operate in spite of a lack of musical +intelligence on the part of the student, and at the same time enable +them to lay to their souls the flattering unction of science. True it +ignored altogether the psychology of the matter. It said "do it this way +and a beautiful tone will come whether you are thinking it or not, +because scientific laws eternally operating in the same way eternally +produce the same results." + +The scientific method gave voice teachers an opportunity to work with +something tangible, something they could see; whereas the development of +tone concept, the artistic instinct, musical feeling, and musicianship +had to do with things which to most of them were intangible and elusive. +No one doubts the honesty of the teachers who became obsessed with the +scientific idea. To them it meant increased efficiency and accuracy, +quicker results with less effort, and so they broke with the old +Italians, the basis of whose teaching was beautiful tone and beautiful +singing. In spite of the honesty of purpose of all those who followed +the new way, the results were calamitous. The art of singing received a +serious setback. Voices without number were ruined. From the middle to +the end of the nineteenth century the scientific idea was rampant, and +during that period it is probable that the worst voice teaching in the +history of the world was done. Large numbers of people with neither +musicianship nor musical instincts acquired a smattering of anatomy and +a few mechanical rules and advertised themselves as teachers of +scientific voice production. The great body of vocal students, anxious +to learn to sing in the shortest possible time, having no way of telling +the genuine from the spurious except by trying it, fell an easy prey, +and the amount of vocal damage and disaster visited upon singers in the +name of science is beyond calculation. + +Fortunately the reaction has begun. Slowly but surely we are returning +to a saner condition of mind. Every year adds to the number of those who +recognize singing as an art, whose vision is clear enough to see that +the work of the scientific investigator should be confined to the +laboratory and that it has no place in the studio. We are beginning to +see that the basic principle of singing is _freedom in the expression of +the beautiful_, and that the less there is of the mechanical in the +process the better. + + + + +BIBLIOGRAPHY + + +The Italian School of Florid Song. Pier Franceso Tosi. London, 1743. + +Practical Reflections on the Figurative Art of Singing. Mancini +(1716-1800) English Edition. Boston, 1912. + +The Psychology of Singing. David Taylor. New York, 1908. + +The Philosophy of Singing. Clara Kathleen Rogers. New York, 1898. + +My Voice and I. Clara Kathleen Rogers. Chicago, 1910. + +The Rightly Produced Voice. Davidson Palmer. London, 1897. + +Expression in Singing. H. S. Kirkland. Boston, 1916. + +The Art of the Singer. W. J. Henderson. New York, 1906. + +English Diction for Singers and Speakers. Louis Arthur Russell. Boston, +1905. + +Resonance in Speaking and Singing. Thomas Fillebrown. Boston, 1911. + +Hints of Singing. Garcia. London, 1894. + +The Singing of the Future. D. Ffrangcon-Davies. London, 1908. + +Voice, Song, and Speech. Brown and Behnke. London, 1884. + +Voice Building and Tone Placing. H. Holbrook Curtis, M. D. New York, +1896. + +Vocal Physiology. Alex. Guilmette, M. D. Boston, 1878. + +The Philosophy of Art. Edward Howard Griggs. New York, 1913. + +Ancient Art and Ritual. Jane Ellen Harrison. New York, 1913. + +The Musical Amateur. Robert Schauffler. New York, 1913. + +Art for Art's Sake. John C. Van Dyke. New York, 1914. + +What is Art. Count Leo Tolstoi. New York. + +The Life of Reason. George Santayana. New York, 1913. + +The Creative Imagination. Ribot. Chicago, 1906. + +Esthetics. Kate Gordon. New York, 1913. + +The New Laocoon. Irving Babbit. Boston, 1910. + +A New Esthetic. Ferrucio Busoni. New York, 1911. + +The Scientific Use of the Imagination. Fragments of Science. John +Tyndall. London. + +The Philosophy of Style. Herbert Spencer. + +The Evolution of the Art of Music. Hubert Parry. New York, 1908. + +Studies in Modern Music. W. H. Hadow. London, 1904. + +Appreciation of Art. Blanche Loveridge. Granville, O., 1912. + +Music and Nationalism. Cecil Forsyth. London, 1911. + +The Sensations of Tone. H. L. F. Helmholtz. London, 1885. + + + +***END OF THE PROJECT GUTENBERG EBOOK THE HEAD VOICE AND OTHER PROBLEMS*** + + +******* This file should be named 19493.txt or 19493.zip ******* + + +This and all associated files of various formats will be found in: +https://www.gutenberg.org/dirs/1/9/4/9/19493 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. 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