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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/7804-8.txt b/7804-8.txt new file mode 100644 index 0000000..333f6ad --- /dev/null +++ b/7804-8.txt @@ -0,0 +1,1428 @@ +Project Gutenberg's Expressive Voice Culture, by Jessie Eldridge Southwick + +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: Expressive Voice Culture + Including the Emerson System + +Author: Jessie Eldridge Southwick + + +Release Date: April, 2005 [EBook #7804] +This file was first posted on May 18, 2003 +Last Updated: May 6, 2013 + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK EXPRESSIVE VOICE CULTURE *** + + + + +Produced by Charles Aldarondo, Tiffany Vergon, S.R. Ellison +and the Online Distributed Proofreading Team + + + + + + + + +EXPRESSIVE VOICE CULTURE + + INCLUDING + +THE EMERSON SYSTEM + + +By Jessie Eldridge Southwick + +Teacher of Voice Culture in the Emerson College of Oratory. + + + + +PREFACE + +The Emerson System treats the voice as a natural reporter of the +individual, constantly emphasizing the tendency of the voice to express +appropriately any mental concept or state of feeling. + +This treatise is a setting forth of methods and principles based upon this +idea with a fuller elaboration of the relation of technique to expression. +No attempt is here made, however, to present more than an individual +contribution to this broad subject. + +J. E. S. + + + + +EXPRESSIVE VOICE CULTURE + + + + +CHAPTER I + +Principles of Voice Culture. + + +The first essential to one beginning the study of voice culture is an +appreciation of the real significance of voice development. We must +recognize at once the fact that the voice is a natural reporter of the +conditions, emotions, thoughts, and purposes (character and states or +conditions) of the individual. The ring of true culture in the voice is +that perfect modulation of tone and movement which, without +self-consciousness, communicates exactly the meaning and purpose which +impel the utterances of the speaker. + +It is almost impossible for any person to cultivate vocal expression to +the best advantage without an intelligent and sympathetic teacher; he +lacks the perspective upon himself which is necessary in order to correct +his individual faults and draw out his most effective powers. Then, again, +he needs that personal supervision and direction of his efforts which will +allow his mind to be constantly occupied with thoughts and principles, and +relieve him of all temptation to watch his own performances as such. But +it is necessary that the student should have a simple and logical basis +for practice, however great may become the variety of its application. + +That the voice is naturally expressive is shown in the fact that even +where there is no possible suggestion of cultivation we instinctively read +the broad outlines of meaning and feeling in the tones and inflections of +the voice. May it not therefore be possible that a finer culture will +reveal all the subtle shades of thought and feeling, and a more +discriminating judgment be able to detect these, just as the ethnologist +will reconstruct from some crude relic the history of an earlier +civilization? + +We must remember, too, that first of all the voice is a vital instrument. +The physical condition affects most noticeably the quality, strength, and +movement of the voice. Hence we see that physical health is essential to a +good voice, and the proper use of the voice is itself one of the most +invigorating exercises that can be practised. All the vital organs are +called into healthful action through this extraordinary manipulation of +the breath, and the nervous system, both vitally and emotionally, receives +invigoration. + +In the beginning, therefore, such vital conditions as are essential to the +production of tone should be considered. + +First, a standing position, in which the vital organs are well sustained, +is essential. One cannot even breathe properly unless one stands well. The +weight should be mainly upon the balls of the feet, and the crown of the +head so positively elevated as to secure the erectness of the spinal +column. This will involve the proper elevation of the chest, the essential +freedom of respiration, and the right sustaining tension of the abdominal +muscles. + +(_a_) Take standing position as follows: weight on balls of feet, +heels together, toes slightly apart; line of gravity from crown of head, +well lifted, to balls of feet; the ear, point of shoulder, and point of +hip should be in line; muscles of the thigh strong in front; ribs well +lifted so that front line from waist to throat is lengthened to full +extent; back kept erect, and curve at waist not emphasized. Breathe +strongly and deeply several times. + +To secure the elevation of the ribs the hands may be placed under the +arms, as high as possible, fingers pointing down; then try to turn or +press the ribs up and forward with strong action of hands, breathing +freely and emphasizing strength in waist muscles. _Sustain_ the ribs +in this elevated position, and thus uplift the chest. Keep shoulders free. +Drop hands to sides again. + +(_b_) Take half a step forward; sustain weight on advanced foot; do +not change position of retired foot, but keep the sense of purchase in it. +The chest should be carried forward of the abdomen and the abdominal +muscles given their best leverage by a slight bending forward from the +hips. (Bending forward must not be done by any dropping of the chest, or +shortening of the line at waist through relaxation.) This position must be +light, active, buoyant, and reposeful. + +A constant sense of easy balance should be developed through poising +exercises. + +The habit of healthful and powerful respiration should be established by +physical exercise for that purpose, and the right manipulation of breath +in tone production should be secured by the nature of the voice exercises. +Any vocal exercise which involves in the very nature of its production a +good control of breath becomes, by virtue of that fact, a good breathing +exercise as well. + +[Footnote: See exercises described in a later chapter.] + +If the voice be perfectly free, it is then capable of expressing truly all +that the person thinks and feels. The first desirable end sought, then, is +freedom. What is freedom, and how secured? When all cavities of resonance +are accessible to the vibrating column of air the voice may be said to be +free. By cavities of resonance is meant the chest (trachea and bronchial +tubes), the larynx, pharynx, the mouth, and the nares anterior and +posterior, or head chambers of resonance. The free tone is modified +through all its varieties of expression by those subtle changes in form, +intensity, movement, inflection, and also direction, which are too fine +for the judgment to determine, or even observe successfully. These +varieties are made possible by the very organism of the voice, which is +vital, not mechanical, and are determined by the influences working from +the mind through the nerves which control this wonderful living +instrument. This is governed by the law of reflex action, by which +stimulation of any nerve center produces responsive action in other parts +of the body. The voice will obey the mind. Right objects of thought will +influence it much more perfectly and rapidly than the mere arbitrary +dictates of calculation. + +Right psychology would be the only thing necessary to the thorough +cultivation of the voice if the conditions were so perfect that there were +no habits of stricture and our instrument were thus in perfect tune. And +in spite of the fact that it is not usually found in perfect tune, the +influence of practice under right mental conditions is the most potent and +indispensable part of voice culture. Let this fact not be lost sight of +while we are discussing those more technical methods of training which are +designed to tune and regulate our instrument. + +First, freedom of voice is attained (technically speaking) by right +direction of tone and vital support. A few words of explanation will make +this patent. + +If the vibrating column of air when it leaves the vocal cords is so +directed that it passes freely through all the cavities of resonance, it +cannot fail to find the right one. The following exercise, if properly +taken, will induce right direction of tone: produce a light humming sound +such as would be the sound of _m, n,_ or _ng_, if so idealized +as to eliminate that element of sound commonly spoken of as nasality. That +which is called nasality is caused by the failure of the tone to reach +freely the anterior cavities of the nares. The cavity which lies just back +of the nose and frontal bone imparts a musical resonance resembling the +vibrating after-tone when a note has been struck upon a piano and allowed +to die away gradually. The "nasal" effect comes when the tone is confined +in the posterior or back part of the nares, or head cavity, or is split by +the dropping of the uvula so that part of the tone is directed through the +nares and part through the mouth. Many so-called "humming tones" are given +for practice, but in accepting them observe whether the foregoing +principle is obeyed. + +The controlling center of consciousness is the extreme limit of the +_nares anteri_. The tone should be thought of as outside. Keep the +mind upon results, just as one would hold the thought of a certain figure +which one might desire to draw. If one wishes to inscribe a curve, he +thinks of the curve as an object of thought, not of the muscles which act +in executing it. So with the voice. A tone is not a reality until its form +of vibration reaches the outer air. One should always think of the tone +one wishes to make--never listen to one's own execution. If the ideal is +not reached by the effort it will be known by the sense of incompleteness. + +Why is the _nares anteri_ the ruling center of tone direction? The +dominant or ruling center of any organism is that point which, if +controlled, will involve the regulation of all that is subordinate to it. +For example, the heart is the dominant center of the circulatory system; +the brain is the dominant center of the nervous system; the sun is the +dominant center of the planetary system. In all these systems, if the +center be affected, the system is proportionately influenced. If any other +part than the dominant center be affected, it is true that all other parts +may also be affected, but the desired unity in result will not be secured. + +The voice will follow the thought as surely as the hand will reach the +object aimed at. The extreme anterior part of the nares, or head cavity, +is the chamber of resonance farthest from the vocal cords. Therefore, if +the voice be directed through that chamber of resonance all the others +must be passed in reaching it, and hence all must be accessible to the +vibrating column of air. It is a law of acoustics that any given cavity of +resonance will resound to that pitch to which its size corresponds, and to +no other. This law of sound secures the appropriate resonance for every +pitch much more accurately than it could be secured by an effort to +develop chest, middle, and head registers through calculating the +differences. Again, we need the higher chambers of resonance to reinforce +even the low pitch, because every note has its overtones that enrich it, +and if these cannot find their proper resonance the tone is impoverished. +It may be well to explain our use of the term "overtone." + +This word "overtone" is used unscientifically by many. The significance of +its use is somewhat varied among teachers, but it generally means head +resonance, or a tone "sent over" through the head cavities. The term is +used here technically, not arbitrarily. Overtones are not confined to the +voice, but are those constituent parts of any tone which are produced by +the vibrating segments into which any vibrating cord will divide itself. + +Any cord, or string, stretched between two given points, when struck will +vibrate throughout its entire length in waves of a certain length and with +a certain degree of rapidity, according to the tension of the string. This +vibration of the entire length of cord gives forth the tone heard as the +fundamental pitch or tone. Besides this fundamental or primary vibration, +the movement divides itself into segments, or sections, of the entire +length. These sections also have vibrations of their own which are of +shorter length and more rapid motion. The note given off by these +subdivisions is, of course, on a higher pitch than that produced by the +fundamental vibration of the cord; hence, they are higher tones, or +overtones. It will be remembered that pitch depends upon the rapidity of +the sound waves or vibrations. This subdivision of the vibrations is +incalculably multiplied, so that it may be said to be impossible to +determine the number of overtones accompanying the fundamental tone. What +the ear hears is the fundamental pitch only; the overtones harmonize with +the primary or fundamental tone, and enrich it. Since this is a law of +vibration, it is unscientific to speak of giving an overtone, for all +tones contain overtones. Where these overtones are interfered with by any +imperfection in the instrument the result is a harsh or imperfect sound. + +In relation to the voice it should now be clearly understood that since it +is the overtones which enrich or give a harmonious sound to any tone, and +since all tones (low as well as high) have overtones as constituent parts +of their being, therefore the whole range of the resonant cavities of the +voice should, for the production of pure tone, be open to all degrees of +pitch, in order that the overtones may find their appropriate +reinforcement in the resonance chambers. Thus the quality of the voice +depends, not simply upon the condition of the vocal cords themselves, but +upon the form and quality of the resounding cavities. + + + + +CHAPTER II + +Elementary Lessons. + + +After this brief discussion of the principles involved in this method of +practice, we will proceed to give some essential exercises for practice. + + +EXERCISE FOR SECURING FREEDOM OF TONE + +This is the foundation of all voice culture. + +1. Take position in accordance with directions given in Chapter I. + +2. Take humming tone as indicated in the preceding chapter,--_m, n, +ng,_--idealized and pure. The mouth should be opened and closed without +changing the tone. + +3. Endeavor to concentrate all consciousness upon the conception of a tone +emanating from the _nares anteri_ and floating in ideal forms of +vibration in the surrounding air. Those forms may vary in their definite +nature, but must always obey the principle of curves and radiation. One +should never reach up to a tone, but should seem to alight upon it from +above, as a bird alights on the branch of a tree. The mind must never lose +sight of the result--the ideal aimed at. The knowledge of processes leads +us to a right conception of aims, and enables us to judge of their +correctness. We should know what processes are normal (natural and +healthful) and what objects of thought will induce them. + +While taking the above exercise no effort should be made in the throat. +The voice should seem to find its way without effort. The tone should not +be loud or sharp. + +If the student finds it difficult to produce the tone alone, some word +ending in _ing_ should be practised, as _ring-ring-ring-ng_. + + +FORMING OF ELEMENTS + +_First Exercise_. Start the humming tone as indicated in the first +lesson, and maintain the same focus while forming certain elements. Take +the syllable _n-ö-m_, allowing no break while going from _n_, the nares +sound, to the vowel sound of _o_, and returning to the nares sound of +_m_. This is perhaps the best element to begin upon, because of its +definiteness, but the same principle can be applied to other elements +of speech, as _Most-men-want-poise-and-more-royal-margin_. Form each +syllable with the utmost care. Concentrate the mind upon the ideal sound. +First be sure that the pronunciation is accurately conceived. Then +enunciate clearly and try each time to make the form more perfect. The +principle of thinking is the same as that involved in striving to make a +perfect circle, or to execute any figure with more and more beauty. The +effort of the mind will bring the result, if the conception of the element +to be formed be correct. The sentence given--"_Most men want poise, and +more royal margin"_--is composed of such alternation of elements as will +tend to bring forward those that might be formed too far back by their +association with those elements that are necessarily brought to the front. +For example, the word_poise._ The first and last elements are +distinctively front. That helps to bring out what is between. + +The constant recurrence of the nares tone, as in _m, n,_ etc., may +serve as a regulator of tone. The object of this step in practice is to +form elements with beauty, and to form them with the same focus as that +secured by the humming tone. In this stage of practice each element should +be dwelt upon separately, but not in such a way as to mar its expression. +For example, unaccented syllables should be lightly pronounced and the +right shading carefully observed. Otherwise, when the elements are put +together their harmony and smoothness will be wanting and the effect +labored and mechanical, as is often the case where attention has been +given to the practice of articulation. To make the effort of articulation +a vital impulse in response to a mental concept,--this is the object +sought. The principle is that the will should be directed toward the ideal +to be reached, while the mind comprehends the means incidentally. The +means may be considered as a matter of knowledge, useful in guiding the +judgment but a hindrance when used as a trap to catch the conscious +attention of the practising student. + +The whole difference between the artist who is spontaneous and the artisan +who is artificial is that the one recognizes the fact that the very +existence of human expression proves that the mind awakens the instinctive +response of the physical organism, while the other thinks that he can +calculate that infinite harmony which makes unity of action, without +reverting to the first cause of expression--the thought that created it. +To reproduce the impulse born of the thought--this is the aim of a +psychological method. This is secured only by right objects of thought; it +is impossible to reach it by voluntary mechanics. + + +SMOOTHNESS AND HARMONY OF UTTERANCE + +Having obtained the results sought in our last division, we should learn +to manipulate the elements of speech fluently without breaking their +relation to (harmony with) the primary focus, or direction of tone. + +Practise the same sentence, "_Most men_" etc., striving to make every +tone and the form of every element perfect, without dwelling upon them +separately; practise this (as also the preceding exercises) upon various +degrees of pitch in the musical scale, generally beginning on a "medium +high" pitch, then lower, and afterwards higher. Strive to speak or sing +fluently without breaking the quality of tone used. A break in quality +signifies loss of focus. + +The object of this practise is to attain facility in manipulating the +elements while maintaining the smooth quality of the tone. After this +sentence other sentences may be used in reference to the same idea. The +primary exercise given should always be reverted to as a working center, +in order to secure, through repetition, a deepening of the tendency +involved. Variety is admissible only in addition to the original exercise, +but should not be substituted for it. + + +FOR THE DEVELOPMENT OF MUSICAL EXPRESSIVENESS OF TONES + +This opens the way to expression in tone,--dramatic expression,--but the +technical preparation for expressive responsiveness in the voice is the +development of its musical possibilities, for all artistic expression in +tones is musical whether the person be a singer or a speaker. Inflections +are variations in pitch, and are "the tune of the thought." + +_Exercise_. Practise the syllables _mä, zä, skä, ä._ The sound +of the Italian _a,_ as in ah, gives the freest position of the organs +for the production of tone, and perhaps the most difficult form in which +to direct a tone with certainty. It is combined with these consonant +elements in order to invite it forward and bring it to a point +(figuratively speaking). The _m_ relates it to the nares or humming +tone (which is the basis of all resonance in the voice). The _z_ +sharpens the consciousness at the front, and the _sk_ furnishes a +good start for a positive stroke in the voice, while the _a_ alone +leaves us to venture upon the free tone unassisted by these guides to +direction. The exercise should be practised with such musical variations +as the student can learn to execute--the scale, arpeggios, etc., both +sustained tone and light touches, broad tones and shaded tones. Other +vowels may also be practised thus. + +The practice of rhythm, or the practice of rhythmical accent, should be +introduced, as the sense of rhythm is an important element in the +development of expressiveness. + +The object now is to secure sensibility and responsiveness in the voice. +This opens the possibilities of vocal expression. When we speak of the +_nares anteri_ (or front head resonant cavity) as the dominant center +of physical consciousness nothing mechanical is meant. One is conscious +that the eye is fixed upon an object, but not therefore conscious of the +action of the muscles used in turning it upon the object. One thinks not +of the eye, but through the eye toward the object. + +Finally, technique has as its object the training of the instrument to +freedom and responsiveness; but the true art of vocal expression begins +when the instrument is used in obedience to such objects of thought as +should cause its strings to vibrate loudly or softly, all together or in +partial harmony, in obedience to that vital impulse which the instrument +itself was created to obey. + + + + +CHAPTER III + +The Higher Development of the Voice by the Application of First +Principles. + + +There are four general forms of emphasis which serve as indications of the +characteristics of expression. They are Force, Pitch, Volume, and Time. +Force corresponds to life, or vitality, in the voice. Pitch corresponds to +the range of the voice, and expresses affection or attraction. Volume +measures the activity of the will through the voice, and Time, the +expression of which depends principally upon movement, or rhythm, +corresponds to the intellectual activities. + +It will be understood that these forms of expression, or emphasis, are +developed, according to the practice in the "Evolution of Expression," by +means of purely mental discipline. It is nevertheless possible to +reinforce these powers of the voice by technical practice with special +reference to this development. In taking up this branch of the work the +student is supposed to have fulfilled the requirements of the elementary +voice practice, which, it will be remembered, includes the establishment +of freedom by means of right direction of tone, the perfecting of the +elements in polished articulation, the facile handling of the voice in +combining various elements, and a certain degree of responsiveness in the +practice of various musical qualities. + + +FORCE + +For the development of increased vital power in the voice the student +should practise the nares exercise and also the elements of speech in a +sustained and even manner, continuing tones as long as it is possible to +keep control of them. The effect of this is to establish _strength and +steadiness_ in the action of the muscles that control the voice, and +increase of breathing-power in response to the requirements involved in +the exercise. The tone must be kept pure and free, and practised with +varying degrees of force, with the idea of steady projection and +determined control. The ability to sustain the tone for a long time will +increase, and with it the power of the muscles exercised. + +The idea of projecting tone is based upon the feeling of sympathy with +those at a distance, and not simply upon the desire to make them hear. +Short passages of a vital and animated nature should be practised with +varying degrees of radiation, so that the consciousness of the student may +adapt itself to the idea of including in his sympathies a larger or +smaller number of people. The thought of sympathy with, or nearness to, +those addressed is a most important principle in the development of this +power. It is never the best way to strive to speak loud in order that one +may be heard. Such selections as Lanier's "Life and Song," Wordsworth's +"The Daffodils," and Scott's "Lochinvar" will be found helpful studies for +radiation. It is useful in practising the humming tone, or the nares tone, +to imagine the whole atmosphere pervaded with pure resonance. Too much +emphasis cannot be placed upon the idea of perfect purity as the essential +foundation of power. The pure voice will grow to power. In taking this +exercise there should be no consciousness of effort in the throat, and no +shade of sharpness should be heard in the tone. One must try for the pure, +pervasive resonance which seems to float on the air like the soft note of +a violin. The right condition for the expression of this radiant vitality +in the voice is a complete alertness and responsive vivacity of the whole +person. This animation should be vital and not nervous. + + +PITCH + +A voice, to express variety, must have sufficient compass to give +opportunity for a free play of inflection over various degrees of pitch. +It has been said, "Inflection is the tune of the thought." It is that +which makes it attractive. If one desires to emphasize a point of thought +and make it attractive to another person he instinctively increases his +emphasis by lengthening the slide or inflection. The high pitch indicates +mental activity; the medium pitch is the normal or heart range; the low +pitch is more peculiarly vital. If one would express varieties of thought +with brilliancy and effectiveness, the range of his voice must be wide, +and the evenness of quality so perfect that he can glide from one extreme +of pitch to another without any break in the tone. Facility in thus +handling the voice may be developed by means of special attention directed +to this characteristic. The practice for securing this adaptability in the +modulations of pitch is as follows. + +Begin with the nares or humming tone, giving it on as many different notes +of the scale as can be easily reached. Practise the scale gliding from one +note to another while maintaining the pure tone. Practise gliding in the +form of inflection, or slide, from one extreme of pitch to another. This +may be given with variations, according to the ability of the student to +control his voice with evenness and to maintain that pure smoothness of +gradation in quality which permits no break or interruption in gliding +from one pitch to another. These varieties of practice in slides and +scales should be introduced with the practice of various elements of +speech, as well as with the humming tone. The different vowels should be +so used. Selections for practice should be chosen which contain much +variety of thought and feeling and are smooth in movement. For instance, +Tennyson's "Song of the Brook," "The Bugle Song," practised with the +introduction of the bugle notes and their echoes, and various other +selections of a musical and attractive nature, may be adapted to this +practice by simply exaggerating the slides which one would naturally make +in bringing out the meaning. No extravagant or unwarrantable inflections +which will mar the expression of the thought should be permitted, but it +is quite desirable to gradually extend the range of the inflections, if +one still maintains in the practice that common sense which will leave the +expression in perfect symmetry when the extra effort made for inflection +shall have been withdrawn. Though it is sometimes desirable to exaggerate +one element, even to the sacrifice of others, it is never necessary to +introduce false notes, the effect of which may remain as a limitation upon +the expression of the selection used. + + +VOLUME + +Other things being equal, the volume of voice used measures the value that +the mind puts upon the thought. Of course the expression of this value is +modified and characterized by the nature of the thing spoken of. For +example, one would express the value of the ocean with a different quality +from that which would be used in expressing the value of something +exquisitely delicate. All elements of expression modify each other, so +that no mere rule can cover all cases. Volume is not always expressed in +the form of extension of power, but is frequently manifested in the form +of intensity or compressed volume. It is scarcely necessary to explain the +difference between the expression of mere vital power in the voice and +that manifestation of the will which gives the impression of directed +energy. The will determines, and the impetus of the thought is measured +by, the adjustment of volume. Vitality is expressed in radiation; will is +expressed in focus. + +The term "volume" may be broadly used to cover the characteristics of the +thing estimated, and hence to include something of that subtle expression +which we call color in the voice. Volume expresses will; color expresses +imagination. For this use of the voice in the special service of +will-power, or propelling force, it is necessary first to test its +freedom. This may be done by taking the humming tone and bringing to bear +upon it a strong pressure of energy. If the tone sharpens under the strain +it is not perfectly focused. If it remains mellow one may venture upon the +next step, which is to practise various vowel sounds and elements of +speech with concentrated energy. The sense of bearing on to the voice, or +endeavoring to push the tone by any pressure whatever, should be +absolutely avoided. Tone support should be carefully regarded. In order to +secure this a correct standing position must be held and the muscles about +the waist and the abdominal muscles must be firm and elastic. + +The chin is, in articulation, the pedal of power, and decision in the +conscious action of the chin (not the jaw) will induce by reflex action +that stroke which expresses well-aimed will-power. It may be noticed in +connection with this suggestion that when a person means what he says the +action of the chin is likely to be noticeably decided. + +The perfectly alert and self-commanding attitude of the body cannot be too +strongly urged at this point, for the voice cannot be used safely with +great power when the body itself is in a negative attitude; for it must be +remembered that the voice is a reporter, and if we attempt to force it to +report something that is not there it will repay us by casting the lie in +our throat. Power is the result of growth, and can be developed only by +patience and the securing of such conditions as will establish freedom and +certainty. The certainty of any tone depends upon the perfection of its +focus. Quality is the synthetic effect of these attributes in the voice. +Under this head selections of a warlike nature may be practised, and those +which have in them the thoughts of magnitude and importance. Spartacus's +"Address to the Gladiators" is excellent; also, Byron's "Apostrophe to the +Ocean," "The Rising in '76," and selections of a similar nature. + + +TIME + +_Including Poise and Rhythm_ + +The significance of time is determined by the movement of any selection, +or, in other words, the rhythm. It will be noticed that a selection may be +read with rhythmical effect and be made quite impressive without much +emphasis of other characteristics. However, the responsiveness of the +voice in variety of pitch, quality, and power is also a very large factor +in the illumination of the pause. The pause, as a mere interruption of +sound, has little significance, but the relations that the different +sounds bear to each other lend significance to the pause. A pause should +always suggest an orbit of thought. These characteristics of expression +can be made effective only by the practice of concentration in the mind +itself upon the thoughts to be suggested. Nevertheless, the quick +responsiveness of one's sensibilities in the expression of the various +qualities developed by the cultivation of the voice greatly facilitates +the manifestation of the thought itself. + +All selections of a high order have relation to rhythm in their +composition, and that style of movement in the composition should find its +ready response in the organism of the speaker or reciter. It should be +remembered that the sense of rhythm may be misapplied, as may any other +element, by allowing the mind to go off into the sensation of "jingle" +without reference to its expression of the thought or its relation to the +thought. But if the sense of rhythm is duly developed, and then this +sensibility, as well as all others, is surrendered to the service of the +thought, it furnishes an element of beauty which cannot easily be +dispensed with. The reason we associate rhythm with the significance of +time is that rhythm is a measurer of time. + +In connection with this step the practice of melodies is useful, if one +has musical taste. Simple, familiar melodies are best--such as "The Last +Rose of Summer," "Annie Laurie," "Flow Gently, Sweet Afton," etc., etc. +The importance of rhythm is well expressed by Emerson, who said that the +rhythm of Shakespeare's verse was always the outcome of the thought. + +The term "ellipse" has been sometimes used to express the implied action +of the mind during the pause--describing an orbit of thought implied but +not stated in the words. + +The illumination of the pause, or the responsiveness of the voice, in +exhibiting those modifications of quality which give significance, may be +greatly enhanced by the practice of such selections as express much beauty +of thought and variety of significance,--such as Shelley's "The +Cloud,"--things which are somewhat philosophical in their significance; by +selections which suggest much more than is definitely stated,--"Aux +Italiens," by Owen Meredith, "He and She," by Edwin Arnold, "Evelyn Hope," +by Robert Browning; also chapters from philosophy that is poetically +expressed, such as Emerson's "Essays." In practising these for the special +development of significance every effort should be made to realize the +thought quality in the voice, so that each word may seem to picture forth +the full truth that lies behind it, and that all shall move in such +harmony as to suggest the deeper meanings. The quality of expressiveness, +or clear response to thought in the voice, it will be observed, is secured +through the ready service of all its powers under the influence of the +mental concept. It is to be attained by the attitude of receptivity and +the effort to think through the voice. + +This form of expression in voice corresponds to the suggestive in art, and +when the student has attained the power of fulfilling its requirements his +work can be called artistic. One should never attempt to measure his +progress by listening to himself directly; but keeping the ideal in mind, +he may come to realize himself as harmonizing with that, and a sense of +freedom from limitation will at last crown his endeavors. + + + + +CHAPTER IV + +The Relation of Technique to Rendering. + + +It is certainly true that the highest use of the voice is the revelation +of the soul. The most important and effective means of cultivation lie in +the exercise of the voice under such mental conditions as shall invite the +expression of the highest thoughts, but the voice is in one sense an +instrument which is capable of being attuned. Right technical study and +practice adjust the instrument in proper relations with the natural laws +of its use, and establish, or deepen, the tendency to obey those laws. +Hence the mind finds a more ready response in the instrument, and one is +able to express with greater facility all that the soul desires to reveal. +It would seem of little consequence that a person should be able to use +the voice well simply as an ornamental accomplishment; for these agents of +expression, these powers of the material being, have a higher significance +than the mere exhibition of any qualities, however admirable. Such a +motive in studying expression would be a very shallow one, for what would +it signify in comparison with the great purposes of living? + +But so long as these instruments of ours do not serve us they are a +hindrance to the higher expression of our being and the accomplishment of +our highest mission to others. We do indeed desire to escape from the +material and transient into the world of eternal verities, but these +conditions are given us for a purpose. They have their use, and we cannot +escape from the imprisonment in which we find ourselves until we have +solved their meaning and conquered them for the service of the higher +mind. We therefore study, not for the attainment of particular feats, but +to secure the obedience of all our activities to the higher laws through +which they can fulfil the purpose for which they were created. + +This harmonizing of the forces having been once accomplished, little time +is required to keep in tune this harp of the soul; while the broader +culture and the higher realization of all meanings that can be expressed +are constantly sought in such discipline of the mind itself as shall +secure the activity of its highest powers. The whole aim is to secure the +development of character by the expression of the highest elements of +character. + +Although the voice, like all other agents of expression, is naturally the +reflector of the individual and his states, it is necessary to understand +what that statement implies in order to appreciate the great need for the +higher culture of the vocal organism. If the individual's condition were +attuned to perfect harmony, to perfect unity of action, and to singleness +of purpose, together with the habit of personal expression rather than +expression through some limited mode of action--if, indeed, this were so, +his voice would scarce need training,--certainly not corrective +training,--nor would he need "culture" of any kind, being already a +perfect human being. + +Those who postulate the "perfectly natural" voice, _i.e._, one that +is unconscious of its own art, either presuppose this condition of innate +perfection or assume that the simple wish to speak--and its exercise--will +be sufficient to overcome wrong habits and conditions. Will it? Let us +see. + +The culture of expression is a very different thing from the artful +imitation of the signs of feeling and purpose. If we are to have a real +education along lines of expression we must begin with the "content," or +cause, of expression. We may for the moment postpone discussion as to the +relative power of the sign to evoke the feeling, and the power of the +feeling or condition to evolve the most effective sign. There is something +to be said upon both sides; and, surely, the truth lies in the adoption of +all good means to produce the desired end. + +First, then, to the basis. All oratorical values are measured primarily +from the standpoint of the "what;" the "how" is important, too, but only +in its relation to the "what" and "wherefore." The voice of the orator +must be an influence--a sincere vibration of the motive within. +Theoretically it is so naturally, but practically it is so only when the +voice is free from bias and is responsive through habit or spontaneous +inspiration to the thought of the speaker. + +We will admit that genius sometimes is great enough to bring into +harmonious action all powers of the individual under its sway; but +education mainly strives to unfold the imperfect, to balance, the +ununified elements. Even genius, however, needs direction and adjustment +to secure the most perfect and reliable results. How, then, shall we +develop the motive, how enlarge the content? + +There is such a subtle relation between motive and action that it has been +said, "The effect of any action is measured by the depth of the motive +from which it proceeds." [Footnote: Ralph Waldo Emerson.] And so this is +why the clever performer cannot reproduce the effect of a speech of +Demosthenes or Daniel Webster. This is a reason aside from that arising +from the difference in the occasion. Great men and great artists +_make_ the occasion in the hearts of their hearers. The voice of the +orator peculiarly should be free from studied effects, and responsive to +motive. It is not the voice of entertainment, but of influence above all. +The orator should be taught self-mastery. The orator who is not moved by +high moral sense is a trickster or a hypocrite; the former juggles with +human susceptibility for unworthy or inadequate ends, and the latter poses +for motives he has not. So complex is human nature that this can be done +by a good actor so as to deceive the judgment and feelings; but the +influence will ultimately reveal the truth, if the auditor will use +intuition and not be taken off guard by the psychic influence of a strong +will bent on a given effect. + +The sincere endeavor to express a quality, with the aspiration to make it +real, has the tendency to focus the power of that quality and concentrate +the mind upon it. This, by repetition of effort, both increases the power +and facilitates its expression. One must come to think vividly in terms of +expression. In the instance before us it should be in terms of vocal +expression. Anything well expressed--unconsciously--is to real art what +innocence is to virtue, or what the spontaneous grace of a child is to +that grace as applied to forms definitely intended to communicate an ideal +to others. Self-consciousness must precede super-self-consciousness. + +Unconsciousness is childishness in art, and leads to vagueness of meaning, +to the perpetuation of personal idiosyncrasies; and while a larger +consciousness may be induced from the mind side, positive and overwhelming +inspiration will be needed to overcome habitual limitations. A musician +must love music itself, as well as its meanings, and a voice cannot be +made the best of by one who does not love its music. Self-consciousness +represents the stage of work and endeavor where faults are being overcome, +power enlarged, and new forms of activity mastered. This may be at first a +hindrance to spontaneity, and seem to hamper the imagination; but as +facility is acquired joy comes back, and the joy of conquest with the +adustment of means to ends is a stage of self-consciousness dangerous for +the egotist, but is inspiration and incitement to larger effort. This is a +stage where many artists remain--most of the time. But the super-conscious +stage is that state in which with perfected facility and power of +self-mastery the doing becomes lost in supreme realization; and right +action, now become habitual, is forgotten in the full consciousness of +oneness with the ideal. Then the voice--or the artist--embodies the ideal, +becomes the part for the time being, and is, as we say, inspired. + +We may forget what we are doing, but we must be able to know, or there +will be nothing worth while to forget! The danger of the mechanical +idea--the extreme technician's notion that the sign is enough--is that the +person may become an automaton and inhibit the power of real feeling in +himself; and though he may perform admirably and win the applause of some +critics who love form unduly, he fails in the great issue and wins only +superficial success or fails utterly, without seeing why. The real +experience has a magnetism of its own and will win above mere technicality +whenever it has the opportunity. + +Some believe that psychic response to the sign is desirable. This develops +merely sensitiveness, reflex action, and does not enlarge the power of +feeling nor encourage the motive and the real heart. The desirability of +emotional response quickly reaches its limit; and while it may be feeling, +it does not spring from an adequate cause, so has not the dignity and +sweep of absolute sincerity. We must have _motif_ first, then +technique to adapt and adjust expression and to develop facility in the +active agents. We want the Real, idealized by Art, and the Ideal, made +real and tangible by Art, the Revealer! + +The process we would follow, then, is, primarily, the training of the +imagination to conceive fuller and fuller ideals of music and meaning; +and, simultaneously, the exercise of such activities as shall increase the +capacity of vocal expression and the availability of the vocal powers. +Availability is of the utmost importance! Concentration is the prime +requisite in attaining rapid results. The student must concentrate +absolutely upon the various qualities sought, and must infuse intelligent +impulse into his every nerve and muscle! The vibrant voice of the spirit +cannot be evoked by half-hearted effort, lazy nerves and muscles, nor with +the drag of inattention. The student who does not intend to arouse himself +need hope for no keen sense of beauty. + +The voice is, first of all, a messenger of spirit, and illustrates this in +that quality which has given rise to the expression "borne on the wings of +song." Ultimately the whole body will be conceived to be a sensitive +vibrator responding with dramatic sympathy and returning vital radiance to +the tones. The rightly cultivated expressive voice is the man--speaking. + + + + +CHAPTER V + +Phases of Vocal Interpretation + + +ARTICULATION + +The quality of artistic beauty in articulation is very important, beyond +the mere accuracy which is ordinarily thought of. There are five general +heads under which the characteristics to be sought may be grouped. + +First, _Accuracy of Form_. This not with severity, but with +perfection coming from sensitive response of the articulating organs to +the form concept as held in the mind. One should avoid the practice of +exertion in the execution of articulated forms. + +Second, _Tone Quality_, secured by the right relation of the tone +form to the line of resonance, is very important and may be attained by +careful attention to musical beauty and a sense of harmony. This is the +right _placing_ of tones. + +Third, _Proportion_ must be carefully considered. Very often +unaccented syllables are made unduly prominent and unimportant words are +over-emphasized through lack of attention to this principle. The careful +appreciation of rhythm, or the _movement_ of syllables in +enunciation, gives a flowing, easy, well-proportioned clearness that is +indispensable to beauty. This should be practised in connection with the +interpretation of melodious, _flowing_ passages, which will furnish +opportunity for the appreciation of the relation between the accented and +unaccented syllables and the important and unimportant words. Such +material as Bryant's "Thanatopsis" is good. + +Fourth, _Phrasing_. The careful observation of the three foregoing +aspects of articulation leads at once to the fourth; namely, the +expressive value of words in direct relation to the interpretation itself. +This is closely connected with phrasing, and the phrase, which is the +larger "thought word," should be studied as the communicating link between +the articulation of the part and interpretation as it relates to +literature itself. In connection with this comes the consideration of +slides and the finer modulations of tone-color, movement, and cadence. But +the study of word values, in the light of the whole phrase to be +interpreted, will make each word a living thing in its influence--a winged +messenger of the thought. + +Fifth, _Slides_. The slide has already been referred to as the unit +of vocalization in speech as distinct from the province of song, the unit +of song being the scale of notes as sung in succession, but with distinct +individuality. Few who have not studied the matter carefully appreciate +the fact that the speaking voice suggestively covers as wide a range as +the singing voice ordinarily does. But it is essential that the even +development of range from high to low pitch should enable the student to +glide without break from one extreme of pitch to another. Inflection is +often inferred by the mind of the listener when the person speaking +abruptly drops from high to low pitch without rendering the intervening +sound. The absence of the fulfilment of inflection robs the speech of much +of its musical quality and much of its appeal to the feelings; for +inflection is the musical expression of the thought, and depends upon +feeling. The expression of this relationship of intelligence and emotion +is a subtle and powerful appeal,--the realization of true +culture,--combining thought and feeling. We know what a man means +literally by the abrupt or emphatic changes of the pitch or pressure; but +we know what the fact means to his feelings by the slides and cadences. It +is difficult to over-emphasize the importance of that characterization +which awakens a keen sense of the _musical_ meaning as corresponding +to the _thought_. This perception brings music into the speech and, +if it be awakened to the extent of a real love for the music itself, +develops a smooth and quiet clearness in the communication of thought and +feeling which is the greatest charm of conversation and of descriptive and +narrative utterance. + + +VOCAL RANGE + +It is ordinarily considered that the range of the speaking voice is very +limited as compared with the singer's range. A little consideration of +what is involved in the full development of the power of slide should show +us that while the key-note of speech fundamentally may not vary widely, +the suggestive music of the voice in long slides often does cover a great +number of notes. A little experiment will demonstrate this. Take any +selection containing variety in idea colored by feeling and try making +the long lines of inflection, keeping the proportion good and modulating +into a very shadow of sound, yet wholly appreciable. That which the +student of expression calls length of line is very largely expressed in +range of inflection as well as in the extension of time and modulation +of volume. The range of tone in every voice should cover as many degrees +of pitch as possible, as these are needed in word painting no less than +in dramatic expression. + +It is claimed by singers that the practice of speech as an elocutionary +exercise is sure to lower the pitch of the voice so as to depress the +so-called higher register. This is doubtless true to a large extent, as +manifest in the conditions common, but it is by no means a certainty that +a sufficient balance of practice upon the delicate, esthetic lines of the +voice in high pitch and in such selections as Shelley's "Ode to a Skylark" +may not counterbalance the overemphasis upon low tones which is ordinarily +practised by students of the speech arts. The orotund, sonorous, and +forceful qualities are perhaps dwelt upon too much, and to have a full +voice is frequently the greatest care of the elocutionist. There are, +however, those who appreciate the musical varieties of the vocal power and +who hold flexibility, range, and great variety as of more importance than +absolute power. It is the experience of such that the voice may be +extended in its range in both directions at once. The high pitch +represents mentality, the esthetic phases of beauty, and much brilliancy. +The medium pitch expresses warmth, emotion, and the heart qualities. The +low pitch is used for grandeur, and all the vital and broad expressions. +The use of the slide makes possible infinite blending of these various +characteristics in expressing the complexities of meaning which involve +rapid transition from one to the other of the fundamental characteristics, +or a combination of all three. + + +DRAMATIC EXPRESSION IN THE VOICE + +Dramatic adaptation in expressing various characters, emotions, and +motives is potentially very great. Though the average speaker is generally +limited by one type of voice, which he varies somewhat, it is not often +disguised. It is the belief of the writer that this is largely due to a +psychological limitation. It requires broad sympathy and a vital +realization of the subjective view-point of different characters, with an +appreciation of the relative force of different appeals to those +characters, in order that the responsive voice may have the convincing +ring which expresses the psychology of the character represented, and not +merely the mannerisms and externalities of impersonation. + +Impersonation may be more easily achieved intellectually, requiring only +keen observation and the power of imitation. Dramatic interpretation, on +the other hand, deals mainly with the phase of human nature which is not +exterior--the interior force of the character. We would classify these two +departments in this way, though in the highest dramatic work elements of +both phases are combined. Pantomime is more essential to the development +of impersonation, but dramatic interpretation gathers power from the +psychological appreciation attained from the studies pertaining to +personal development. In dramatic interpretation the voice is a much more +significant feature relatively than is the detail of gesture in pantomime. +Impersonation absolutely requires the finest detail of mannerism to be +represented in the action. + +It has been very well demonstrated that the quality of the so-called +"line" of the voice is influenced in accordance with dramatic action. If +one makes a gesture expressive of directness, the tone of the voice, if +given with the simultaneous impulse, will express that characteristic. If +subtlety or sinuousness of meaning is desired, the body and the gesture of +the hand may be powerful aids in inciting vital expression in the voice. +In order to test this, take a certain tone like _ah_ or _o_ and +hold it while taking vital dramatic attitudes differing widely in +significance. + +This may also be done in the practice of single words or short sentences. +Take some such word as "come" or "go," "forward" or "away," practising +with different attitudes, and it will be seen at once that it is almost +impossible to make tone and dramatic action contradict each other. + +Fine descriptive shades may be attained by taking such selections as +Byron's "The Ocean," Bryant's "Thanatopsis," Shelley's "The Cloud" and +"Ode to West Wind," accentuating with gestures of the arm and hand every +sweep or impulse of the word-painting, letting the curve of the figure +described in the air by the hand correspond with what is wanted in the +mind by the picture. Then, if the vital center of dramatic action is +aroused and the tone support is good, the voice alone--all gestures +withheld--can reproduce the same impressions. This is often of great +advantage, as the strength of repose is expressed to a great degree in +restraint of movement. However, it is advisable for the student of +expression not to be too absolute in determining how much he will or will +not "make gestures." The person whose impulse is not sufficiently strong +from the center may do far better to arouse activity of the organism by +more action than to allow any inadequacy of nervous energy to depress the +power of vibration which determines the influence of the voice. + +There are many simple principles and laws of expression that may be +advantageously used in preparation for public recitation or finished +interpretation. + +The emphasis of various qualities appearing in typical selections, such as +beauty in "The Chambered Nautilus," by Holmes, and other selections of +varying character, intensifies both the appreciation and the power of +expression in different characteristics. Careful observation and analysis +of the modes of different qualities which manifest themselves in this way +give full resource, and then whatever quality we have mastered and stored +in our nerve centers through appreciation will spring up spontaneously +under the influence of inspiration, making calculation practically +needless at the time of one's highest artistic expression. Analysis and +practice in preparation are the steps over which we must climb to the +platform of power. Having attained this, the infinite variety of the +broader vision calls forth the expression of all that has been previously +involved. + +Dramatic adaptation, then, from the standpoint of expressive voice +culture, is attained by free and varied development, focused in the +psychological triumph at the moment of interpretation. The body is as a +musical instrument of which the voice is the reporter. There are two +things to be sought in the artistic voice: one is concentration of +consciousness in the vibration of the tone so that the voice may be filled +with conscious motive; the other is the response of the free voice to the +powerful act of the imagination. Affirmatively, the voice vibrates with +the individual message. Reflectively, it mirrors the ideal conceived at +the moment of speech. The orator must have the former of these two powers +of the voice. The artist, though emphasizing the latter, can scarcely +achieve power in this without also attaining the former. + + +LYRIC INTERPRETATION + +In the rendering of lyric poetry there are two extremes to be avoided. One +is the musical tendency to obscure the sense, as in "sing-song" rendering; +the other is the reactionary effort made by many would-be sensible people +to make prose of the poetry by excluding all the music and rhythm in +emphasizing the literal meaning. The following rule will be found a safe +guide. Use the rhythm and quality pertaining to the full musical +expression, modified by the inflection called for by the meaning, having +careful reference to the perfect phrasing of the thought. The fulfilment +of both of these complementary requirements will produce rhythmical and +tone modulations characteristic of the poetry as such, and at the same +time the full meaning will be brilliantly manifest. It has been said that +the meaning of all great poetry is emphasized by its music. Much more +attention should be given than is ordinarily devoted to the consideration +of rhythm. Even prose has its peculiar rhythmic movement which constitutes +its style and gives impetus. + +Finally, by concentration of every distinctive phase, synthesized by a +vital motive aroused by the message spoken, the voice becomes musical, +forceful, clear, vibrant in the fulfilment of its natural function. The +voice is the most potent influence of expression, the winged messenger +between soul and soul. + + + + + + + + +End of the Project Gutenberg EBook of Expressive Voice Culture, by +Jessie Eldridge Southwick + +*** END OF THIS PROJECT GUTENBERG EBOOK EXPRESSIVE VOICE CULTURE *** + +***** This file should be named 7804-8.txt or 7804-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/7/8/0/7804/ + +Produced by Charles Aldarondo, Tiffany Vergon, S.R. Ellison +and the Online Distributed Proofreading Team + + +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. 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Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Most people start at our Web site which has the main PG search facility: + + www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + diff --git a/7804-8.zip b/7804-8.zip Binary files differnew file mode 100644 index 0000000..a7b314a --- /dev/null +++ b/7804-8.zip diff --git a/7804-h.zip b/7804-h.zip Binary files differnew file mode 100644 index 0000000..d912c99 --- /dev/null +++ b/7804-h.zip diff --git a/7804-h/7804-h.htm b/7804-h/7804-h.htm new file mode 100644 index 0000000..93bbf74 --- /dev/null +++ b/7804-h/7804-h.htm @@ -0,0 +1,1665 @@ +<?xml version="1.0" encoding="iso-8859-1"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + Expressive Voice Culture, by Jessie Eldridge Southwick + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> + + +<pre> + +Project Gutenberg's Expressive Voice Culture, by Jessie Eldridge Southwick + +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: Expressive Voice Culture + Including the Emerson System + +Author: Jessie Eldridge Southwick + + +Release Date: April, 2005 [EBook #7804] +This file was first posted on May 18, 2003 +Last Updated: May 6, 2013 + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK EXPRESSIVE VOICE CULTURE *** + + + + +File produced by Charles Aldarondo, Tiffany Vergon, S.R. Ellison +and the Online Distributed Proofreading Team + +HTML file produced by David Widger + + + + +</pre> + + <div style="height: 8em;"> + <br /><br /><br /><br /><br /><br /><br /><br /> + </div> + <h1> + EXPRESSIVE VOICE CULTURE + </h1> + <h4> + INCLUDING + </h4> + <h3> + THE EMERSON SYSTEM + </h3> + <p> + <br /> + </p> + <h2> + By Jessie Eldridge Southwick + </h2> + <h4> + Teacher of Voice Culture in the Emerson College of Oratory. + </h4> + <p> + <br /><br /> + </p> + <hr /> + <p> + <br /><br /> + </p> + <p> + <b>CONTENTS</b> + </p> + <p class="toc"> + <a href="#link2H_PREF"> PREFACE </a> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> EXPRESSIVE VOICE CULTURE </a> + </p> + <p class="toc"> + <a href="#link2HCH0001"> CHAPTER I. Principles of Voice Culture. </a> + </p> + <p class="toc"> + <a href="#link2HCH0002"> CHAPTER II. Elementary Lessons. </a> + </p> + <p class="toc"> + <a href="#link2HCH0003"> CHAPTER III. The Higher Development of the Voice + by the Application of First </a> + </p> + <p class="toc"> + <a href="#link2HCH0004"> CHAPTER IV. The Relation of Technique to + Rendering. </a> + </p> + <p class="toc"> + <a href="#link2HCH0005"> CHAPTER V. Phases of Vocal Interpretation </a> + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_PREF" id="link2H_PREF"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + PREFACE + </h2> + <p> + The Emerson System treats the voice as a natural reporter of the + individual, constantly emphasizing the tendency of the voice to express + appropriately any mental concept or state of feeling. + </p> + <p> + This treatise is a setting forth of methods and principles based upon this + idea with a fuller elaboration of the relation of technique to expression. + No attempt is here made, however, to present more than an individual + contribution to this broad subject. + </p> + <h3> + J. E. S. + </h3> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + EXPRESSIVE VOICE CULTURE + </h2> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0001" id="link2HCH0001"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER I. Principles of Voice Culture. + </h2> + <p> + The first essential to one beginning the study of voice culture is an + appreciation of the real significance of voice development. We must + recognize at once the fact that the voice is a natural reporter of the + conditions, emotions, thoughts, and purposes (character and states or + conditions) of the individual. The ring of true culture in the voice is + that perfect modulation of tone and movement which, without + self-consciousness, communicates exactly the meaning and purpose which + impel the utterances of the speaker. + </p> + <p> + It is almost impossible for any person to cultivate vocal expression to + the best advantage without an intelligent and sympathetic teacher; he + lacks the perspective upon himself which is necessary in order to correct + his individual faults and draw out his most effective powers. Then, again, + he needs that personal supervision and direction of his efforts which will + allow his mind to be constantly occupied with thoughts and principles, and + relieve him of all temptation to watch his own performances as such. But + it is necessary that the student should have a simple and logical basis + for practice, however great may become the variety of its application. + </p> + <p> + That the voice is naturally expressive is shown in the fact that even + where there is no possible suggestion of cultivation we instinctively read + the broad outlines of meaning and feeling in the tones and inflections of + the voice. May it not therefore be possible that a finer culture will + reveal all the subtle shades of thought and feeling, and a more + discriminating judgment be able to detect these, just as the ethnologist + will reconstruct from some crude relic the history of an earlier + civilization? + </p> + <p> + We must remember, too, that first of all the voice is a vital instrument. + The physical condition affects most noticeably the quality, strength, and + movement of the voice. Hence we see that physical health is essential to a + good voice, and the proper use of the voice is itself one of the most + invigorating exercises that can be practised. All the vital organs are + called into healthful action through this extraordinary manipulation of + the breath, and the nervous system, both vitally and emotionally, receives + invigoration. + </p> + <p> + In the beginning, therefore, such vital conditions as are essential to the + production of tone should be considered. + </p> + <p> + First, a standing position, in which the vital organs are well sustained, + is essential. One cannot even breathe properly unless one stands well. The + weight should be mainly upon the balls of the feet, and the crown of the + head so positively elevated as to secure the erectness of the spinal + column. This will involve the proper elevation of the chest, the essential + freedom of respiration, and the right sustaining tension of the abdominal + muscles. + </p> + <p> + (<i>a</i>) Take standing position as follows: weight on balls of feet, + heels together, toes slightly apart; line of gravity from crown of head, + well lifted, to balls of feet; the ear, point of shoulder, and point of + hip should be in line; muscles of the thigh strong in front; ribs well + lifted so that front line from waist to throat is lengthened to full + extent; back kept erect, and curve at waist not emphasized. Breathe + strongly and deeply several times. + </p> + <p> + To secure the elevation of the ribs the hands may be placed under the + arms, as high as possible, fingers pointing down; then try to turn or + press the ribs up and forward with strong action of hands, breathing + freely and emphasizing strength in waist muscles. <i>Sustain</i> the ribs + in this elevated position, and thus uplift the chest. Keep shoulders free. + Drop hands to sides again. + </p> + <p> + (<i>b</i>) Take half a step forward; sustain weight on advanced foot; do + not change position of retired foot, but keep the sense of purchase in it. + The chest should be carried forward of the abdomen and the abdominal + muscles given their best leverage by a slight bending forward from the + hips. (Bending forward must not be done by any dropping of the chest, or + shortening of the line at waist through relaxation.) This position must be + light, active, buoyant, and reposeful. + </p> + <p> + A constant sense of easy balance should be developed through poising + exercises. + </p> + <p> + The habit of healthful and powerful respiration should be established by + physical exercise for that purpose, and the right manipulation of breath + in tone production should be secured by the nature of the voice exercises. + Any vocal exercise which involves in the very nature of its production a + good control of breath becomes, by virtue of that fact, a good breathing + exercise as well. + </p> + <p> + [Footnote: See exercises described in a later chapter.] + </p> + <p> + If the voice be perfectly free, it is then capable of expressing truly all + that the person thinks and feels. The first desirable end sought, then, is + freedom. What is freedom, and how secured? When all cavities of resonance + are accessible to the vibrating column of air the voice may be said to be + free. By cavities of resonance is meant the chest (trachea and bronchial + tubes), the larynx, pharynx, the mouth, and the nares anterior and + posterior, or head chambers of resonance. The free tone is modified + through all its varieties of expression by those subtle changes in form, + intensity, movement, inflection, and also direction, which are too fine + for the judgment to determine, or even observe successfully. These + varieties are made possible by the very organism of the voice, which is + vital, not mechanical, and are determined by the influences working from + the mind through the nerves which control this wonderful living + instrument. This is governed by the law of reflex action, by which + stimulation of any nerve center produces responsive action in other parts + of the body. The voice will obey the mind. Right objects of thought will + influence it much more perfectly and rapidly than the mere arbitrary + dictates of calculation. + </p> + <p> + Right psychology would be the only thing necessary to the thorough + cultivation of the voice if the conditions were so perfect that there were + no habits of stricture and our instrument were thus in perfect tune. And + in spite of the fact that it is not usually found in perfect tune, the + influence of practice under right mental conditions is the most potent and + indispensable part of voice culture. Let this fact not be lost sight of + while we are discussing those more technical methods of training which are + designed to tune and regulate our instrument. + </p> + <p> + First, freedom of voice is attained (technically speaking) by right + direction of tone and vital support. A few words of explanation will make + this patent. + </p> + <p> + If the vibrating column of air when it leaves the vocal cords is so + directed that it passes freely through all the cavities of resonance, it + cannot fail to find the right one. The following exercise, if properly + taken, will induce right direction of tone: produce a light humming sound + such as would be the sound of <i>m, n,</i> or <i>ng</i>, if so idealized + as to eliminate that element of sound commonly spoken of as nasality. That + which is called nasality is caused by the failure of the tone to reach + freely the anterior cavities of the nares. The cavity which lies just back + of the nose and frontal bone imparts a musical resonance resembling the + vibrating after-tone when a note has been struck upon a piano and allowed + to die away gradually. The "nasal" effect comes when the tone is confined + in the posterior or back part of the nares, or head cavity, or is split by + the dropping of the uvula so that part of the tone is directed through the + nares and part through the mouth. Many so-called "humming tones" are given + for practice, but in accepting them observe whether the foregoing + principle is obeyed. + </p> + <p> + The controlling center of consciousness is the extreme limit of the <i>nares + anteri</i>. The tone should be thought of as outside. Keep the mind upon + results, just as one would hold the thought of a certain figure which one + might desire to draw. If one wishes to inscribe a curve, he thinks of the + curve as an object of thought, not of the muscles which act in executing + it. So with the voice. A tone is not a reality until its form of vibration + reaches the outer air. One should always think of the tone one wishes to + make—never listen to one's own execution. If the ideal is not + reached by the effort it will be known by the sense of incompleteness. + </p> + <p> + Why is the <i>nares anteri</i> the ruling center of tone direction? The + dominant or ruling center of any organism is that point which, if + controlled, will involve the regulation of all that is subordinate to it. + For example, the heart is the dominant center of the circulatory system; + the brain is the dominant center of the nervous system; the sun is the + dominant center of the planetary system. In all these systems, if the + center be affected, the system is proportionately influenced. If any other + part than the dominant center be affected, it is true that all other parts + may also be affected, but the desired unity in result will not be secured. + </p> + <p> + The voice will follow the thought as surely as the hand will reach the + object aimed at. The extreme anterior part of the nares, or head cavity, + is the chamber of resonance farthest from the vocal cords. Therefore, if + the voice be directed through that chamber of resonance all the others + must be passed in reaching it, and hence all must be accessible to the + vibrating column of air. It is a law of acoustics that any given cavity of + resonance will resound to that pitch to which its size corresponds, and to + no other. This law of sound secures the appropriate resonance for every + pitch much more accurately than it could be secured by an effort to + develop chest, middle, and head registers through calculating the + differences. Again, we need the higher chambers of resonance to reinforce + even the low pitch, because every note has its overtones that enrich it, + and if these cannot find their proper resonance the tone is impoverished. + It may be well to explain our use of the term "overtone." + </p> + <p> + This word "overtone" is used unscientifically by many. The significance of + its use is somewhat varied among teachers, but it generally means head + resonance, or a tone "sent over" through the head cavities. The term is + used here technically, not arbitrarily. Overtones are not confined to the + voice, but are those constituent parts of any tone which are produced by + the vibrating segments into which any vibrating cord will divide itself. + </p> + <p> + Any cord, or string, stretched between two given points, when struck will + vibrate throughout its entire length in waves of a certain length and with + a certain degree of rapidity, according to the tension of the string. This + vibration of the entire length of cord gives forth the tone heard as the + fundamental pitch or tone. Besides this fundamental or primary vibration, + the movement divides itself into segments, or sections, of the entire + length. These sections also have vibrations of their own which are of + shorter length and more rapid motion. The note given off by these + subdivisions is, of course, on a higher pitch than that produced by the + fundamental vibration of the cord; hence, they are higher tones, or + overtones. It will be remembered that pitch depends upon the rapidity of + the sound waves or vibrations. This subdivision of the vibrations is + incalculably multiplied, so that it may be said to be impossible to + determine the number of overtones accompanying the fundamental tone. What + the ear hears is the fundamental pitch only; the overtones harmonize with + the primary or fundamental tone, and enrich it. Since this is a law of + vibration, it is unscientific to speak of giving an overtone, for all + tones contain overtones. Where these overtones are interfered with by any + imperfection in the instrument the result is a harsh or imperfect sound. + </p> + <p> + In relation to the voice it should now be clearly understood that since it + is the overtones which enrich or give a harmonious sound to any tone, and + since all tones (low as well as high) have overtones as constituent parts + of their being, therefore the whole range of the resonant cavities of the + voice should, for the production of pure tone, be open to all degrees of + pitch, in order that the overtones may find their appropriate + reinforcement in the resonance chambers. Thus the quality of the voice + depends, not simply upon the condition of the vocal cords themselves, but + upon the form and quality of the resounding cavities. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0002" id="link2HCH0002"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER II. Elementary Lessons. + </h2> + <p> + After this brief discussion of the principles involved in this method of + practice, we will proceed to give some essential exercises for practice. + </p> + <h3> + EXERCISE FOR SECURING FREEDOM OF TONE + </h3> + <p> + This is the foundation of all voice culture. + </p> + <p> + 1. Take position in accordance with directions given in Chapter I. + </p> + <p> + 2. Take humming tone as indicated in the preceding chapter,—<i>m, n, + ng,</i>—idealized and pure. The mouth should be opened and closed + without changing the tone. + </p> + <p> + 3. Endeavor to concentrate all consciousness upon the conception of a tone + emanating from the <i>nares anteri</i> and floating in ideal forms of + vibration in the surrounding air. Those forms may vary in their definite + nature, but must always obey the principle of curves and radiation. One + should never reach up to a tone, but should seem to alight upon it from + above, as a bird alights on the branch of a tree. The mind must never lose + sight of the result—the ideal aimed at. The knowledge of processes + leads us to a right conception of aims, and enables us to judge of their + correctness. We should know what processes are normal (natural and + healthful) and what objects of thought will induce them. + </p> + <p> + While taking the above exercise no effort should be made in the throat. + The voice should seem to find its way without effort. The tone should not + be loud or sharp. + </p> + <p> + If the student finds it difficult to produce the tone alone, some word + ending in <i>ing</i> should be practised, as <i>ring-ring-ring-ng</i>. + </p> + <h3> + FORMING OF ELEMENTS + </h3> + <p> + <i>First Exercise</i>. Start the humming tone as indicated in the first + lesson, and maintain the same focus while forming certain elements. Take + the syllable <i>n-ö-m</i>, allowing no break while going from <i>n</i>, + the nares sound, to the vowel sound of <i>o</i>, and returning to the + nares sound of <i>m</i>. This is perhaps the best element to begin upon, + because of its definiteness, but the same principle can be applied to + other elements of speech, as <i>Most-men-want-poise-and-more-royal-margin</i>. + Form each syllable with the utmost care. Concentrate the mind upon the + ideal sound. First be sure that the pronunciation is accurately conceived. + Then enunciate clearly and try each time to make the form more perfect. + The principle of thinking is the same as that involved in striving to make + a perfect circle, or to execute any figure with more and more beauty. The + effort of the mind will bring the result, if the conception of the element + to be formed be correct. The sentence given—"<i>Most men want poise, + and more royal margin"</i>—is composed of such alternation of + elements as will tend to bring forward those that might be formed too far + back by their association with those elements that are necessarily brought + to the front. For example, the word<i>poise.</i> The first and last + elements are distinctively front. That helps to bring out what is between. + </p> + <p> + The constant recurrence of the nares tone, as in <i>m, n,</i> etc., may + serve as a regulator of tone. The object of this step in practice is to + form elements with beauty, and to form them with the same focus as that + secured by the humming tone. In this stage of practice each element should + be dwelt upon separately, but not in such a way as to mar its expression. + For example, unaccented syllables should be lightly pronounced and the + right shading carefully observed. Otherwise, when the elements are put + together their harmony and smoothness will be wanting and the effect + labored and mechanical, as is often the case where attention has been + given to the practice of articulation. To make the effort of articulation + a vital impulse in response to a mental concept,—this is the object + sought. The principle is that the will should be directed toward the ideal + to be reached, while the mind comprehends the means incidentally. The + means may be considered as a matter of knowledge, useful in guiding the + judgment but a hindrance when used as a trap to catch the conscious + attention of the practising student. + </p> + <p> + The whole difference between the artist who is spontaneous and the artisan + who is artificial is that the one recognizes the fact that the very + existence of human expression proves that the mind awakens the instinctive + response of the physical organism, while the other thinks that he can + calculate that infinite harmony which makes unity of action, without + reverting to the first cause of expression—the thought that created + it. To reproduce the impulse born of the thought—this is the aim of + a psychological method. This is secured only by right objects of thought; + it is impossible to reach it by voluntary mechanics. + </p> + <h3> + SMOOTHNESS AND HARMONY OF UTTERANCE + </h3> + <p> + Having obtained the results sought in our last division, we should learn + to manipulate the elements of speech fluently without breaking their + relation to (harmony with) the primary focus, or direction of tone. + </p> + <p> + Practise the same sentence, "<i>Most men</i>" etc., striving to make every + tone and the form of every element perfect, without dwelling upon them + separately; practise this (as also the preceding exercises) upon various + degrees of pitch in the musical scale, generally beginning on a "medium + high" pitch, then lower, and afterwards higher. Strive to speak or sing + fluently without breaking the quality of tone used. A break in quality + signifies loss of focus. + </p> + <p> + The object of this practise is to attain facility in manipulating the + elements while maintaining the smooth quality of the tone. After this + sentence other sentences may be used in reference to the same idea. The + primary exercise given should always be reverted to as a working center, + in order to secure, through repetition, a deepening of the tendency + involved. Variety is admissible only in addition to the original exercise, + but should not be substituted for it. + </p> + <h3> + FOR THE DEVELOPMENT OF MUSICAL EXPRESSIVENESS OF TONES + </h3> + <p> + This opens the way to expression in tone,—dramatic expression,—but + the technical preparation for expressive responsiveness in the voice is + the development of its musical possibilities, for all artistic expression + in tones is musical whether the person be a singer or a speaker. + Inflections are variations in pitch, and are "the tune of the thought." + </p> + <p> + <i>Exercise</i>. Practise the syllables <i>mä, zä, skä, ä.</i> The sound + of the Italian <i>a,</i> as in ah, gives the freest position of the organs + for the production of tone, and perhaps the most difficult form in which + to direct a tone with certainty. It is combined with these consonant + elements in order to invite it forward and bring it to a point + (figuratively speaking). The <i>m</i> relates it to the nares or humming + tone (which is the basis of all resonance in the voice). The <i>z</i> + sharpens the consciousness at the front, and the <i>sk</i> furnishes a + good start for a positive stroke in the voice, while the <i>a</i> alone + leaves us to venture upon the free tone unassisted by these guides to + direction. The exercise should be practised with such musical variations + as the student can learn to execute—the scale, arpeggios, etc., both + sustained tone and light touches, broad tones and shaded tones. Other + vowels may also be practised thus. + </p> + <p> + The practice of rhythm, or the practice of rhythmical accent, should be + introduced, as the sense of rhythm is an important element in the + development of expressiveness. + </p> + <p> + The object now is to secure sensibility and responsiveness in the voice. + This opens the possibilities of vocal expression. When we speak of the <i>nares + anteri</i> (or front head resonant cavity) as the dominant center of + physical consciousness nothing mechanical is meant. One is conscious that + the eye is fixed upon an object, but not therefore conscious of the action + of the muscles used in turning it upon the object. One thinks not of the + eye, but through the eye toward the object. + </p> + <p> + Finally, technique has as its object the training of the instrument to + freedom and responsiveness; but the true art of vocal expression begins + when the instrument is used in obedience to such objects of thought as + should cause its strings to vibrate loudly or softly, all together or in + partial harmony, in obedience to that vital impulse which the instrument + itself was created to obey. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0003" id="link2HCH0003"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER III. The Higher Development of the Voice by the Application of + First + </h2> + <p> + Principles. + </p> + <p> + There are four general forms of emphasis which serve as indications of the + characteristics of expression. They are Force, Pitch, Volume, and Time. + Force corresponds to life, or vitality, in the voice. Pitch corresponds to + the range of the voice, and expresses affection or attraction. Volume + measures the activity of the will through the voice, and Time, the + expression of which depends principally upon movement, or rhythm, + corresponds to the intellectual activities. + </p> + <p> + It will be understood that these forms of expression, or emphasis, are + developed, according to the practice in the "Evolution of Expression," by + means of purely mental discipline. It is nevertheless possible to + reinforce these powers of the voice by technical practice with special + reference to this development. In taking up this branch of the work the + student is supposed to have fulfilled the requirements of the elementary + voice practice, which, it will be remembered, includes the establishment + of freedom by means of right direction of tone, the perfecting of the + elements in polished articulation, the facile handling of the voice in + combining various elements, and a certain degree of responsiveness in the + practice of various musical qualities. + </p> + <h3> + FORCE + </h3> + <p> + For the development of increased vital power in the voice the student + should practise the nares exercise and also the elements of speech in a + sustained and even manner, continuing tones as long as it is possible to + keep control of them. The effect of this is to establish <i>strength and + steadiness</i> in the action of the muscles that control the voice, and + increase of breathing-power in response to the requirements involved in + the exercise. The tone must be kept pure and free, and practised with + varying degrees of force, with the idea of steady projection and + determined control. The ability to sustain the tone for a long time will + increase, and with it the power of the muscles exercised. + </p> + <p> + The idea of projecting tone is based upon the feeling of sympathy with + those at a distance, and not simply upon the desire to make them hear. + Short passages of a vital and animated nature should be practised with + varying degrees of radiation, so that the consciousness of the student may + adapt itself to the idea of including in his sympathies a larger or + smaller number of people. The thought of sympathy with, or nearness to, + those addressed is a most important principle in the development of this + power. It is never the best way to strive to speak loud in order that one + may be heard. Such selections as Lanier's "Life and Song," Wordsworth's + "The Daffodils," and Scott's "Lochinvar" will be found helpful studies for + radiation. It is useful in practising the humming tone, or the nares tone, + to imagine the whole atmosphere pervaded with pure resonance. Too much + emphasis cannot be placed upon the idea of perfect purity as the essential + foundation of power. The pure voice will grow to power. In taking this + exercise there should be no consciousness of effort in the throat, and no + shade of sharpness should be heard in the tone. One must try for the pure, + pervasive resonance which seems to float on the air like the soft note of + a violin. The right condition for the expression of this radiant vitality + in the voice is a complete alertness and responsive vivacity of the whole + person. This animation should be vital and not nervous. + </p> + <h3> + PITCH + </h3> + <p> + A voice, to express variety, must have sufficient compass to give + opportunity for a free play of inflection over various degrees of pitch. + It has been said, "Inflection is the tune of the thought." It is that + which makes it attractive. If one desires to emphasize a point of thought + and make it attractive to another person he instinctively increases his + emphasis by lengthening the slide or inflection. The high pitch indicates + mental activity; the medium pitch is the normal or heart range; the low + pitch is more peculiarly vital. If one would express varieties of thought + with brilliancy and effectiveness, the range of his voice must be wide, + and the evenness of quality so perfect that he can glide from one extreme + of pitch to another without any break in the tone. Facility in thus + handling the voice may be developed by means of special attention directed + to this characteristic. The practice for securing this adaptability in the + modulations of pitch is as follows. + </p> + <p> + Begin with the nares or humming tone, giving it on as many different notes + of the scale as can be easily reached. Practise the scale gliding from one + note to another while maintaining the pure tone. Practise gliding in the + form of inflection, or slide, from one extreme of pitch to another. This + may be given with variations, according to the ability of the student to + control his voice with evenness and to maintain that pure smoothness of + gradation in quality which permits no break or interruption in gliding + from one pitch to another. These varieties of practice in slides and + scales should be introduced with the practice of various elements of + speech, as well as with the humming tone. The different vowels should be + so used. Selections for practice should be chosen which contain much + variety of thought and feeling and are smooth in movement. For instance, + Tennyson's "Song of the Brook," "The Bugle Song," practised with the + introduction of the bugle notes and their echoes, and various other + selections of a musical and attractive nature, may be adapted to this + practice by simply exaggerating the slides which one would naturally make + in bringing out the meaning. No extravagant or unwarrantable inflections + which will mar the expression of the thought should be permitted, but it + is quite desirable to gradually extend the range of the inflections, if + one still maintains in the practice that common sense which will leave the + expression in perfect symmetry when the extra effort made for inflection + shall have been withdrawn. Though it is sometimes desirable to exaggerate + one element, even to the sacrifice of others, it is never necessary to + introduce false notes, the effect of which may remain as a limitation upon + the expression of the selection used. + </p> + <h3> + VOLUME + </h3> + <p> + Other things being equal, the volume of voice used measures the value that + the mind puts upon the thought. Of course the expression of this value is + modified and characterized by the nature of the thing spoken of. For + example, one would express the value of the ocean with a different quality + from that which would be used in expressing the value of something + exquisitely delicate. All elements of expression modify each other, so + that no mere rule can cover all cases. Volume is not always expressed in + the form of extension of power, but is frequently manifested in the form + of intensity or compressed volume. It is scarcely necessary to explain the + difference between the expression of mere vital power in the voice and + that manifestation of the will which gives the impression of directed + energy. The will determines, and the impetus of the thought is measured + by, the adjustment of volume. Vitality is expressed in radiation; will is + expressed in focus. + </p> + <p> + The term "volume" may be broadly used to cover the characteristics of the + thing estimated, and hence to include something of that subtle expression + which we call color in the voice. Volume expresses will; color expresses + imagination. For this use of the voice in the special service of + will-power, or propelling force, it is necessary first to test its + freedom. This may be done by taking the humming tone and bringing to bear + upon it a strong pressure of energy. If the tone sharpens under the strain + it is not perfectly focused. If it remains mellow one may venture upon the + next step, which is to practise various vowel sounds and elements of + speech with concentrated energy. The sense of bearing on to the voice, or + endeavoring to push the tone by any pressure whatever, should be + absolutely avoided. Tone support should be carefully regarded. In order to + secure this a correct standing position must be held and the muscles about + the waist and the abdominal muscles must be firm and elastic. + </p> + <p> + The chin is, in articulation, the pedal of power, and decision in the + conscious action of the chin (not the jaw) will induce by reflex action + that stroke which expresses well-aimed will-power. It may be noticed in + connection with this suggestion that when a person means what he says the + action of the chin is likely to be noticeably decided. + </p> + <p> + The perfectly alert and self-commanding attitude of the body cannot be too + strongly urged at this point, for the voice cannot be used safely with + great power when the body itself is in a negative attitude; for it must be + remembered that the voice is a reporter, and if we attempt to force it to + report something that is not there it will repay us by casting the lie in + our throat. Power is the result of growth, and can be developed only by + patience and the securing of such conditions as will establish freedom and + certainty. The certainty of any tone depends upon the perfection of its + focus. Quality is the synthetic effect of these attributes in the voice. + Under this head selections of a warlike nature may be practised, and those + which have in them the thoughts of magnitude and importance. Spartacus's + "Address to the Gladiators" is excellent; also, Byron's "Apostrophe to the + Ocean," "The Rising in '76," and selections of a similar nature. + </p> + <h3> + TIME + </h3> + <p> + <i>Including Poise and Rhythm</i> + </p> + <p> + The significance of time is determined by the movement of any selection, + or, in other words, the rhythm. It will be noticed that a selection may be + read with rhythmical effect and be made quite impressive without much + emphasis of other characteristics. However, the responsiveness of the + voice in variety of pitch, quality, and power is also a very large factor + in the illumination of the pause. The pause, as a mere interruption of + sound, has little significance, but the relations that the different + sounds bear to each other lend significance to the pause. A pause should + always suggest an orbit of thought. These characteristics of expression + can be made effective only by the practice of concentration in the mind + itself upon the thoughts to be suggested. Nevertheless, the quick + responsiveness of one's sensibilities in the expression of the various + qualities developed by the cultivation of the voice greatly facilitates + the manifestation of the thought itself. + </p> + <p> + All selections of a high order have relation to rhythm in their + composition, and that style of movement in the composition should find its + ready response in the organism of the speaker or reciter. It should be + remembered that the sense of rhythm may be misapplied, as may any other + element, by allowing the mind to go off into the sensation of "jingle" + without reference to its expression of the thought or its relation to the + thought. But if the sense of rhythm is duly developed, and then this + sensibility, as well as all others, is surrendered to the service of the + thought, it furnishes an element of beauty which cannot easily be + dispensed with. The reason we associate rhythm with the significance of + time is that rhythm is a measurer of time. + </p> + <p> + In connection with this step the practice of melodies is useful, if one + has musical taste. Simple, familiar melodies are best—such as "The + Last Rose of Summer," "Annie Laurie," "Flow Gently, Sweet Afton," etc., + etc. The importance of rhythm is well expressed by Emerson, who said that + the rhythm of Shakespeare's verse was always the outcome of the thought. + </p> + <p> + The term "ellipse" has been sometimes used to express the implied action + of the mind during the pause—describing an orbit of thought implied + but not stated in the words. + </p> + <p> + The illumination of the pause, or the responsiveness of the voice, in + exhibiting those modifications of quality which give significance, may be + greatly enhanced by the practice of such selections as express much beauty + of thought and variety of significance,—such as Shelley's "The + Cloud,"—things which are somewhat philosophical in their + significance; by selections which suggest much more than is definitely + stated,—"Aux Italiens," by Owen Meredith, "He and She," by Edwin + Arnold, "Evelyn Hope," by Robert Browning; also chapters from philosophy + that is poetically expressed, such as Emerson's "Essays." In practising + these for the special development of significance every effort should be + made to realize the thought quality in the voice, so that each word may + seem to picture forth the full truth that lies behind it, and that all + shall move in such harmony as to suggest the deeper meanings. The quality + of expressiveness, or clear response to thought in the voice, it will be + observed, is secured through the ready service of all its powers under the + influence of the mental concept. It is to be attained by the attitude of + receptivity and the effort to think through the voice. + </p> + <p> + This form of expression in voice corresponds to the suggestive in art, and + when the student has attained the power of fulfilling its requirements his + work can be called artistic. One should never attempt to measure his + progress by listening to himself directly; but keeping the ideal in mind, + he may come to realize himself as harmonizing with that, and a sense of + freedom from limitation will at last crown his endeavors. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0004" id="link2HCH0004"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER IV. The Relation of Technique to Rendering. + </h2> + <p> + It is certainly true that the highest use of the voice is the revelation + of the soul. The most important and effective means of cultivation lie in + the exercise of the voice under such mental conditions as shall invite the + expression of the highest thoughts, but the voice is in one sense an + instrument which is capable of being attuned. Right technical study and + practice adjust the instrument in proper relations with the natural laws + of its use, and establish, or deepen, the tendency to obey those laws. + Hence the mind finds a more ready response in the instrument, and one is + able to express with greater facility all that the soul desires to reveal. + It would seem of little consequence that a person should be able to use + the voice well simply as an ornamental accomplishment; for these agents of + expression, these powers of the material being, have a higher significance + than the mere exhibition of any qualities, however admirable. Such a + motive in studying expression would be a very shallow one, for what would + it signify in comparison with the great purposes of living? + </p> + <p> + But so long as these instruments of ours do not serve us they are a + hindrance to the higher expression of our being and the accomplishment of + our highest mission to others. We do indeed desire to escape from the + material and transient into the world of eternal verities, but these + conditions are given us for a purpose. They have their use, and we cannot + escape from the imprisonment in which we find ourselves until we have + solved their meaning and conquered them for the service of the higher + mind. We therefore study, not for the attainment of particular feats, but + to secure the obedience of all our activities to the higher laws through + which they can fulfil the purpose for which they were created. + </p> + <p> + This harmonizing of the forces having been once accomplished, little time + is required to keep in tune this harp of the soul; while the broader + culture and the higher realization of all meanings that can be expressed + are constantly sought in such discipline of the mind itself as shall + secure the activity of its highest powers. The whole aim is to secure the + development of character by the expression of the highest elements of + character. + </p> + <p> + Although the voice, like all other agents of expression, is naturally the + reflector of the individual and his states, it is necessary to understand + what that statement implies in order to appreciate the great need for the + higher culture of the vocal organism. If the individual's condition were + attuned to perfect harmony, to perfect unity of action, and to singleness + of purpose, together with the habit of personal expression rather than + expression through some limited mode of action—if, indeed, this were + so, his voice would scarce need training,—certainly not corrective + training,—nor would he need "culture" of any kind, being already a + perfect human being. + </p> + <p> + Those who postulate the "perfectly natural" voice, <i>i.e.</i>, one that + is unconscious of its own art, either presuppose this condition of innate + perfection or assume that the simple wish to speak—and its exercise—will + be sufficient to overcome wrong habits and conditions. Will it? Let us + see. + </p> + <p> + The culture of expression is a very different thing from the artful + imitation of the signs of feeling and purpose. If we are to have a real + education along lines of expression we must begin with the "content," or + cause, of expression. We may for the moment postpone discussion as to the + relative power of the sign to evoke the feeling, and the power of the + feeling or condition to evolve the most effective sign. There is something + to be said upon both sides; and, surely, the truth lies in the adoption of + all good means to produce the desired end. + </p> + <p> + First, then, to the basis. All oratorical values are measured primarily + from the standpoint of the "what;" the "how" is important, too, but only + in its relation to the "what" and "wherefore." The voice of the orator + must be an influence—a sincere vibration of the motive within. + Theoretically it is so naturally, but practically it is so only when the + voice is free from bias and is responsive through habit or spontaneous + inspiration to the thought of the speaker. + </p> + <p> + We will admit that genius sometimes is great enough to bring into + harmonious action all powers of the individual under its sway; but + education mainly strives to unfold the imperfect, to balance, the + ununified elements. Even genius, however, needs direction and adjustment + to secure the most perfect and reliable results. How, then, shall we + develop the motive, how enlarge the content? + </p> + <p> + There is such a subtle relation between motive and action that it has been + said, "The effect of any action is measured by the depth of the motive + from which it proceeds." [Footnote: Ralph Waldo Emerson.] And so this is + why the clever performer cannot reproduce the effect of a speech of + Demosthenes or Daniel Webster. This is a reason aside from that arising + from the difference in the occasion. Great men and great artists <i>make</i> + the occasion in the hearts of their hearers. The voice of the orator + peculiarly should be free from studied effects, and responsive to motive. + It is not the voice of entertainment, but of influence above all. The + orator should be taught self-mastery. The orator who is not moved by high + moral sense is a trickster or a hypocrite; the former juggles with human + susceptibility for unworthy or inadequate ends, and the latter poses for + motives he has not. So complex is human nature that this can be done by a + good actor so as to deceive the judgment and feelings; but the influence + will ultimately reveal the truth, if the auditor will use intuition and + not be taken off guard by the psychic influence of a strong will bent on a + given effect. + </p> + <p> + The sincere endeavor to express a quality, with the aspiration to make it + real, has the tendency to focus the power of that quality and concentrate + the mind upon it. This, by repetition of effort, both increases the power + and facilitates its expression. One must come to think vividly in terms of + expression. In the instance before us it should be in terms of vocal + expression. Anything well expressed—unconsciously—is to real + art what innocence is to virtue, or what the spontaneous grace of a child + is to that grace as applied to forms definitely intended to communicate an + ideal to others. Self-consciousness must precede super-self-consciousness. + </p> + <p> + Unconsciousness is childishness in art, and leads to vagueness of meaning, + to the perpetuation of personal idiosyncrasies; and while a larger + consciousness may be induced from the mind side, positive and overwhelming + inspiration will be needed to overcome habitual limitations. A musician + must love music itself, as well as its meanings, and a voice cannot be + made the best of by one who does not love its music. Self-consciousness + represents the stage of work and endeavor where faults are being overcome, + power enlarged, and new forms of activity mastered. This may be at first a + hindrance to spontaneity, and seem to hamper the imagination; but as + facility is acquired joy comes back, and the joy of conquest with the + adustment of means to ends is a stage of self-consciousness dangerous for + the egotist, but is inspiration and incitement to larger effort. This is a + stage where many artists remain—most of the time. But the + super-conscious stage is that state in which with perfected facility and + power of self-mastery the doing becomes lost in supreme realization; and + right action, now become habitual, is forgotten in the full consciousness + of oneness with the ideal. Then the voice—or the artist—embodies + the ideal, becomes the part for the time being, and is, as we say, + inspired. + </p> + <p> + We may forget what we are doing, but we must be able to know, or there + will be nothing worth while to forget! The danger of the mechanical idea—the + extreme technician's notion that the sign is enough—is that the + person may become an automaton and inhibit the power of real feeling in + himself; and though he may perform admirably and win the applause of some + critics who love form unduly, he fails in the great issue and wins only + superficial success or fails utterly, without seeing why. The real + experience has a magnetism of its own and will win above mere technicality + whenever it has the opportunity. + </p> + <p> + Some believe that psychic response to the sign is desirable. This develops + merely sensitiveness, reflex action, and does not enlarge the power of + feeling nor encourage the motive and the real heart. The desirability of + emotional response quickly reaches its limit; and while it may be feeling, + it does not spring from an adequate cause, so has not the dignity and + sweep of absolute sincerity. We must have <i>motif</i> first, then + technique to adapt and adjust expression and to develop facility in the + active agents. We want the Real, idealized by Art, and the Ideal, made + real and tangible by Art, the Revealer! + </p> + <p> + The process we would follow, then, is, primarily, the training of the + imagination to conceive fuller and fuller ideals of music and meaning; + and, simultaneously, the exercise of such activities as shall increase the + capacity of vocal expression and the availability of the vocal powers. + Availability is of the utmost importance! Concentration is the prime + requisite in attaining rapid results. The student must concentrate + absolutely upon the various qualities sought, and must infuse intelligent + impulse into his every nerve and muscle! The vibrant voice of the spirit + cannot be evoked by half-hearted effort, lazy nerves and muscles, nor with + the drag of inattention. The student who does not intend to arouse himself + need hope for no keen sense of beauty. + </p> + <p> + The voice is, first of all, a messenger of spirit, and illustrates this in + that quality which has given rise to the expression "borne on the wings of + song." Ultimately the whole body will be conceived to be a sensitive + vibrator responding with dramatic sympathy and returning vital radiance to + the tones. The rightly cultivated expressive voice is the man—speaking. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0005" id="link2HCH0005"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER V. Phases of Vocal Interpretation + </h2> + <h3> + ARTICULATION + </h3> + <p> + The quality of artistic beauty in articulation is very important, beyond + the mere accuracy which is ordinarily thought of. There are five general + heads under which the characteristics to be sought may be grouped. + </p> + <p> + First, <i>Accuracy of Form</i>. This not with severity, but with + perfection coming from sensitive response of the articulating organs to + the form concept as held in the mind. One should avoid the practice of + exertion in the execution of articulated forms. + </p> + <p> + Second, <i>Tone Quality</i>, secured by the right relation of the tone + form to the line of resonance, is very important and may be attained by + careful attention to musical beauty and a sense of harmony. This is the + right <i>placing</i> of tones. + </p> + <p> + Third, <i>Proportion</i> must be carefully considered. Very often + unaccented syllables are made unduly prominent and unimportant words are + over-emphasized through lack of attention to this principle. The careful + appreciation of rhythm, or the <i>movement</i> of syllables in + enunciation, gives a flowing, easy, well-proportioned clearness that is + indispensable to beauty. This should be practised in connection with the + interpretation of melodious, <i>flowing</i> passages, which will furnish + opportunity for the appreciation of the relation between the accented and + unaccented syllables and the important and unimportant words. Such + material as Bryant's "Thanatopsis" is good. + </p> + <p> + Fourth, <i>Phrasing</i>. The careful observation of the three foregoing + aspects of articulation leads at once to the fourth; namely, the + expressive value of words in direct relation to the interpretation itself. + This is closely connected with phrasing, and the phrase, which is the + larger "thought word," should be studied as the communicating link between + the articulation of the part and interpretation as it relates to + literature itself. In connection with this comes the consideration of + slides and the finer modulations of tone-color, movement, and cadence. But + the study of word values, in the light of the whole phrase to be + interpreted, will make each word a living thing in its influence—a + winged messenger of the thought. + </p> + <p> + Fifth, <i>Slides</i>. The slide has already been referred to as the unit + of vocalization in speech as distinct from the province of song, the unit + of song being the scale of notes as sung in succession, but with distinct + individuality. Few who have not studied the matter carefully appreciate + the fact that the speaking voice suggestively covers as wide a range as the + singing voice ordinarily does. But it is essential that the even + development of range from high to low pitch should enable the student to + glide without break from one extreme of pitch to another. Inflection is + often inferred by the mind of the listener when the person speaking + abruptly drops from high to low pitch without rendering the intervening + sound. The absence of the fulfilment of inflection robs the speech of much + of its musical quality and much of its appeal to the feelings; for + inflection is the musical expression of the thought, and depends upon + feeling. The expression of this relationship of intelligence and emotion + is a subtle and powerful appeal,—the realization of true culture,—combining + thought and feeling. We know what a man means literally by the abrupt or + emphatic changes of the pitch or pressure; but we know what the fact means + to his feelings by the slides and cadences. It is difficult to + over-emphasize the importance of that characterization which awakens a + keen sense of the <i>musical</i> meaning as corresponding to the <i>thought</i>. + This perception brings music into the speech and, if it be awakened to the + extent of a real love for the music itself, develops a smooth and quiet + clearness in the communication of thought and feeling which is the + greatest charm of conversation and of descriptive and narrative utterance. + </p> + <h3> + VOCAL RANGE + </h3> + <p> + It is ordinarily considered that the range of the speaking voice is very + limited as compared with the singer's range. A little consideration of + what is involved in the full development of the power of slide should show + us that while the key-note of speech fundamentally may not vary widely, + the suggestive music of the voice in long slides often does cover a great + number of notes. A little experiment will demonstrate this. Take any + selection containing variety in idea colored by feeling and try making the + long lines of inflection, keeping the proportion good and modulating into + a very shadow of sound, yet wholly appreciable. That which the student of + expression calls length of line is very largely expressed in range of + inflection as well as in the extension of time and modulation of volume. + The range of tone in every voice should cover as many degrees of pitch as + possible, as these are needed in word painting no less than in dramatic + expression. + </p> + <p> + It is claimed by singers that the practice of speech as an elocutionary + exercise is sure to lower the pitch of the voice so as to depress the + so-called higher register. This is doubtless true to a large extent, as + manifest in the conditions common, but it is by no means a certainty that + a sufficient balance of practice upon the delicate, esthetic lines of the + voice in high pitch and in such selections as Shelley's "Ode to a Skylark" + may not counterbalance the overemphasis upon low tones which is ordinarily + practised by students of the speech arts. The orotund, sonorous, and + forceful qualities are perhaps dwelt upon too much, and to have a full + voice is frequently the greatest care of the elocutionist. There are, + however, those who appreciate the musical varieties of the vocal power and + who hold flexibility, range, and great variety as of more importance than + absolute power. It is the experience of such that the voice may be + extended in its range in both directions at once. The high pitch + represents mentality, the esthetic phases of beauty, and much brilliancy. + The medium pitch expresses warmth, emotion, and the heart qualities. The + low pitch is used for grandeur, and all the vital and broad expressions. + The use of the slide makes possible infinite blending of these various + characteristics in expressing the complexities of meaning which involve + rapid transition from one to the other of the fundamental characteristics, + or a combination of all three. + </p> + <h3> + DRAMATIC EXPRESSION IN THE VOICE + </h3> + <p> + Dramatic adaptation in expressing various characters, emotions, and + motives is potentially very great. Though the average speaker is generally + limited by one type of voice, which he varies somewhat, it is not often + disguised. It is the belief of the writer that this is largely due to a + psychological limitation. It requires broad sympathy and a vital + realization of the subjective view-point of different characters, with an + appreciation of the relative force of different appeals to those + characters, in order that the responsive voice may have the convincing + ring which expresses the psychology of the character represented, and not + merely the mannerisms and externalities of impersonation. + </p> + <p> + Impersonation may be more easily achieved intellectually, requiring only + keen observation and the power of imitation. Dramatic interpretation, on + the other hand, deals mainly with the phase of human nature which is not + exterior—the interior force of the character. We would classify + these two departments in this way, though in the highest dramatic work + elements of both phases are combined. Pantomime is more essential to the + development of impersonation, but dramatic interpretation gathers power + from the psychological appreciation attained from the studies pertaining + to personal development. In dramatic interpretation the voice is a much + more significant feature relatively than is the detail of gesture in + pantomime. Impersonation absolutely requires the finest detail of + mannerism to be represented in the action. + </p> + <p> + It has been very well demonstrated that the quality of the so-called + "line" of the voice is influenced in accordance with dramatic action. If + one makes a gesture expressive of directness, the tone of the voice, if + given with the simultaneous impulse, will express that characteristic. If + subtlety or sinuousness of meaning is desired, the body and the gesture of + the hand may be powerful aids in inciting vital expression in the voice. + In order to test this, take a certain tone like <i>ah</i> or <i>o</i> and + hold it while taking vital dramatic attitudes differing widely in + significance. + </p> + <p> + This may also be done in the practice of single words or short sentences. + Take some such word as "come" or "go," "forward" or "away," practising + with different attitudes, and it will be seen at once that it is almost + impossible to make tone and dramatic action contradict each other. + </p> + <p> + Fine descriptive shades may be attained by taking such selections as + Byron's "The Ocean," Bryant's "Thanatopsis," Shelley's "The Cloud" and + "Ode to West Wind," accentuating with gestures of the arm and hand every + sweep or impulse of the word-painting, letting the curve of the figure + described in the air by the hand correspond with what is wanted in the + mind by the picture. Then, if the vital center of dramatic action is + aroused and the tone support is good, the voice alone—all gestures + withheld—can reproduce the same impressions. This is often of great + advantage, as the strength of repose is expressed to a great degree in + restraint of movement. However, it is advisable for the student of + expression not to be too absolute in determining how much he will or will + not "make gestures." The person whose impulse is not sufficiently strong + from the center may do far better to arouse activity of the organism by + more action than to allow any inadequacy of nervous energy to depress the + power of vibration which determines the influence of the voice. + </p> + <p> + There are many simple principles and laws of expression that may be + advantageously used in preparation for public recitation or finished + interpretation. + </p> + <p> + The emphasis of various qualities appearing in typical selections, such as + beauty in "The Chambered Nautilus," by Holmes, and other selections of + varying character, intensifies both the appreciation and the power of + expression in different characteristics. Careful observation and analysis + of the modes of different qualities which manifest themselves in this way + give full resource, and then whatever quality we have mastered and stored + in our nerve centers through appreciation will spring up spontaneously + under the influence of inspiration, making calculation practically + needless at the time of one's highest artistic expression. Analysis and + practice in preparation are the steps over which we must climb to the + platform of power. Having attained this, the infinite variety of the + broader vision calls forth the expression of all that has been previously + involved. + </p> + <p> + Dramatic adaptation, then, from the standpoint of expressive voice + culture, is attained by free and varied development, focused in the + psychological triumph at the moment of interpretation. The body is as a + musical instrument of which the voice is the reporter. There are two + things to be sought in the artistic voice: one is concentration of + consciousness in the vibration of the tone so that the voice may be filled + with conscious motive; the other is the response of the free voice to the + powerful act of the imagination. Affirmatively, the voice vibrates with + the individual message. Reflectively, it mirrors the ideal conceived at + the moment of speech. The orator must have the former of these two powers + of the voice. The artist, though emphasizing the latter, can scarcely + achieve power in this without also attaining the former. + </p> + <h3> + LYRIC INTERPRETATION + </h3> + <p> + In the rendering of lyric poetry there are two extremes to be avoided. One + is the musical tendency to obscure the sense, as in "sing-song" rendering; + the other is the reactionary effort made by many would-be sensible people + to make prose of the poetry by excluding all the music and rhythm in + emphasizing the literal meaning. The following rule will be found a safe + guide. Use the rhythm and quality pertaining to the full musical + expression, modified by the inflection called for by the meaning, having + careful reference to the perfect phrasing of the thought. The fulfilment + of both of these complementary requirements will produce rhythmical and + tone modulations characteristic of the poetry as such, and at the same + time the full meaning will be brilliantly manifest. It has been said that + the meaning of all great poetry is emphasized by its music. Much more + attention should be given than is ordinarily devoted to the consideration + of rhythm. Even prose has its peculiar rhythmic movement which constitutes + its style and gives impetus. + </p> + <p> + Finally, by concentration of every distinctive phase, synthesized by a + vital motive aroused by the message spoken, the voice becomes musical, + forceful, clear, vibrant in the fulfilment of its natural function. The + voice is the most potent influence of expression, the winged messenger + between soul and soul. + </p> + <div style="height: 6em;"> + <br /><br /><br /><br /><br /><br /> + </div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Expressive Voice Culture, by +Jessie Eldridge Southwick + +*** END OF THIS PROJECT GUTENBERG EBOOK EXPRESSIVE VOICE CULTURE *** + +***** This file should be named 7804-h.htm or 7804-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/7/8/0/7804/ + + +File produced by Charles Aldarondo, Tiffany Vergon, S.R. 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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: Expressive Voice Culture + Including the Emerson System + +Author: Jessie Eldridge Southwick + + +Release Date: April, 2005 [EBook #7804] +This file was first posted on May 18, 2003 +Last Updated: May 6, 2013 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK EXPRESSIVE VOICE CULTURE *** + + + + +Produced by Charles Aldarondo, Tiffany Vergon, S.R. Ellison +and the Online Distributed Proofreading Team + + + + + + + + +EXPRESSIVE VOICE CULTURE + + INCLUDING + +THE EMERSON SYSTEM + + +By Jessie Eldridge Southwick + +Teacher of Voice Culture in the Emerson College of Oratory. + + + + +PREFACE + +The Emerson System treats the voice as a natural reporter of the +individual, constantly emphasizing the tendency of the voice to express +appropriately any mental concept or state of feeling. + +This treatise is a setting forth of methods and principles based upon this +idea with a fuller elaboration of the relation of technique to expression. +No attempt is here made, however, to present more than an individual +contribution to this broad subject. + +J. E. S. + + + + +EXPRESSIVE VOICE CULTURE + + + + +CHAPTER I + +Principles of Voice Culture. + + +The first essential to one beginning the study of voice culture is an +appreciation of the real significance of voice development. We must +recognize at once the fact that the voice is a natural reporter of the +conditions, emotions, thoughts, and purposes (character and states or +conditions) of the individual. The ring of true culture in the voice is +that perfect modulation of tone and movement which, without +self-consciousness, communicates exactly the meaning and purpose which +impel the utterances of the speaker. + +It is almost impossible for any person to cultivate vocal expression to +the best advantage without an intelligent and sympathetic teacher; he +lacks the perspective upon himself which is necessary in order to correct +his individual faults and draw out his most effective powers. Then, again, +he needs that personal supervision and direction of his efforts which will +allow his mind to be constantly occupied with thoughts and principles, and +relieve him of all temptation to watch his own performances as such. But +it is necessary that the student should have a simple and logical basis +for practice, however great may become the variety of its application. + +That the voice is naturally expressive is shown in the fact that even +where there is no possible suggestion of cultivation we instinctively read +the broad outlines of meaning and feeling in the tones and inflections of +the voice. May it not therefore be possible that a finer culture will +reveal all the subtle shades of thought and feeling, and a more +discriminating judgment be able to detect these, just as the ethnologist +will reconstruct from some crude relic the history of an earlier +civilization? + +We must remember, too, that first of all the voice is a vital instrument. +The physical condition affects most noticeably the quality, strength, and +movement of the voice. Hence we see that physical health is essential to a +good voice, and the proper use of the voice is itself one of the most +invigorating exercises that can be practised. All the vital organs are +called into healthful action through this extraordinary manipulation of +the breath, and the nervous system, both vitally and emotionally, receives +invigoration. + +In the beginning, therefore, such vital conditions as are essential to the +production of tone should be considered. + +First, a standing position, in which the vital organs are well sustained, +is essential. One cannot even breathe properly unless one stands well. The +weight should be mainly upon the balls of the feet, and the crown of the +head so positively elevated as to secure the erectness of the spinal +column. This will involve the proper elevation of the chest, the essential +freedom of respiration, and the right sustaining tension of the abdominal +muscles. + +(_a_) Take standing position as follows: weight on balls of feet, +heels together, toes slightly apart; line of gravity from crown of head, +well lifted, to balls of feet; the ear, point of shoulder, and point of +hip should be in line; muscles of the thigh strong in front; ribs well +lifted so that front line from waist to throat is lengthened to full +extent; back kept erect, and curve at waist not emphasized. Breathe +strongly and deeply several times. + +To secure the elevation of the ribs the hands may be placed under the +arms, as high as possible, fingers pointing down; then try to turn or +press the ribs up and forward with strong action of hands, breathing +freely and emphasizing strength in waist muscles. _Sustain_ the ribs +in this elevated position, and thus uplift the chest. Keep shoulders free. +Drop hands to sides again. + +(_b_) Take half a step forward; sustain weight on advanced foot; do +not change position of retired foot, but keep the sense of purchase in it. +The chest should be carried forward of the abdomen and the abdominal +muscles given their best leverage by a slight bending forward from the +hips. (Bending forward must not be done by any dropping of the chest, or +shortening of the line at waist through relaxation.) This position must be +light, active, buoyant, and reposeful. + +A constant sense of easy balance should be developed through poising +exercises. + +The habit of healthful and powerful respiration should be established by +physical exercise for that purpose, and the right manipulation of breath +in tone production should be secured by the nature of the voice exercises. +Any vocal exercise which involves in the very nature of its production a +good control of breath becomes, by virtue of that fact, a good breathing +exercise as well. + +[Footnote: See exercises described in a later chapter.] + +If the voice be perfectly free, it is then capable of expressing truly all +that the person thinks and feels. The first desirable end sought, then, is +freedom. What is freedom, and how secured? When all cavities of resonance +are accessible to the vibrating column of air the voice may be said to be +free. By cavities of resonance is meant the chest (trachea and bronchial +tubes), the larynx, pharynx, the mouth, and the nares anterior and +posterior, or head chambers of resonance. The free tone is modified +through all its varieties of expression by those subtle changes in form, +intensity, movement, inflection, and also direction, which are too fine +for the judgment to determine, or even observe successfully. These +varieties are made possible by the very organism of the voice, which is +vital, not mechanical, and are determined by the influences working from +the mind through the nerves which control this wonderful living +instrument. This is governed by the law of reflex action, by which +stimulation of any nerve center produces responsive action in other parts +of the body. The voice will obey the mind. Right objects of thought will +influence it much more perfectly and rapidly than the mere arbitrary +dictates of calculation. + +Right psychology would be the only thing necessary to the thorough +cultivation of the voice if the conditions were so perfect that there were +no habits of stricture and our instrument were thus in perfect tune. And +in spite of the fact that it is not usually found in perfect tune, the +influence of practice under right mental conditions is the most potent and +indispensable part of voice culture. Let this fact not be lost sight of +while we are discussing those more technical methods of training which are +designed to tune and regulate our instrument. + +First, freedom of voice is attained (technically speaking) by right +direction of tone and vital support. A few words of explanation will make +this patent. + +If the vibrating column of air when it leaves the vocal cords is so +directed that it passes freely through all the cavities of resonance, it +cannot fail to find the right one. The following exercise, if properly +taken, will induce right direction of tone: produce a light humming sound +such as would be the sound of _m, n,_ or _ng_, if so idealized +as to eliminate that element of sound commonly spoken of as nasality. That +which is called nasality is caused by the failure of the tone to reach +freely the anterior cavities of the nares. The cavity which lies just back +of the nose and frontal bone imparts a musical resonance resembling the +vibrating after-tone when a note has been struck upon a piano and allowed +to die away gradually. The "nasal" effect comes when the tone is confined +in the posterior or back part of the nares, or head cavity, or is split by +the dropping of the uvula so that part of the tone is directed through the +nares and part through the mouth. Many so-called "humming tones" are given +for practice, but in accepting them observe whether the foregoing +principle is obeyed. + +The controlling center of consciousness is the extreme limit of the +_nares anteri_. The tone should be thought of as outside. Keep the +mind upon results, just as one would hold the thought of a certain figure +which one might desire to draw. If one wishes to inscribe a curve, he +thinks of the curve as an object of thought, not of the muscles which act +in executing it. So with the voice. A tone is not a reality until its form +of vibration reaches the outer air. One should always think of the tone +one wishes to make--never listen to one's own execution. If the ideal is +not reached by the effort it will be known by the sense of incompleteness. + +Why is the _nares anteri_ the ruling center of tone direction? The +dominant or ruling center of any organism is that point which, if +controlled, will involve the regulation of all that is subordinate to it. +For example, the heart is the dominant center of the circulatory system; +the brain is the dominant center of the nervous system; the sun is the +dominant center of the planetary system. In all these systems, if the +center be affected, the system is proportionately influenced. If any other +part than the dominant center be affected, it is true that all other parts +may also be affected, but the desired unity in result will not be secured. + +The voice will follow the thought as surely as the hand will reach the +object aimed at. The extreme anterior part of the nares, or head cavity, +is the chamber of resonance farthest from the vocal cords. Therefore, if +the voice be directed through that chamber of resonance all the others +must be passed in reaching it, and hence all must be accessible to the +vibrating column of air. It is a law of acoustics that any given cavity of +resonance will resound to that pitch to which its size corresponds, and to +no other. This law of sound secures the appropriate resonance for every +pitch much more accurately than it could be secured by an effort to +develop chest, middle, and head registers through calculating the +differences. Again, we need the higher chambers of resonance to reinforce +even the low pitch, because every note has its overtones that enrich it, +and if these cannot find their proper resonance the tone is impoverished. +It may be well to explain our use of the term "overtone." + +This word "overtone" is used unscientifically by many. The significance of +its use is somewhat varied among teachers, but it generally means head +resonance, or a tone "sent over" through the head cavities. The term is +used here technically, not arbitrarily. Overtones are not confined to the +voice, but are those constituent parts of any tone which are produced by +the vibrating segments into which any vibrating cord will divide itself. + +Any cord, or string, stretched between two given points, when struck will +vibrate throughout its entire length in waves of a certain length and with +a certain degree of rapidity, according to the tension of the string. This +vibration of the entire length of cord gives forth the tone heard as the +fundamental pitch or tone. Besides this fundamental or primary vibration, +the movement divides itself into segments, or sections, of the entire +length. These sections also have vibrations of their own which are of +shorter length and more rapid motion. The note given off by these +subdivisions is, of course, on a higher pitch than that produced by the +fundamental vibration of the cord; hence, they are higher tones, or +overtones. It will be remembered that pitch depends upon the rapidity of +the sound waves or vibrations. This subdivision of the vibrations is +incalculably multiplied, so that it may be said to be impossible to +determine the number of overtones accompanying the fundamental tone. What +the ear hears is the fundamental pitch only; the overtones harmonize with +the primary or fundamental tone, and enrich it. Since this is a law of +vibration, it is unscientific to speak of giving an overtone, for all +tones contain overtones. Where these overtones are interfered with by any +imperfection in the instrument the result is a harsh or imperfect sound. + +In relation to the voice it should now be clearly understood that since it +is the overtones which enrich or give a harmonious sound to any tone, and +since all tones (low as well as high) have overtones as constituent parts +of their being, therefore the whole range of the resonant cavities of the +voice should, for the production of pure tone, be open to all degrees of +pitch, in order that the overtones may find their appropriate +reinforcement in the resonance chambers. Thus the quality of the voice +depends, not simply upon the condition of the vocal cords themselves, but +upon the form and quality of the resounding cavities. + + + + +CHAPTER II + +Elementary Lessons. + + +After this brief discussion of the principles involved in this method of +practice, we will proceed to give some essential exercises for practice. + + +EXERCISE FOR SECURING FREEDOM OF TONE + +This is the foundation of all voice culture. + +1. Take position in accordance with directions given in Chapter I. + +2. Take humming tone as indicated in the preceding chapter,--_m, n, +ng,_--idealized and pure. The mouth should be opened and closed without +changing the tone. + +3. Endeavor to concentrate all consciousness upon the conception of a tone +emanating from the _nares anteri_ and floating in ideal forms of +vibration in the surrounding air. Those forms may vary in their definite +nature, but must always obey the principle of curves and radiation. One +should never reach up to a tone, but should seem to alight upon it from +above, as a bird alights on the branch of a tree. The mind must never lose +sight of the result--the ideal aimed at. The knowledge of processes leads +us to a right conception of aims, and enables us to judge of their +correctness. We should know what processes are normal (natural and +healthful) and what objects of thought will induce them. + +While taking the above exercise no effort should be made in the throat. +The voice should seem to find its way without effort. The tone should not +be loud or sharp. + +If the student finds it difficult to produce the tone alone, some word +ending in _ing_ should be practised, as _ring-ring-ring-ng_. + + +FORMING OF ELEMENTS + +_First Exercise_. Start the humming tone as indicated in the first +lesson, and maintain the same focus while forming certain elements. Take +the syllable _n-oe-m_, allowing no break while going from _n_, the nares +sound, to the vowel sound of _o_, and returning to the nares sound of +_m_. This is perhaps the best element to begin upon, because of its +definiteness, but the same principle can be applied to other elements +of speech, as _Most-men-want-poise-and-more-royal-margin_. Form each +syllable with the utmost care. Concentrate the mind upon the ideal sound. +First be sure that the pronunciation is accurately conceived. Then +enunciate clearly and try each time to make the form more perfect. The +principle of thinking is the same as that involved in striving to make a +perfect circle, or to execute any figure with more and more beauty. The +effort of the mind will bring the result, if the conception of the element +to be formed be correct. The sentence given--"_Most men want poise, and +more royal margin"_--is composed of such alternation of elements as will +tend to bring forward those that might be formed too far back by their +association with those elements that are necessarily brought to the front. +For example, the word_poise._ The first and last elements are +distinctively front. That helps to bring out what is between. + +The constant recurrence of the nares tone, as in _m, n,_ etc., may +serve as a regulator of tone. The object of this step in practice is to +form elements with beauty, and to form them with the same focus as that +secured by the humming tone. In this stage of practice each element should +be dwelt upon separately, but not in such a way as to mar its expression. +For example, unaccented syllables should be lightly pronounced and the +right shading carefully observed. Otherwise, when the elements are put +together their harmony and smoothness will be wanting and the effect +labored and mechanical, as is often the case where attention has been +given to the practice of articulation. To make the effort of articulation +a vital impulse in response to a mental concept,--this is the object +sought. The principle is that the will should be directed toward the ideal +to be reached, while the mind comprehends the means incidentally. The +means may be considered as a matter of knowledge, useful in guiding the +judgment but a hindrance when used as a trap to catch the conscious +attention of the practising student. + +The whole difference between the artist who is spontaneous and the artisan +who is artificial is that the one recognizes the fact that the very +existence of human expression proves that the mind awakens the instinctive +response of the physical organism, while the other thinks that he can +calculate that infinite harmony which makes unity of action, without +reverting to the first cause of expression--the thought that created it. +To reproduce the impulse born of the thought--this is the aim of a +psychological method. This is secured only by right objects of thought; it +is impossible to reach it by voluntary mechanics. + + +SMOOTHNESS AND HARMONY OF UTTERANCE + +Having obtained the results sought in our last division, we should learn +to manipulate the elements of speech fluently without breaking their +relation to (harmony with) the primary focus, or direction of tone. + +Practise the same sentence, "_Most men_" etc., striving to make every +tone and the form of every element perfect, without dwelling upon them +separately; practise this (as also the preceding exercises) upon various +degrees of pitch in the musical scale, generally beginning on a "medium +high" pitch, then lower, and afterwards higher. Strive to speak or sing +fluently without breaking the quality of tone used. A break in quality +signifies loss of focus. + +The object of this practise is to attain facility in manipulating the +elements while maintaining the smooth quality of the tone. After this +sentence other sentences may be used in reference to the same idea. The +primary exercise given should always be reverted to as a working center, +in order to secure, through repetition, a deepening of the tendency +involved. Variety is admissible only in addition to the original exercise, +but should not be substituted for it. + + +FOR THE DEVELOPMENT OF MUSICAL EXPRESSIVENESS OF TONES + +This opens the way to expression in tone,--dramatic expression,--but the +technical preparation for expressive responsiveness in the voice is the +development of its musical possibilities, for all artistic expression in +tones is musical whether the person be a singer or a speaker. Inflections +are variations in pitch, and are "the tune of the thought." + +_Exercise_. Practise the syllables _mae, zae, skae, ae._ The sound +of the Italian _a,_ as in ah, gives the freest position of the organs +for the production of tone, and perhaps the most difficult form in which +to direct a tone with certainty. It is combined with these consonant +elements in order to invite it forward and bring it to a point +(figuratively speaking). The _m_ relates it to the nares or humming +tone (which is the basis of all resonance in the voice). The _z_ +sharpens the consciousness at the front, and the _sk_ furnishes a +good start for a positive stroke in the voice, while the _a_ alone +leaves us to venture upon the free tone unassisted by these guides to +direction. The exercise should be practised with such musical variations +as the student can learn to execute--the scale, arpeggios, etc., both +sustained tone and light touches, broad tones and shaded tones. Other +vowels may also be practised thus. + +The practice of rhythm, or the practice of rhythmical accent, should be +introduced, as the sense of rhythm is an important element in the +development of expressiveness. + +The object now is to secure sensibility and responsiveness in the voice. +This opens the possibilities of vocal expression. When we speak of the +_nares anteri_ (or front head resonant cavity) as the dominant center +of physical consciousness nothing mechanical is meant. One is conscious +that the eye is fixed upon an object, but not therefore conscious of the +action of the muscles used in turning it upon the object. One thinks not +of the eye, but through the eye toward the object. + +Finally, technique has as its object the training of the instrument to +freedom and responsiveness; but the true art of vocal expression begins +when the instrument is used in obedience to such objects of thought as +should cause its strings to vibrate loudly or softly, all together or in +partial harmony, in obedience to that vital impulse which the instrument +itself was created to obey. + + + + +CHAPTER III + +The Higher Development of the Voice by the Application of First +Principles. + + +There are four general forms of emphasis which serve as indications of the +characteristics of expression. They are Force, Pitch, Volume, and Time. +Force corresponds to life, or vitality, in the voice. Pitch corresponds to +the range of the voice, and expresses affection or attraction. Volume +measures the activity of the will through the voice, and Time, the +expression of which depends principally upon movement, or rhythm, +corresponds to the intellectual activities. + +It will be understood that these forms of expression, or emphasis, are +developed, according to the practice in the "Evolution of Expression," by +means of purely mental discipline. It is nevertheless possible to +reinforce these powers of the voice by technical practice with special +reference to this development. In taking up this branch of the work the +student is supposed to have fulfilled the requirements of the elementary +voice practice, which, it will be remembered, includes the establishment +of freedom by means of right direction of tone, the perfecting of the +elements in polished articulation, the facile handling of the voice in +combining various elements, and a certain degree of responsiveness in the +practice of various musical qualities. + + +FORCE + +For the development of increased vital power in the voice the student +should practise the nares exercise and also the elements of speech in a +sustained and even manner, continuing tones as long as it is possible to +keep control of them. The effect of this is to establish _strength and +steadiness_ in the action of the muscles that control the voice, and +increase of breathing-power in response to the requirements involved in +the exercise. The tone must be kept pure and free, and practised with +varying degrees of force, with the idea of steady projection and +determined control. The ability to sustain the tone for a long time will +increase, and with it the power of the muscles exercised. + +The idea of projecting tone is based upon the feeling of sympathy with +those at a distance, and not simply upon the desire to make them hear. +Short passages of a vital and animated nature should be practised with +varying degrees of radiation, so that the consciousness of the student may +adapt itself to the idea of including in his sympathies a larger or +smaller number of people. The thought of sympathy with, or nearness to, +those addressed is a most important principle in the development of this +power. It is never the best way to strive to speak loud in order that one +may be heard. Such selections as Lanier's "Life and Song," Wordsworth's +"The Daffodils," and Scott's "Lochinvar" will be found helpful studies for +radiation. It is useful in practising the humming tone, or the nares tone, +to imagine the whole atmosphere pervaded with pure resonance. Too much +emphasis cannot be placed upon the idea of perfect purity as the essential +foundation of power. The pure voice will grow to power. In taking this +exercise there should be no consciousness of effort in the throat, and no +shade of sharpness should be heard in the tone. One must try for the pure, +pervasive resonance which seems to float on the air like the soft note of +a violin. The right condition for the expression of this radiant vitality +in the voice is a complete alertness and responsive vivacity of the whole +person. This animation should be vital and not nervous. + + +PITCH + +A voice, to express variety, must have sufficient compass to give +opportunity for a free play of inflection over various degrees of pitch. +It has been said, "Inflection is the tune of the thought." It is that +which makes it attractive. If one desires to emphasize a point of thought +and make it attractive to another person he instinctively increases his +emphasis by lengthening the slide or inflection. The high pitch indicates +mental activity; the medium pitch is the normal or heart range; the low +pitch is more peculiarly vital. If one would express varieties of thought +with brilliancy and effectiveness, the range of his voice must be wide, +and the evenness of quality so perfect that he can glide from one extreme +of pitch to another without any break in the tone. Facility in thus +handling the voice may be developed by means of special attention directed +to this characteristic. The practice for securing this adaptability in the +modulations of pitch is as follows. + +Begin with the nares or humming tone, giving it on as many different notes +of the scale as can be easily reached. Practise the scale gliding from one +note to another while maintaining the pure tone. Practise gliding in the +form of inflection, or slide, from one extreme of pitch to another. This +may be given with variations, according to the ability of the student to +control his voice with evenness and to maintain that pure smoothness of +gradation in quality which permits no break or interruption in gliding +from one pitch to another. These varieties of practice in slides and +scales should be introduced with the practice of various elements of +speech, as well as with the humming tone. The different vowels should be +so used. Selections for practice should be chosen which contain much +variety of thought and feeling and are smooth in movement. For instance, +Tennyson's "Song of the Brook," "The Bugle Song," practised with the +introduction of the bugle notes and their echoes, and various other +selections of a musical and attractive nature, may be adapted to this +practice by simply exaggerating the slides which one would naturally make +in bringing out the meaning. No extravagant or unwarrantable inflections +which will mar the expression of the thought should be permitted, but it +is quite desirable to gradually extend the range of the inflections, if +one still maintains in the practice that common sense which will leave the +expression in perfect symmetry when the extra effort made for inflection +shall have been withdrawn. Though it is sometimes desirable to exaggerate +one element, even to the sacrifice of others, it is never necessary to +introduce false notes, the effect of which may remain as a limitation upon +the expression of the selection used. + + +VOLUME + +Other things being equal, the volume of voice used measures the value that +the mind puts upon the thought. Of course the expression of this value is +modified and characterized by the nature of the thing spoken of. For +example, one would express the value of the ocean with a different quality +from that which would be used in expressing the value of something +exquisitely delicate. All elements of expression modify each other, so +that no mere rule can cover all cases. Volume is not always expressed in +the form of extension of power, but is frequently manifested in the form +of intensity or compressed volume. It is scarcely necessary to explain the +difference between the expression of mere vital power in the voice and +that manifestation of the will which gives the impression of directed +energy. The will determines, and the impetus of the thought is measured +by, the adjustment of volume. Vitality is expressed in radiation; will is +expressed in focus. + +The term "volume" may be broadly used to cover the characteristics of the +thing estimated, and hence to include something of that subtle expression +which we call color in the voice. Volume expresses will; color expresses +imagination. For this use of the voice in the special service of +will-power, or propelling force, it is necessary first to test its +freedom. This may be done by taking the humming tone and bringing to bear +upon it a strong pressure of energy. If the tone sharpens under the strain +it is not perfectly focused. If it remains mellow one may venture upon the +next step, which is to practise various vowel sounds and elements of +speech with concentrated energy. The sense of bearing on to the voice, or +endeavoring to push the tone by any pressure whatever, should be +absolutely avoided. Tone support should be carefully regarded. In order to +secure this a correct standing position must be held and the muscles about +the waist and the abdominal muscles must be firm and elastic. + +The chin is, in articulation, the pedal of power, and decision in the +conscious action of the chin (not the jaw) will induce by reflex action +that stroke which expresses well-aimed will-power. It may be noticed in +connection with this suggestion that when a person means what he says the +action of the chin is likely to be noticeably decided. + +The perfectly alert and self-commanding attitude of the body cannot be too +strongly urged at this point, for the voice cannot be used safely with +great power when the body itself is in a negative attitude; for it must be +remembered that the voice is a reporter, and if we attempt to force it to +report something that is not there it will repay us by casting the lie in +our throat. Power is the result of growth, and can be developed only by +patience and the securing of such conditions as will establish freedom and +certainty. The certainty of any tone depends upon the perfection of its +focus. Quality is the synthetic effect of these attributes in the voice. +Under this head selections of a warlike nature may be practised, and those +which have in them the thoughts of magnitude and importance. Spartacus's +"Address to the Gladiators" is excellent; also, Byron's "Apostrophe to the +Ocean," "The Rising in '76," and selections of a similar nature. + + +TIME + +_Including Poise and Rhythm_ + +The significance of time is determined by the movement of any selection, +or, in other words, the rhythm. It will be noticed that a selection may be +read with rhythmical effect and be made quite impressive without much +emphasis of other characteristics. However, the responsiveness of the +voice in variety of pitch, quality, and power is also a very large factor +in the illumination of the pause. The pause, as a mere interruption of +sound, has little significance, but the relations that the different +sounds bear to each other lend significance to the pause. A pause should +always suggest an orbit of thought. These characteristics of expression +can be made effective only by the practice of concentration in the mind +itself upon the thoughts to be suggested. Nevertheless, the quick +responsiveness of one's sensibilities in the expression of the various +qualities developed by the cultivation of the voice greatly facilitates +the manifestation of the thought itself. + +All selections of a high order have relation to rhythm in their +composition, and that style of movement in the composition should find its +ready response in the organism of the speaker or reciter. It should be +remembered that the sense of rhythm may be misapplied, as may any other +element, by allowing the mind to go off into the sensation of "jingle" +without reference to its expression of the thought or its relation to the +thought. But if the sense of rhythm is duly developed, and then this +sensibility, as well as all others, is surrendered to the service of the +thought, it furnishes an element of beauty which cannot easily be +dispensed with. The reason we associate rhythm with the significance of +time is that rhythm is a measurer of time. + +In connection with this step the practice of melodies is useful, if one +has musical taste. Simple, familiar melodies are best--such as "The Last +Rose of Summer," "Annie Laurie," "Flow Gently, Sweet Afton," etc., etc. +The importance of rhythm is well expressed by Emerson, who said that the +rhythm of Shakespeare's verse was always the outcome of the thought. + +The term "ellipse" has been sometimes used to express the implied action +of the mind during the pause--describing an orbit of thought implied but +not stated in the words. + +The illumination of the pause, or the responsiveness of the voice, in +exhibiting those modifications of quality which give significance, may be +greatly enhanced by the practice of such selections as express much beauty +of thought and variety of significance,--such as Shelley's "The +Cloud,"--things which are somewhat philosophical in their significance; by +selections which suggest much more than is definitely stated,--"Aux +Italiens," by Owen Meredith, "He and She," by Edwin Arnold, "Evelyn Hope," +by Robert Browning; also chapters from philosophy that is poetically +expressed, such as Emerson's "Essays." In practising these for the special +development of significance every effort should be made to realize the +thought quality in the voice, so that each word may seem to picture forth +the full truth that lies behind it, and that all shall move in such +harmony as to suggest the deeper meanings. The quality of expressiveness, +or clear response to thought in the voice, it will be observed, is secured +through the ready service of all its powers under the influence of the +mental concept. It is to be attained by the attitude of receptivity and +the effort to think through the voice. + +This form of expression in voice corresponds to the suggestive in art, and +when the student has attained the power of fulfilling its requirements his +work can be called artistic. One should never attempt to measure his +progress by listening to himself directly; but keeping the ideal in mind, +he may come to realize himself as harmonizing with that, and a sense of +freedom from limitation will at last crown his endeavors. + + + + +CHAPTER IV + +The Relation of Technique to Rendering. + + +It is certainly true that the highest use of the voice is the revelation +of the soul. The most important and effective means of cultivation lie in +the exercise of the voice under such mental conditions as shall invite the +expression of the highest thoughts, but the voice is in one sense an +instrument which is capable of being attuned. Right technical study and +practice adjust the instrument in proper relations with the natural laws +of its use, and establish, or deepen, the tendency to obey those laws. +Hence the mind finds a more ready response in the instrument, and one is +able to express with greater facility all that the soul desires to reveal. +It would seem of little consequence that a person should be able to use +the voice well simply as an ornamental accomplishment; for these agents of +expression, these powers of the material being, have a higher significance +than the mere exhibition of any qualities, however admirable. Such a +motive in studying expression would be a very shallow one, for what would +it signify in comparison with the great purposes of living? + +But so long as these instruments of ours do not serve us they are a +hindrance to the higher expression of our being and the accomplishment of +our highest mission to others. We do indeed desire to escape from the +material and transient into the world of eternal verities, but these +conditions are given us for a purpose. They have their use, and we cannot +escape from the imprisonment in which we find ourselves until we have +solved their meaning and conquered them for the service of the higher +mind. We therefore study, not for the attainment of particular feats, but +to secure the obedience of all our activities to the higher laws through +which they can fulfil the purpose for which they were created. + +This harmonizing of the forces having been once accomplished, little time +is required to keep in tune this harp of the soul; while the broader +culture and the higher realization of all meanings that can be expressed +are constantly sought in such discipline of the mind itself as shall +secure the activity of its highest powers. The whole aim is to secure the +development of character by the expression of the highest elements of +character. + +Although the voice, like all other agents of expression, is naturally the +reflector of the individual and his states, it is necessary to understand +what that statement implies in order to appreciate the great need for the +higher culture of the vocal organism. If the individual's condition were +attuned to perfect harmony, to perfect unity of action, and to singleness +of purpose, together with the habit of personal expression rather than +expression through some limited mode of action--if, indeed, this were so, +his voice would scarce need training,--certainly not corrective +training,--nor would he need "culture" of any kind, being already a +perfect human being. + +Those who postulate the "perfectly natural" voice, _i.e._, one that +is unconscious of its own art, either presuppose this condition of innate +perfection or assume that the simple wish to speak--and its exercise--will +be sufficient to overcome wrong habits and conditions. Will it? Let us +see. + +The culture of expression is a very different thing from the artful +imitation of the signs of feeling and purpose. If we are to have a real +education along lines of expression we must begin with the "content," or +cause, of expression. We may for the moment postpone discussion as to the +relative power of the sign to evoke the feeling, and the power of the +feeling or condition to evolve the most effective sign. There is something +to be said upon both sides; and, surely, the truth lies in the adoption of +all good means to produce the desired end. + +First, then, to the basis. All oratorical values are measured primarily +from the standpoint of the "what;" the "how" is important, too, but only +in its relation to the "what" and "wherefore." The voice of the orator +must be an influence--a sincere vibration of the motive within. +Theoretically it is so naturally, but practically it is so only when the +voice is free from bias and is responsive through habit or spontaneous +inspiration to the thought of the speaker. + +We will admit that genius sometimes is great enough to bring into +harmonious action all powers of the individual under its sway; but +education mainly strives to unfold the imperfect, to balance, the +ununified elements. Even genius, however, needs direction and adjustment +to secure the most perfect and reliable results. How, then, shall we +develop the motive, how enlarge the content? + +There is such a subtle relation between motive and action that it has been +said, "The effect of any action is measured by the depth of the motive +from which it proceeds." [Footnote: Ralph Waldo Emerson.] And so this is +why the clever performer cannot reproduce the effect of a speech of +Demosthenes or Daniel Webster. This is a reason aside from that arising +from the difference in the occasion. Great men and great artists +_make_ the occasion in the hearts of their hearers. The voice of the +orator peculiarly should be free from studied effects, and responsive to +motive. It is not the voice of entertainment, but of influence above all. +The orator should be taught self-mastery. The orator who is not moved by +high moral sense is a trickster or a hypocrite; the former juggles with +human susceptibility for unworthy or inadequate ends, and the latter poses +for motives he has not. So complex is human nature that this can be done +by a good actor so as to deceive the judgment and feelings; but the +influence will ultimately reveal the truth, if the auditor will use +intuition and not be taken off guard by the psychic influence of a strong +will bent on a given effect. + +The sincere endeavor to express a quality, with the aspiration to make it +real, has the tendency to focus the power of that quality and concentrate +the mind upon it. This, by repetition of effort, both increases the power +and facilitates its expression. One must come to think vividly in terms of +expression. In the instance before us it should be in terms of vocal +expression. Anything well expressed--unconsciously--is to real art what +innocence is to virtue, or what the spontaneous grace of a child is to +that grace as applied to forms definitely intended to communicate an ideal +to others. Self-consciousness must precede super-self-consciousness. + +Unconsciousness is childishness in art, and leads to vagueness of meaning, +to the perpetuation of personal idiosyncrasies; and while a larger +consciousness may be induced from the mind side, positive and overwhelming +inspiration will be needed to overcome habitual limitations. A musician +must love music itself, as well as its meanings, and a voice cannot be +made the best of by one who does not love its music. Self-consciousness +represents the stage of work and endeavor where faults are being overcome, +power enlarged, and new forms of activity mastered. This may be at first a +hindrance to spontaneity, and seem to hamper the imagination; but as +facility is acquired joy comes back, and the joy of conquest with the +adustment of means to ends is a stage of self-consciousness dangerous for +the egotist, but is inspiration and incitement to larger effort. This is a +stage where many artists remain--most of the time. But the super-conscious +stage is that state in which with perfected facility and power of +self-mastery the doing becomes lost in supreme realization; and right +action, now become habitual, is forgotten in the full consciousness of +oneness with the ideal. Then the voice--or the artist--embodies the ideal, +becomes the part for the time being, and is, as we say, inspired. + +We may forget what we are doing, but we must be able to know, or there +will be nothing worth while to forget! The danger of the mechanical +idea--the extreme technician's notion that the sign is enough--is that the +person may become an automaton and inhibit the power of real feeling in +himself; and though he may perform admirably and win the applause of some +critics who love form unduly, he fails in the great issue and wins only +superficial success or fails utterly, without seeing why. The real +experience has a magnetism of its own and will win above mere technicality +whenever it has the opportunity. + +Some believe that psychic response to the sign is desirable. This develops +merely sensitiveness, reflex action, and does not enlarge the power of +feeling nor encourage the motive and the real heart. The desirability of +emotional response quickly reaches its limit; and while it may be feeling, +it does not spring from an adequate cause, so has not the dignity and +sweep of absolute sincerity. We must have _motif_ first, then +technique to adapt and adjust expression and to develop facility in the +active agents. We want the Real, idealized by Art, and the Ideal, made +real and tangible by Art, the Revealer! + +The process we would follow, then, is, primarily, the training of the +imagination to conceive fuller and fuller ideals of music and meaning; +and, simultaneously, the exercise of such activities as shall increase the +capacity of vocal expression and the availability of the vocal powers. +Availability is of the utmost importance! Concentration is the prime +requisite in attaining rapid results. The student must concentrate +absolutely upon the various qualities sought, and must infuse intelligent +impulse into his every nerve and muscle! The vibrant voice of the spirit +cannot be evoked by half-hearted effort, lazy nerves and muscles, nor with +the drag of inattention. The student who does not intend to arouse himself +need hope for no keen sense of beauty. + +The voice is, first of all, a messenger of spirit, and illustrates this in +that quality which has given rise to the expression "borne on the wings of +song." Ultimately the whole body will be conceived to be a sensitive +vibrator responding with dramatic sympathy and returning vital radiance to +the tones. The rightly cultivated expressive voice is the man--speaking. + + + + +CHAPTER V + +Phases of Vocal Interpretation + + +ARTICULATION + +The quality of artistic beauty in articulation is very important, beyond +the mere accuracy which is ordinarily thought of. There are five general +heads under which the characteristics to be sought may be grouped. + +First, _Accuracy of Form_. This not with severity, but with +perfection coming from sensitive response of the articulating organs to +the form concept as held in the mind. One should avoid the practice of +exertion in the execution of articulated forms. + +Second, _Tone Quality_, secured by the right relation of the tone +form to the line of resonance, is very important and may be attained by +careful attention to musical beauty and a sense of harmony. This is the +right _placing_ of tones. + +Third, _Proportion_ must be carefully considered. Very often +unaccented syllables are made unduly prominent and unimportant words are +over-emphasized through lack of attention to this principle. The careful +appreciation of rhythm, or the _movement_ of syllables in +enunciation, gives a flowing, easy, well-proportioned clearness that is +indispensable to beauty. This should be practised in connection with the +interpretation of melodious, _flowing_ passages, which will furnish +opportunity for the appreciation of the relation between the accented and +unaccented syllables and the important and unimportant words. Such +material as Bryant's "Thanatopsis" is good. + +Fourth, _Phrasing_. The careful observation of the three foregoing +aspects of articulation leads at once to the fourth; namely, the +expressive value of words in direct relation to the interpretation itself. +This is closely connected with phrasing, and the phrase, which is the +larger "thought word," should be studied as the communicating link between +the articulation of the part and interpretation as it relates to +literature itself. In connection with this comes the consideration of +slides and the finer modulations of tone-color, movement, and cadence. But +the study of word values, in the light of the whole phrase to be +interpreted, will make each word a living thing in its influence--a winged +messenger of the thought. + +Fifth, _Slides_. The slide has already been referred to as the unit +of vocalization in speech as distinct from the province of song, the unit +of song being the scale of notes as sung in succession, but with distinct +individuality. Few who have not studied the matter carefully appreciate +the fact that the speaking voice suggestively covers as wide a range as +the singing voice ordinarily does. But it is essential that the even +development of range from high to low pitch should enable the student to +glide without break from one extreme of pitch to another. Inflection is +often inferred by the mind of the listener when the person speaking +abruptly drops from high to low pitch without rendering the intervening +sound. The absence of the fulfilment of inflection robs the speech of much +of its musical quality and much of its appeal to the feelings; for +inflection is the musical expression of the thought, and depends upon +feeling. The expression of this relationship of intelligence and emotion +is a subtle and powerful appeal,--the realization of true +culture,--combining thought and feeling. We know what a man means +literally by the abrupt or emphatic changes of the pitch or pressure; but +we know what the fact means to his feelings by the slides and cadences. It +is difficult to over-emphasize the importance of that characterization +which awakens a keen sense of the _musical_ meaning as corresponding +to the _thought_. This perception brings music into the speech and, +if it be awakened to the extent of a real love for the music itself, +develops a smooth and quiet clearness in the communication of thought and +feeling which is the greatest charm of conversation and of descriptive and +narrative utterance. + + +VOCAL RANGE + +It is ordinarily considered that the range of the speaking voice is very +limited as compared with the singer's range. A little consideration of +what is involved in the full development of the power of slide should show +us that while the key-note of speech fundamentally may not vary widely, +the suggestive music of the voice in long slides often does cover a great +number of notes. A little experiment will demonstrate this. Take any +selection containing variety in idea colored by feeling and try making +the long lines of inflection, keeping the proportion good and modulating +into a very shadow of sound, yet wholly appreciable. That which the +student of expression calls length of line is very largely expressed in +range of inflection as well as in the extension of time and modulation +of volume. The range of tone in every voice should cover as many degrees +of pitch as possible, as these are needed in word painting no less than +in dramatic expression. + +It is claimed by singers that the practice of speech as an elocutionary +exercise is sure to lower the pitch of the voice so as to depress the +so-called higher register. This is doubtless true to a large extent, as +manifest in the conditions common, but it is by no means a certainty that +a sufficient balance of practice upon the delicate, esthetic lines of the +voice in high pitch and in such selections as Shelley's "Ode to a Skylark" +may not counterbalance the overemphasis upon low tones which is ordinarily +practised by students of the speech arts. The orotund, sonorous, and +forceful qualities are perhaps dwelt upon too much, and to have a full +voice is frequently the greatest care of the elocutionist. There are, +however, those who appreciate the musical varieties of the vocal power and +who hold flexibility, range, and great variety as of more importance than +absolute power. It is the experience of such that the voice may be +extended in its range in both directions at once. The high pitch +represents mentality, the esthetic phases of beauty, and much brilliancy. +The medium pitch expresses warmth, emotion, and the heart qualities. The +low pitch is used for grandeur, and all the vital and broad expressions. +The use of the slide makes possible infinite blending of these various +characteristics in expressing the complexities of meaning which involve +rapid transition from one to the other of the fundamental characteristics, +or a combination of all three. + + +DRAMATIC EXPRESSION IN THE VOICE + +Dramatic adaptation in expressing various characters, emotions, and +motives is potentially very great. Though the average speaker is generally +limited by one type of voice, which he varies somewhat, it is not often +disguised. It is the belief of the writer that this is largely due to a +psychological limitation. It requires broad sympathy and a vital +realization of the subjective view-point of different characters, with an +appreciation of the relative force of different appeals to those +characters, in order that the responsive voice may have the convincing +ring which expresses the psychology of the character represented, and not +merely the mannerisms and externalities of impersonation. + +Impersonation may be more easily achieved intellectually, requiring only +keen observation and the power of imitation. Dramatic interpretation, on +the other hand, deals mainly with the phase of human nature which is not +exterior--the interior force of the character. We would classify these two +departments in this way, though in the highest dramatic work elements of +both phases are combined. Pantomime is more essential to the development +of impersonation, but dramatic interpretation gathers power from the +psychological appreciation attained from the studies pertaining to +personal development. In dramatic interpretation the voice is a much more +significant feature relatively than is the detail of gesture in pantomime. +Impersonation absolutely requires the finest detail of mannerism to be +represented in the action. + +It has been very well demonstrated that the quality of the so-called +"line" of the voice is influenced in accordance with dramatic action. If +one makes a gesture expressive of directness, the tone of the voice, if +given with the simultaneous impulse, will express that characteristic. If +subtlety or sinuousness of meaning is desired, the body and the gesture of +the hand may be powerful aids in inciting vital expression in the voice. +In order to test this, take a certain tone like _ah_ or _o_ and +hold it while taking vital dramatic attitudes differing widely in +significance. + +This may also be done in the practice of single words or short sentences. +Take some such word as "come" or "go," "forward" or "away," practising +with different attitudes, and it will be seen at once that it is almost +impossible to make tone and dramatic action contradict each other. + +Fine descriptive shades may be attained by taking such selections as +Byron's "The Ocean," Bryant's "Thanatopsis," Shelley's "The Cloud" and +"Ode to West Wind," accentuating with gestures of the arm and hand every +sweep or impulse of the word-painting, letting the curve of the figure +described in the air by the hand correspond with what is wanted in the +mind by the picture. Then, if the vital center of dramatic action is +aroused and the tone support is good, the voice alone--all gestures +withheld--can reproduce the same impressions. This is often of great +advantage, as the strength of repose is expressed to a great degree in +restraint of movement. However, it is advisable for the student of +expression not to be too absolute in determining how much he will or will +not "make gestures." The person whose impulse is not sufficiently strong +from the center may do far better to arouse activity of the organism by +more action than to allow any inadequacy of nervous energy to depress the +power of vibration which determines the influence of the voice. + +There are many simple principles and laws of expression that may be +advantageously used in preparation for public recitation or finished +interpretation. + +The emphasis of various qualities appearing in typical selections, such as +beauty in "The Chambered Nautilus," by Holmes, and other selections of +varying character, intensifies both the appreciation and the power of +expression in different characteristics. Careful observation and analysis +of the modes of different qualities which manifest themselves in this way +give full resource, and then whatever quality we have mastered and stored +in our nerve centers through appreciation will spring up spontaneously +under the influence of inspiration, making calculation practically +needless at the time of one's highest artistic expression. Analysis and +practice in preparation are the steps over which we must climb to the +platform of power. Having attained this, the infinite variety of the +broader vision calls forth the expression of all that has been previously +involved. + +Dramatic adaptation, then, from the standpoint of expressive voice +culture, is attained by free and varied development, focused in the +psychological triumph at the moment of interpretation. The body is as a +musical instrument of which the voice is the reporter. There are two +things to be sought in the artistic voice: one is concentration of +consciousness in the vibration of the tone so that the voice may be filled +with conscious motive; the other is the response of the free voice to the +powerful act of the imagination. Affirmatively, the voice vibrates with +the individual message. Reflectively, it mirrors the ideal conceived at +the moment of speech. The orator must have the former of these two powers +of the voice. The artist, though emphasizing the latter, can scarcely +achieve power in this without also attaining the former. + + +LYRIC INTERPRETATION + +In the rendering of lyric poetry there are two extremes to be avoided. One +is the musical tendency to obscure the sense, as in "sing-song" rendering; +the other is the reactionary effort made by many would-be sensible people +to make prose of the poetry by excluding all the music and rhythm in +emphasizing the literal meaning. The following rule will be found a safe +guide. Use the rhythm and quality pertaining to the full musical +expression, modified by the inflection called for by the meaning, having +careful reference to the perfect phrasing of the thought. The fulfilment +of both of these complementary requirements will produce rhythmical and +tone modulations characteristic of the poetry as such, and at the same +time the full meaning will be brilliantly manifest. It has been said that +the meaning of all great poetry is emphasized by its music. Much more +attention should be given than is ordinarily devoted to the consideration +of rhythm. Even prose has its peculiar rhythmic movement which constitutes +its style and gives impetus. + +Finally, by concentration of every distinctive phase, synthesized by a +vital motive aroused by the message spoken, the voice becomes musical, +forceful, clear, vibrant in the fulfilment of its natural function. The +voice is the most potent influence of expression, the winged messenger +between soul and soul. + + + + + + + + +End of the Project Gutenberg EBook of Expressive Voice Culture, by +Jessie Eldridge Southwick + +*** END OF THIS PROJECT GUTENBERG EBOOK EXPRESSIVE VOICE CULTURE *** + +***** This file should be named 7804.txt or 7804.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/7/8/0/7804/ + +Produced by Charles Aldarondo, Tiffany Vergon, S.R. Ellison +and the Online Distributed Proofreading Team + + +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. 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