THE HEAD VOICE AND OTHER PROBLEMS.

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I

VOICE PLACING

Vocal teachers are rated primarily on their ability as voice builders. When students look for a teacher the first thing they want to know is: “Can he build a voice?” His ability as an interpreter in most instances is taken for granted. Why this is so is easily understood. There is a moving appeal in the pure singing tone of the human voice that cannot even be approximated by any other instrument. We have all heard voices that were so beautiful that to hear one of them vocalize for half an hour would be a musical feast. Such a voice is so full of feeling, so vibrant with life and emotion that it moves one to the depths even if no words are used. It is only natural that all singers should be eager to possess such a voice, for it covers up a multitude of other musical misdemeanors. While it does not take the place altogether of the interpretative instinct, it does make the work of the singer much easier by putting his audience in sympathy with him from the beginning, thus to a considerable extent disarming criticism. The old Italians attached so much importance to beautiful tone that they were willing to work conscientiously for half a dozen years to obtain it. To the beautiful tone they added a faultless technic. Altogether it required from five to eight years to 2 prepare and equip a singer for a career, but when he was thus prepared he could do astounding things in the way of trills, roulades, and cadenzas.

The stories of many of these singers have come down to us through the musical histories, and the singing world has come to believe that the teachers alone were responsible. Owing to her geographic location, her climate, language, and racial characteristics Italy at one time furnished most of the great singers of the world, and the world with its usual lack of judgment and discrimination gave Italian teachers all of the credit. That the best of the Italian teachers were as near right as it is humanly possible to be, I have no doubt whatever, but along with the few singers who became famous there were hundreds who worked equally hard but were never heard of. A great voice is a gift of the creator, and the greater the gift the less there is to be done by the teacher. But in addition to what nature has done there is always much to be done by the teacher, and the nature of the vocal instrument is such that its training is a problem unique and peculiar. The voice can do so many different things, produce so many different kinds of tone, in such a variety of ways that the ability to determine which is right and which is wrong becomes a matter of aesthetic judgment rather than scientific or mechanical.

If the scale, power, quality, and compass of the human voice were established as are those of the piano, the great problem in the training of a singer would be much simplified, possibly eliminated; but the singer must form the pitch, power, and quality of each tone as he uses it; therefore in the training of a singer we are constantly facing what has crystallized into the term Voice Placing .

This term has been used as a peg upon which to hang every whim, fancy, formula, and vocal vagary that has floated through the human mind in the last two centuries. It has furnished 3 an excuse for inflicting upon vocal students every possible product of the imagination, normal and abnormal, disguised in the word Method , and the willingness with which students submit themselves as subjects for experiment is beyond belief. The more mysterious and abnormal the process the more faith they have in its efficacy.

The nature of the vocal instrument, its wide range of possibilities, and its intimate relation to the imagination make it a peculiarly fit subject for experiment. The scientist has tried to analyze it, the mechanic has tried to make it do a thousand things nature never intended it to do, the reformer has tried to reform both, and the psychologist, nearest right of all, has attempted to remove it from the realm of the material altogether. There seems to be no way to stop this theorizing, and it doubtless will continue until the general musical intelligence reaches such a point that it automatically becomes impossible.

We are constantly hearing such remarks as “Mr. S knows how to place the voice.” “Mr. G does not.” “Mr. B places the voice high.” “Mr. R does not place the voice high enough.” “Mr. X is great at bringing the tone forward,” etc., etc. This goes on through a long list of fragments of English difficult to explain even by those who use them.

Now voice placing means just one thing, not half a dozen. It means learning to produce beautiful tone . When one can produce beautiful tone throughout his vocal compass his voice is placed, and it is not placed until he can. The injunction to place the voice invariably leaves in the mind of the student the idea that he must direct the tone to some particular point, in fact he is often urged to do so, whereas the truth is that when the tone is properly produced there is no thought of trying to put it anywhere. It seems to sing itself. There is a well established belief among students that the tone must 4 be consciously directed to the point where it is supposed to focus. This belief is intimately associated with another equally erroneous, that the only way to tell whether a tone is good or bad, right or wrong, is by the way it feels. A tone is something to hear. It makes its appeal to the ear, and why one should rely on the sense of feeling to tell whether it sounds right or wrong is something difficult to understand.

Further, explicit directions are given for the action and control of everything involved in making tone except the mind of the student. The larynx seems to be particularly vulnerable and is subject to continuous attack. One says it should be held low throughout the compass. Another says it should rise as the pitch rises, and still another, that it should drop as the pitch rises. Instructions of this kind do not enlighten, they mystify.

If there be any one thing upon which voice teachers theoretically agree it is “free throat”. Even those who argue for a fixed larynx agree to this, notwithstanding it is a physical impossibility to hold the larynx in a fixed position throughout the compass without a considerable amount of rigidity. It is like believing in Infinite Love and eternal punishment at the same time.

When the larynx is free it will not and should not be in the same position at all times. It will be a little lower for somber tones than for bright tones. It will be a little higher for the vowel e than for oo or o, but the adjustments will be automatic , never conscious. It cannot be too often reiterated that every part of the vocal mechanism must act automatically, and it is not properly controlled until it does.

The soft palate also comes in for its share of instruction. I was once taught to raise it until the uvula disappeared. Later I was taught to relax it. Both of these movements of the soft palate were expected to result in a beautiful tone. Now if 5 two things which are directly opposed to each other are equal to the same thing, then there is no use in bothering our heads further with logic.

Such directions I believe to be of doubtful value, if not irrelevant. We must learn that an idea has definite form , and that when the mechanism is free, that is, plastic, the idea molds it into a corresponding form and the expression becomes a perfect picture of the idea. This is what is meant by indirect control, involuntary, automatic action.

One could write indefinitely on the peculiarities of voice training, the unique suggestions made, the mechanical instructions given, the unbelievable things students are made to do with lips, tongue and larynx as a necessary preparation to voice production. In this as in everything else there are extremists. Some have such an exquisite sense of detail that they never get beyond it. At the other extreme are those who trust everything to take care of itself. Both overlook the most important thing, namely, how the voice sounds.

It requires much time, study and experience to learn that voice training is simple. It is a fact that truth is naturally, inherently simple. Its mastery lies in removing those things which seem to make it difficult and complex. Training the voice, this so called “voice placing,” is simple and easy when one has risen above that overwhelming amount of fiction, falsity, and fallacy that has accumulated around it, obscuring the truth and causing many well intentioned teachers to follow theories and vagaries that have no foundation in fact, and which lead both teacher and pupil astray. If there is any truth applicable to voice training it has an underlying principle, for truth is the operation of principle. If we start wrong we shall end wrong. If we start right and continue according to principle we shall reach the desired goal.

Voice training has its starting point, its basis, its 6 foundation, in beautiful tone. This should be the aim of both teacher and pupil from the beginning. To produce something beautiful is the aim of all artistic activity. Beautiful tone, as Whistler said of all art, has its origin in absolute truth. That which is not beautiful cannot possibly be true, for real nature, which is the expression of Infinite Mind, is always perfect, and no perfect thing can be ugly, discordant, or inharmonious. The imperfection we see is the result of our own imperfect understanding of the real universe.

A tone is something to hear , and hearing is mental . An old French anatomist once said: “The eye sees what it is looking for, and it is looking only for what it has in mind.” The same is true of the ear. We hear the tone mentally before we sing it, and we should hear it as distinctly as if it were sung by another. A tone first of all is a mental product, and its pitch, power, and quality are definite mental entities. When we wish to convey this tone to another we do it through the sound producing instrument which nature has provided for this purpose.

That everything exists first as idea has been the teaching of the philosophers for ages. That the idea is the controlling, governing force is equally well understood. Therefore, inasmuch as the aim of all voice building is to produce beautiful tone we must start with the right idea of tone. This is where the first and greatest difficulty appears. To most people a tone is intangible and difficult to define. One will rarely find a student that can formulate anything approaching a definition of a musical tone and I fancy many teachers would find it far from easy. Unless one has a grasp of the psychology of voice, and a great many have not, he will begin to work with what he can see. Here enters the long dreary mechanical grind that eventually ruins the temper of both teacher and student, and 7 results in nothing but mechanical singing, instead of a joyous, inspiring musical performance.

In studying the pure singing tone we find the following: It is smooth , steady , firm , rich , resonant , sympathetic . We shall also find that all of its qualities and attributes are mental. It must contain the element of freedom (mental), firmness (mental), security (mental), sympathy (mental), enthusiasm, sentiment, joy, compassion, pity, love, sorrow (all mental). These are all qualities of the singing tone. They are not intangible. On the contrary, to the one who has them they are definite and are the things he works for from the beginning. They are basic and fundamental. All are combined in what I call tone concept , which is another word for musical ear, or musical taste. This tone concept is by far the most important thing in voice training. The student will not sing a tone better than the one he conceives mentally, therefore the mental concept of tone, or tone concept must be the basis of voice placing.

This tone concept, or mental picture of tone qualities controls the vocal instrument by indirection. True tone color does not come as the result of trying by some physical process to make the tone light or dark, but from the automatic response to musical concept or feeling .

In leaving this subject I wish to pay my respects to that company of cheerful sinners—the open throat propagandists. I was taught in my youth that the punishment for a sin committed ignorantly was none the less pungent and penetrating, and I trust that in administering justice to these offenders the powers will be prompt, punctilious and persevering. It is a worthy activity.

No mistake of greater magnitude was ever made since voice training began than that of holding the throat open by direct effort. It never resulted in a tone a real musician’s ear could 8 endure, nevertheless during the latter part of the nineteenth century and even the early part of the twentieth it was made such an integral part of voice culture that it seemed to be incorporated in the law of heredity, and vocal students, even before they were commanded, would try to make a large cavity in the back of the throat. I believe however, that there is much less of this than formerly. Vocal teachers are beginning to see that the one important thing is a free throat and that when this is gained the response of the mechanism to the mental demand is automatic and unerring.

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II

THE HEAD VOICE

That the development of the upper, or head voice, is the most difficult as well as the most important part of the training of the singing voice, will be readily admitted by every experienced singing teacher.

That the upper voice should be produced with as much comfort as the middle or lower, is scarcely debatable.

That a majority of singers produce their upper voice with more or less difficulty, need not be argued.

Why is it that after two, three or more years of study so many upper voices are still thick, harsh and unsteady?

There is nothing in the tone world so beautiful as the male or female head voice when properly produced, and there is nothing so excruciatingly distressing as the same voice when badly produced.

The pure head voice is unique in its beauty. It is full of freedom, elasticity, spiritual exaltation. It seems to float, as it were, in the upper air without connection with a human throat. Its charm is irresistible. It is a joy alike to the singer and the listener. It is the most important part of any singer’s equipment. Why is it so difficult and why do so few have it? Various reasons are at hand.

The spirit of American enterprise has found its way into voice teaching. It is in the blood of both teacher and pupil. The slogan is “Put it over.” This calls for big tone and they do not see why they should not have it at once.

10 The ability to use the full power of the upper voice when occasion demands is necessary and right, but merely to be able to sing high and loud means nothing. All that is required for that is a strong physique and determination. Such voice building requires but little time and no musical sense whatever; but to be able to sing the upper register with full power, emotional intensity, musical quality and ease, is the result of long and careful work under the ear of a teacher whose sense of tone quality is so refined that it will detect instantly the slightest degree of resistance and not allow it to continue.

The ambitious young singer who has been told by the village oracle that she has a great voice and all she needs is a little “finishing,” balks at the idea of devoting three or four years to the process, and so she looks for some one who will do it quickly and she always succeeds in finding him. To do this work correctly the old Italians insisted on from five to eight years with an hour lesson each day. To take such a course following the modern plan of one or two half hours a week, would have the student treading on the heels of Methuselah before it was completed.

It is not always easy to make students understand that the training of the voice means the development of the musical mentality and at best is never a short process. To most of them voice culture is a physical process and as they are physically fit, why wait?

Now the fact is that there is nothing physical in voice production save the instrument, and a strong physique has no more to do with good singing than it has with good piano playing. Voice production is a mental phenomenon. It is mentality of the singer impressing itself on the vocal instrument and expressing itself through it. The idea that the vocal instrument alone without mental guidance will produce beautiful tone is as fallacious as that a grand piano will produce 11 good music whether the one at the keyboard knows how to play it or not.

Let it be understood once for all that it is the mentality of the individual, not his body, that is musical or unmusical . Both teacher and student must learn that there is much more to do mentally and much less to do physically than most people suspect. They must learn that a musical mentality is no less definite than a physical body, and is at least equally important; also that right thinking is as necessary to good voice production as it is to mathematics.

At this point there will doubtless be a strenuous objection from those who assert that tone cannot be produced without effort, and that a considerable amount of it is necessary, especially in the upper voice.

It will be readily admitted that the application of force is required to produce tone, but how much force? Certainly not that extreme physical effort that makes the singer red in the face and causes his upper tones to shriek rather than sing. Such a display of force discloses an erroneous idea of how to produce the upper voice. When there is the right relation existing between the breath and the vocal instrument, when there is the proper poise and balance of parts, no such effort is necessary. On the contrary the tone seems to flow and the effort required is only that of a light and pleasant physical exercise.

The pianist does not have to strike the upper tones any harder than the lower ones in order to bring out their full power. Why should the upper part of the voice require such prodigious effort?

Now all voices should have a head register . It is a part of nature’s equipment, and this calls for a word on the classification of voices. It ought not to be difficult to determine whether a voice is soprano, alto, tenor, baritone or bass, but I find each year a considerable number that have been misled. Why? 12 A number of things are responsible. One of the most common is that of mistaking a soprano who has a chest register for an alto. This singer finds the low register easier to sing than the upper, consequently she and her friends decide she is an alto. Thereafter she sings low songs and takes the alto part in the choir. The longer she follows this plan the less upper voice she will have, and when she goes to a teacher, unless he has a discriminating and analytical ear, he will allow her to remain in the alto class. There is always something in the fiber of a tone, even though it be badly produced, that will disclose to the trained ear what it will be when rightly produced.

Again, the human voice can produce such a variety of tone qualities that sometimes a soprano will cultivate a somber style of singing and a majority of people will call her alto. It requires a trained ear to detect what she is doing. The baritone also, because he often sings the bass part in a quartet, tries to make himself sound like a bass; this he does by singing with a somber, hollow quality which has little or no carrying power.

Another mistake is that of classifying a voice according to its compass. This is the least reliable method of all. The mere fact of having high tones does not necessarily make one a soprano, neither is a voice always to be classified as alto by reason of not being able to sing high. It is quality that decides what a voice is. Soprano is a quality. Alto is a quality. The terms tenor, baritone, bass, refer to a quality rather than a compass. These qualities are determined primarily by the construction of the organ.

But when voices are properly trained there is not so much difference in the compass as most people suppose. For example: the female head voice lies approximately within this compass 13 and altos who learn to use the real head voice will have no difficulty in vocalizing that high.

At the lower end of the voice sopranos who have a chest register will often sing as low as most altos. But whether they sing high or low it is always the quality that determines the classification of the voice.

Many lyric sopranos have no chest register, and it would be a mistake to attempt to develop one. In such voices, which rarely have anything below middle C, the middle register must be strengthened and carried down and made to take the place of the chest voice.

It must not be understood that there is but one soprano quality, one alto quality, etc. The voice is so individual that it cannot be thus limited. There are many soprano qualities between the coloratura and the dramatic, and the same is true of alto, tenor, baritone and bass.

When the voice is rightly produced, its natural quality will invariably appear, and there it must be allowed to remain. An attempt to change it always means disaster.

It will be observed that the piano string diminishes in length and thickness as the pitch rises, and the voice must do something which corresponds to this. Otherwise it will be doing that which approximates stretching the middle C string, for example, until it will produce its octave.

In discussing the head voice it is the purpose to avoid as much as possible the mechanical construction of the instrument. This may be learned from the numerous books on the anatomy and physiology of the voice. It is an interesting subject, but beyond an elementary knowledge it is of little value to the teacher. A correct knowledge of how to train the voice must be gained in the studio, not in the laboratory. Its basis is the musical sense rather than the mechanical or scientific. All of the scientific or mechanical knowledge that 14 the world has to offer is no preparation for voice training. A knowledge of the art of teaching begins when the teacher takes his first pupil, not before. Therefore the aim shall be to present the subject as it appears to the teacher.

We hear much of the value of vocal physiology as a guide to good voice production. It is also claimed that a knowledge of it will prevent the singer from misusing his voice and at the same time act as a panacea for vocal ills. These statements do not possess a single element of truth. The only way the singer can injure the vocal instrument is by forcing it. That is, by setting up a resistance in the vocal cords that prevents their normal action. If this is persevered in it soon becomes a habit which results in chronic congestion. Singing becomes increasingly difficult, especially in the upper voice, and in course of time the singer discovers that he has laryngitis. Will a knowledge of vocal physiology cure laryngitis? Never. Will it prevent any one from singing “throaty?” There is no instance of the kind on record. In a majority of cases laryngitis and other vocal ills are the direct results of bad voice production and disappear as the singer learns to produce his upper tones without resistance. These things are effects, not causes, and to destroy the effect we must remove the cause. This will be found to be a wrong habit and habits are mental, not physical. When a mental impulse and its consequent response become simultaneous and automatic the result is a habit, but it is the mental impulse that has become automatic.

The terms, tension , rigidity , interference , resistance , all mean essentially the same thing. They mean the various forms of contraction in the vocal instrument which prevents its involuntary action. If we follow these things back far enough we shall find that they all have their origin in some degree of fear. This fear, of which anxiety is a mild form, begins to show itself whenever the singer attempts tones above the compass of his 15 speaking voice. Here is undeveloped territory. The tone lacks power, quality and freedom, and as power is what the untrained singer always seeks first, he begins to force it. In a short time he has a rigid throat, and the longer he sings the more rigid it becomes. By the time he decides to go to a teacher his voice is in such a condition that he must take his upper tones with a thick, throaty quality or with a light falsetto. Among female voices I have seen many that could sing nothing but a full tone in the upper register, and that only with an unsteady, unsympathetic quality.

Now a point upon which all voice teachers can agree is that the upper voice is not properly trained until it has a perfect messa di voce that is, until the singer can swell the tone from the lightest pianissimo to full voice and return, on any tone in his compass, without a break and without sacrificing the pure singing quality. How shall this be accomplished? If the singer is forcing the upper voice it is safe to say in the beginning that it never can be done by practicing with full voice. Such practice will only fasten the habit of resistance more firmly upon the singer. To argue in the affirmative is equivalent to saying that the continued practice of a bad tone will eventually produce a good tone.

There is but one way to the solution of the problem; the singer must get rid of resistance. When he has succeeded in doing that the problem of the head voice is solved. The bugaboo of voice placing permanently disappears. The difficulty so many have in placing the upper voice lies in this, that they try to do it without removing the one thing which prevents them from doing it. When the voice is free from resistance it places itself, that is, it produces without effort whatever quality the singer desires. The term “head voice,” doubtless grew out of the sensation in the head which accompanies the upper tones, and this sensation is the result of the vibration of the air in 16 the air head cavities. Many have taken this sensation as a guide to the production of the head voice, and in order to make sure of it they instruct the student to direct the tone into the head. This is not only an uncertain and unnecessary procedure, but is almost sure to develop a resistance which effectually prevents the tone from reaching the head cavities. When there is no interference the tone runs naturally into the proper channel. It is not necessary to use force to put it there.

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III

A GENERAL SURVEY OF THE SITUATION

The singing world is confronted with a situation unique in its humor. On every side we hear the lachrymose lament that voice training is in a chaotic condition, that bel canto is a lost art, and that the golden age of song has vanished from the earth.

The unanimity of this dolorous admission would seem to be a sad commentary on the fraternity of voice teachers; but here enters the element of humor. There is not recorded a single instance of a voice teacher admitting that his own knowledge of the voice is chaotic. He will admit cheerfully and oftentimes with ill concealed enthusiasm that every other teacher’s knowledge is in a chaotic condition, but his own is a model of order and intelligence.

If we accept what voice teachers think of themselves the future looks rosy. If we accept what they think of each other the future is ominous and the need for reform is dire and urgent.

But if a reform be ordered where shall it begin? Obviously among the teachers themselves. But judging from the estimate each one puts upon himself how shall we reform a thing which is already perfect? On the other hand, if we take the pessimistic attitude that all teachers are wrong will it not be a case of the blind leading the blind, in which instance their destination is definitely determined somewhere in the New Testament. Verily the situation is difficult. Nevertheless it is not altogether hopeless. The impulse to sing still remains. 29 More people are studying singing, and more people sing well today than at any other time in the history of the world. The impulse to sing is as old as the human race. When the joy of life first welled up within man and demanded utterance the vocal instrument furnished by nature was ready to respond and the art of singing began, and if we may venture a prophecy it will never end in this world or the next. It cannot be destroyed even by the teachers themselves. It is this natural, inborn desire to sing that is directly responsible for the amazing perseverance of many vocal students. If after a year or two of study they find they are wrong they are not greatly disturbed, but select another teacher, firm in the faith that eventually they will find the right one and be safely led to the realization of their one great ambition—to be an artist. It is this that has kept the art alive through the centuries and will perpetuate it. This impulse to sing is something no amount of bad teaching can destroy.

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IV

HINTS ON TEACHING

Every year a large number of young men and women go in quest of a singing teacher. The impulse to sing, which is inborn, has become so insistent and irrepressible that it must be heeded; and the desire to do things well, which is a part of the mental equipment of every normal human being, makes outside assistance imperative. Wherever there is a real need the supply is forthcoming, so there is little difficulty in finding some one who is ready, willing, in fact rather anxious, to undertake the pleasant task of transforming these enthusiastic amateurs into full-fledged professionals.

The meeting of the teacher and student always takes place in the studio, and it is there that all vocal problems are solved. Let no one imagine that any vocal problem can be solved in a physics laboratory. Why? Because not one of the problems confronting the vocal student is physical. They are all mental. The writer has reached this conclusion not from ignoring the physical, but from making a comprehensive study of the vocal mechanism and its relation to the singer.

The anatomy and physiology of the vocal mechanism are absorbing to one who is interested in knowing how man, through untold centuries of growth has perfected an instrument through which he can express himself; but no matter how far we go in the study of anatomy and physiology all we really 39 learn is what mind has done. If man has a more perfect and highly organized vocal instrument than the lower animals it is because his higher manifestation of mind has formed an instrument necessary to its needs.

When man’s ideas and needs were few and simple his vocabulary was small, for language is the means by which members of the species communicate with each other. Whenever man evolved a new idea he necessarily invented some way of communicating it, and so language grew. A word is the symbol of an idea, but invariably the idea originates the word. The word does not originate the idea. The idea always arrives first. All we can ever learn from the study of matter is phenomena, the result of the activity of mind.

Thus we see that so called “scientific study” of the vocal mechanism is at best, but a study of phenomena. It creates nothing. It only discovers what is already taking place, and what has been going on indefinitely without conscious direction will, in all probability, continue.

The value attached by some to the study of vocal physiology is greatly overestimated. In fact its value is so little as to be practically negligible. It furnishes the teacher nothing he can use in giving a singing lesson, unless, perchance he should be so unwise as to begin the lesson with a talk on vocal mechanism, which, by the way, would much better come at the last lesson than the first. All we can learn from the study of vocal physiology is the construction of the vocal instrument, and this bears the same relation to singing that piano making bears to piano playing. The singer and his instrument are two different things, and a knowledge of the latter exerts very little beneficial influence on the former.

To reach a solution of the vocal problem we must understand the relation existing between the singer and his instrument.

The singer is a mentality, consequently everything he does 40 is an activity of his mentality. Seeing, hearing, knowing, is this mentality in action. The two senses most intimately associated with artistic activity are seeing and hearing, and these are mental. In painting, sculpture, and architecture we perceive beauty through the eye. In music it reaches us through the ear; but the only thing that is cognizant is the mind . To man the universe consists of mental impressions, and that these impressions differ with each individual is so well understood that it need not be argued. Two people looking at the same picture will not see exactly the same things. Two people listening to a musical composition may hear quite different things and are affected in different ways, because it is the mind that hears , and as no two mentalities are precisely the same, it must be apparent that the impressions they receive will be different. The things these mentalities have in common they will see and hear in common, but wherein they differ they will see and hear differently. Each will see and hear to the limit of his experience, but no further.

To be a musician one must become conscious of that particular thing called music. He must learn to think music. The elements of music are rhythm, melody, harmony, and form, and their mastery is no less a mental process than is the study of pure mathematics.

The human mind is a composite. It is made up of a large number of faculties combined in different proportions. The germs of all knowledge exist in some form and degree in every mind. When one faculty predominates we say the individual has talent for that particular thing. If the faculty is abnormally developed we say he is a genius, but all things exist as possibilities in every mind. Nature puts no limitations on man. Whatever his limitations, they are self imposed, nature is not a party to the act.

Now this is what confronts the teacher whenever a student 41 comes for a lesson. He has before him a mentality that has been influenced not only by its present environment, but by everything that has preceded it. “Man is,” as an old philosopher said, “a bundle of habits,” and habits are mental trends. His point of view is the product of his experience, and it will be different from that of every one else. The work of the teacher is training this mentality. Understanding this it will be seen how futile would be a fixed formula for all students, and how necessarily doomed to failure is any method of voice training which makes anatomy and physiology its basis. Further, there is much to be done in the studio beside giving the voice lesson. Whistler said that natural conditions are never right for a perfect picture. From the picture which nature presents the artist selects what suits his purpose and rejects the rest. It is much the same in the training of a singer. In order that the lesson be effective the conditions must be right. This only rarely obtains in the beginning. The student’s attitude toward the subject must be right or the lesson will mean little to him. The lesson to be effective must be protected by honesty , industry and perseverance . If these are lacking in various degrees, as they often are, little progress will be made. If the student is studying merely for “society purposes,” not much can be expected until that mental attitude is changed. Students always want to sing well, but they are not always willing to make the sacrifice of time and effort; consequently they lack concentration and slight their practice. Sometimes the thought uppermost in the student’s mind is the exaltation of the ego, in other words, fame. Sometimes he measures his efforts by the amount of money he thinks he may ultimately earn, be it great or small. Sometimes he overestimates himself, or what is equally bad, underestimates himself. It is a very common thing to find him putting limitations on himself and telling of the few things he will be able to do and the large number he 42 never will be able to do, thus effectually barring his progress. Then there is always the one who is habitually late. She feels sure that all of the forces of nature are leagued in a conspiracy to prevent her from ever being on time anywhere. She, therefore, is guiltless. There is another one who is a riot of excuses, apologies and reasons why she has not been able to practice. Her home and neighborhood seem to be the special object of providential displeasure, which is manifested in an unbroken series of calamitous visitations ranging from croup to bubonic plague, each one making vocal practice a physical and moral impossibility.

All of these things are habits of mind which must be corrected by the teacher before satisfactory growth may be expected. In fact he must devote no inconsiderable part of his time to setting students right on things which in themselves are no part of music, but which are elements of character without which permanent success is impossible.

A great musical gift is of no value unless it is protected by those elements of character which are in themselves fundamentally right. Innumerable instances could be cited of gifted men and women who have failed utterly because their gifts were not protected by honesty, industry and perseverance.

I have spoken at some length of the importance of the right mental attitude toward study and the necessity of correcting false conceptions. Continuing, it must be understood that the work of the teacher is all that of training the mind of his student. It is developing concepts and habits of mind which when exercised result in beautiful tone and artistic singing. It must also be understood that the teacher does not look at the voice, he listens to it. Here voice teachers automatically separate themselves from each other. No two things so 43 diametrically opposite as physics and metaphysics can abide peaceably in the same tent.

Let me emphasize the statement that the teacher does not look at the voice, he listens to it . The teacher who bases his teaching on what he can see, that is, on watching the singer and detecting his mistakes through the eye, is engaged in an activity that is mechanical, not musical. No one can tell from observation alone whether a tone is properly produced. A tone is something to hear, not something to see, and no amount of seeing will exert any beneficial influence on one’s hearing.

The process of learning to read vocal music at sight is that of learning to think tones , to think in the key , and to think all manner of intervals and rhythmic forms . It is altogether mental, and it is no less absurd to hold that a knowledge of anatomy is necessary to this than it is essential to the solution of a mathematical problem. The formation of tone quality is no less a mental process than is thinking the pitch. If the student sings a wrong pitch it is because he has thought a wrong pitch, and this is true to a large extent at least, if his tone quality in not good. He may at least be sure of this, that he never will sing a better tone than the one he thinks .

A large part of the vocal teacher’s training should be learning how to listen and what to listen for. This means training the ear, which is the mind, until it is in the highest degree sensitive to tone quality as well as to pitch. When there is a failure in voice training it may be counted upon that the teacher’s listening faculty is defective. The gist of the whole thing is what the teacher’s ear will stand for. If a tone does not offend his ear he will allow it to continue. If it does offend his ear he will take measures to stop it.

More is known of vocal mechanism today than at any other time in the world’s history, and yet who dares to say that voice teaching has been improved by it? Is voice teaching any more 44 accurate now than it was a hundred years ago? Did the invention of the laryngoscope add anything of value to the voice teacher’s equipment? No. Even the inventor of it said that all it did was to confirm what he had always believed. An enlarged mechanical knowledge has availed nothing in the studio. The character of the teacher’s work has improved to the degree in which he has recognized two facts—first, the necessity of developing his own artistic sense as well as that of his pupil, second, that the process of learning to sing is psychologic rather than physiologic.

When the student takes his first singing lesson what does the teacher hear? He hears the tone the student sings, but what is far more important, he hears in his own mind the tone the student ought to sing. He hears his own tone concept and this is the standard he sets for the student. He cannot demand of him anything beyond his own concept either in tone quality or interpretation.

Young teachers and some old ones watch the voice rather than listen to it. At the slightest deviation from their standard of what the tongue, larynx, and soft palate ought to do they pounce upon the student and insist that he make the offending organ assume the position and form which they think is necessary to produce a good tone. This results in trying to control the mechanism by direct effort which always induces tension and produces a hard, unsympathetic tone.

The blunder here is in mistaking effect for cause. The tongue which habitually rises and fills the cavity of the mouth does so in response to a wrong mental concept of cause. The only way to correct this condition is to change the cause. The rigid tongue we see is effect, and to tinker with the effect while the cause remains is unnecessarily stupid. An impulse of tension has been directed to the tongue so often that the impulse and response have become simultaneous and automatic. 45 The correction lies in directing an impulse of relaxation to it. When it responds to this impulse it will be found to be lying in the bottom of the mouth, relaxed, and ready to respond to any demand that may be made upon it. To try to make the tongue lie in the bottom of the mouth by direct effort while it is filled with tension is like trying to sweep back the tide with a broom. The only way to keep the tide from flowing is to find out what causes it to flow and remove the cause. The only way to correct faulty action of any part of the vocal mechanism is to go back into mentality and remove the cause. It will always be found there.

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V

THE NATURE AND MEANING OF ART

A large percentage of the population of the civilized world has more or less to do with what is called art. In its various forms art touches in some degree practically the entire human race. Its various activities have developed great industries, and for the entertainment it affords fabulous sums of money are spent.

What is this thing called art which takes such a hold upon the human race? If it has no social or economic value then a vast amount of time and money are wasted each year in its study and practice. A brief inquiry into the nature and meaning of art may well be associated with a discussion of the art of singing.

Art as a whole comes under the head of Aesthetics, which may be defined as the philosophy of taste, the science of the beautiful.

It will doubtless be admitted without argument that ever since the dawn of consciousness the visible world has produced sense impressions differing from each other—some pleasant, some unpleasant. From these different sense impressions there gradually evolved what is known as beauty and ugliness. An attempt to discover the principles underlying beauty and ugliness resulted in Aesthetics, the founder of which was Baumgarten (1714-1762).

It will be interesting to hear what he and the later aestheticians have to say about art. Most of them connect it in 65 some way with that which is beautiful, that is, pleasing, but they do not all agree in their definition of beauty.

Baumgarten defined beauty as the perfect, the absolute, recognized through the senses. He held that the highest embodiment of beauty is seen by us in nature, therefore the highest aim of art is to copy nature.

Winkelmann (1717-1768) held the law and aim of art to be beauty independent of goodness. Hutcheson (1694-1747) was of essentially the same opinion.

According to Kant (1724-1804) beauty is that which pleases without the reasoning process.

Schiller (1758-1805) held that the aim of art is beauty, the source of which is pleasure without practical advantage.

These definitions do not wholly satisfy. They do not accord to art the dignified position it should hold in social development. But there are others who have a clearer vision. Fichte (1762-1814) said that beauty exists not in the visible world but in the beautiful soul, and that art is the manifestation of this beautiful soul, and that its aim is the education of the whole man.

In this we begin to see the real nature and activity of art. There are other aestheticians who define art in much the same way.

Shaftesbury (1670-1713) said that beauty is recognized by the mind only. God is fundamental beauty.

Hegel (1770-1831) said: “Art is God manifesting himself in the form of beauty. Beauty is the idea shining through matter. Art is a means of bringing to consciousness and expressing the deepest problems of humanity and the highest truths.” According to Hegel beauty and truth are one and the same thing.

Thus we see that the great thinkers of the world make art of supreme importance in the perfecting of the human race. 66 They all agree that art is not in material objects, but is a condition and activity of spirit. They agree in the main that beauty and truth emanate from the same source. Said Keats:

Said Schelling: “Beauty is the perception of the Infinite in the finite.”

But perhaps the highest concept of art is from the great artist Whistler. He said: “Art is an expression of eternal absolute truth, and starting from the Infinite it cannot progress, IT IS .”

Art in some form and in some degree finds a response in every one. Why? Because every one consciously or unconsciously is looking toward and striving for perfection. This is the law of being. Every one is seeking to improve his condition, and this means that in some degree every one is an idealist. Ever since time began idealism has been at work, and to it we owe every improved condition—social, political and religious.

Hegel believed that the aim of art is to portray nature in perfect form, not with the imperfections seen around us; and Herbert Spencer defined art as the attempt to realize the ideal in the present. The artist tries to make his picture more perfect than what he sees around him. The poet, the sculptor, the musician, the craftsman, the mechanic, are all striving for a more perfect expression, because perfection is the fundamental, eternal law of being.

Wagner said: “The world will be redeemed through art,” and if Whistler’s definition be accepted he is not far from the truth.

The important thing to remember is that art is not a mere pastime, but a great world force operating to lift mortals out of mortality. It is the striving of the finite to reach the Infinite.

67 In human history art, no less than languages, has conformed to the theory of evolution. Language in the beginning was monosyllabic. Far back in the early dawn of the race, before the development of the community spirit, when feelings, emotions, ideas, were simple and few the medium of expression was simple, and it grew with the demand for a larger expression.

This same process of evolution is seen in the growth of each individual. The child, seeing grimalkin stalk stealthily into the room, points the finger and says “cat.” This is the complete expression of itself on that subject. It is the sum total of its knowledge of zoology at that particular moment; and a long process of development must follow before it will refer to the same animal as a “Felis Domestica.”

In a similar way musical expression keeps step with musical ideas. In the beginning musical ideas were short, simple, fragmentary, monosyllabic, mere germs of melody (adherents of the germ theory will make a note of this). The Arab with his rudimentary fiddle will repeat this fragment of melody by the hour, while a company of his unlaundered brethren dance, until exhausted, in dust to their ankles, with the temperature near the boiling point. This musical monosyllable is ample to satisfy his artistic craving. In other words it is the complete musical expression of himself.

The following is a complete program of dance music for the aborigines of Australia. The repetition of this figure may continue for hours. If it were inflicted on a metropolitan audience it would result in justifiable homicide, but to the Australian it furnishes just the emotional stimulus he desires.

68 This one from Tongtoboo, played Allegro, would set the heels of any company, ancient or modern, in motion.

These people may be said to be in the rhythmic stage of music, that is, a stage of development in which a rhythmic movement which serves to incite the dance furnishes complete artistic satisfaction.

As it is a long distance from the monosyllabic expression of the child to the point where he can think consecutively in polysyllabic dissertation, so it is an equally long distance from the inarticulate musical utterances of the barbarous tribes to the endless melodies of Wagner, which begin at 8 P. M. and continue until 12.15 A. M. without repetition.

Following the course of music from the beginning we shall see that it has kept pace with civilization. As the race has grown mentally it has expressed itself in a larger and more perfect way in its literature, its painting and music. Physically the race has not grown perceptibly in the last five thousand years, but mentally its growth can scarcely be measured. If we follow each nation through the past thousand years we shall see that its art product has not only kept pace with its development, but that in its art we may see all of its racial characteristics, those habits of mind which are peculiarly its own. A nation left to itself will develop a certain trend of thought which will differentiate it from all other nations. A trend of thought which will affect its art, literature, politics, religion, and in course of time will produce marked physical characteristics. This is noticeable in all nations which have lived long unto themselves.

But modern methods of communication are destroying this. As nations are brought into closer contact with each other they 69 begin to lose their peculiarities. The truth of this statement may be seen in the fact that in the past fifty years composers all over the world have been affected by the modern German school of composition. Not one has escaped. While a nation lived unto itself it could preserve its national life in its art, but more and more the life of each nation is becoming a composite of the life of all nations. The musical output of the world shows this unmistakably.

What will be the music of the future? We know the music of yesterday and today, but the music of the future can be foretold only by the prophet whose vision is clear enough to see unmistakably what the trend of civilization will be during the coming years. There are mighty forces operating in the world today. If they succeed in bringing humanity to a saner, more normal state of mind, to a clearer realization of what is worth while and what is worthless, then all art will become purer and more wholesome, more helpful and necessary, and music speaking a language common to all will be supreme among the arts.

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VI

SINGING AS AN ART

“Art is a transfer of feeling” said Tolstoy. While this applies to art in general it has a particular application to the art of singing. The material of the singer’s art is feeling. By means of the imagination he evokes within himself feelings he has experienced and through the medium of his voice he transfers these feelings to others. By his ability to reconstruct moods, feelings and emotions within himself and express them through his voice, the singer sways multitudes, plays upon them, carries them whithersoever he will from the depths of sorrow to the heights of exaltation. His direct and constant aim is to make his hearers feel , and feel deeply. As a medium for the transfer of feeling the human voice far transcends all others. Since the beginning of the human race the voice has been the means by which it has most completely revealed itself, but the art is not in the voice, but in the feeling transferred. It is the same whether the medium be the voice, painting, sculpture, poetry or a musical instrument. We speak of a painting as being a great work of art, but the art is not in the painting, the art is the feeling of beauty which the painting awakes in the observer. When we listen to an orchestra the music is what we feel. Said Walt Whitman: “Music is what awakes within us when we are reminded by the instruments.”

Nothing exists separate from cognition. Real art therefore consists of pure feeling rather than of material objects. If the singer succeeds in transferring his feelings to others he is an artist , this regardless of whether his voice is great or small. 71 Voice alone does not constitute an artist. One must have something to give. Schumann said: “The reason the nightingale sings love songs and the lap dog barks is because the soul of the nightingale is filled with love and that of the lap dog with bark.” It will be apparent therefore, that the study of the art of singing should devote itself to developing in the singer the best elements of his nature—all that is good, pure and elevating. We have no right to transfer to others any feeling that is impure or unwholesome. The technic of an art is of small moment compared with its subject matter. An unworthy poem cannot be purified by setting it to music no matter how beautiful the music may be.

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VII

THE CONSTRUCTION OF A SONG.

When you listen to a song and at its close say, “That is beautiful,” do you ever stop and try to discover why it is beautiful? The quest may lead you far into the field of Aesthetics, and unless you are accustomed to psychological processes you may find yourself in a maze from which escape is difficult. Let us remember that in studying the construction of a song we are dealing with states of mind. A song is the product of a certain mood and its direct aim is to awaken a similar mood in others.

It is a well established fact that sound is the most common and the most effective way of expressing and communicating the emotions, not only for man but for the lower animals as well. This method of communication doubtless began far back in the history of the race and was used to express bodily pain or pleasure.

The lower animals convey their feelings to each other by sounds, not by words, and these sounds awaken in others the same feeling as that which produced them.

We see, then, that emotion may be expressed by sound and be awakened by sound, and this obtains among human beings no less than among the lower animals. In the long process of ages sound qualities have become indissolubly associated with emotional states, and have become the most exciting, the most powerful sense stimulus in producing emotional reactions. The cry of one human being in pain will excite 81 painful emotions in another. An exclamation of joy will excite a similar emotion in others, and so on through the whole range of human emotions.

Herbert Spencer holds that the beginning of music may be traced back to the cry of animals, which evidently has an emotional origin and purpose. It is a far cry from the beginning of music as described by Spencer to the modern art song, but from that time to this the principle has remained the same. The emotional range of the lower animals is small, doubtless limited to the expression of bodily conditions, but the human race through long ages of growth has developed an almost unlimited emotional range, hence the vehicle for its expression has of necessity increased in complexity.

To meet this demand music as a science has evolved a tone system. That is, from the infinite number of tones it has selected something over a hundred having definite mathematical relationships, fixed vibrational ratios. The art of music takes this system of tones and by means of combinations, progressions and movements which constitute what is called musical composition, it undertakes to excite a wide variety of emotions.

The aim and office of music is to create moods. It does not arrive at definite expression. There is no musical progression which is universally understood as an invitation to one’s neighbor to pass the bread. The pianist cannot by any particular tone combination make his audience understand that his left shoe pinches, but he can make them smile or look serious. He can fill them with courage or bring them to tears without saying a word. In listening to the Bach B Minor Mass one can tell the Sanctus from the Gloria in Excelsis without knowing a word of Latin. The music conveys the mood unmistakably.

A song is a union of music and poetry, a wedding if you please and as in all matrimonial alliances the two contracting parties should be in harmony. The poem creates a mood not alone by 82 what it expresses directly but by what it implies, what it suggests. Its office is to stimulate the imagination rather than to inform by direct statement of facts. The office of music is to strengthen, accentuate, and supplement the mood of the poem, to translate the poem into music. The best song then, will be one in which both words and music most perfectly create the same mood.

Arnold Bennett’s definition of literature applies equally well to the song. He says: “That evening when you went for a walk with your faithful friend, the friend from whom you hid nothing—or almost nothing—you were, in truth, somewhat inclined to hide from him the particular matter which monopolized your mind that evening, but somehow you contrived to get on to it, drawn by an overpowering fascination. And as your faithful friend was sympathetic and discreet, and flattered you by a respectful curiosity, you proceeded further and further into the said matter, growing more and more confidential, until at last you cried out in a terrific whisper: ‘My boy she is simply miraculous:’ At that moment you were in the domain of literature.” Now when such impassioned, spontaneous utterance is brought under the operation of musical law we have a perfect song. The composer furnished the words and music, but the thing which makes it a song comes from the singer, from the earnestness and conviction with which he delivers the message.

Songs are divided into two general classes: those expressing the relationships of human beings, such as love, joy, sorrow, chivalry, patriotism, etc., and those expressing the relationship of man to his creator; veneration, devotion, praise, etc. The two great sources of inspiration to song writers have always been love and religion.

What are the principles of song construction? They are all comprised in the law of fitness. The composer must do what 83 he sets out to do. The materials with which he has to work are rhythm, melody and harmony. The most important thing in a song is the melody. This determines to a very great extent the health and longevity of the song. Most of the songs that have passed the century mark and still live do so by reason of their melody. There must be a sense of fitness between the poem and the melody. A poem which expresses a simple sentiment requires a simple melody. A simple story should be told simply. If the poem is sad, joyous, or tragic the melody must correspond. Otherwise the family discords begin at once. Poetry cannot adapt itself to music, because its mood is already established. It is the business of the composer to create music which will supplement the poem. A lullaby should not have a martial melody, neither should an exhortation to lofty patriotism be given a melody which induces somnolence.

The same sense of fitness must obtain in the accompaniment. The office of the accompaniment is not merely to keep the singer on the pitch. It must help to tell the story by strengthening the mood of the poem. It must not be trivial or insincere, neither must it overwhelm and thus draw the attention of the listeners to itself and away from the singer.

The accompaniment is the clothing, or dress, of the melody. Melodies, like people, should be well dressed but not over dressed. Some melodies, like some people, look better in plain clothes than in a fancy costume. Other melodies appear to advantage in a rich costume. Modern songwriters are much inclined to overdress their melodies to the extent that the accompaniment forces itself upon the attention to the exclusion of the melody. Such writing is as incongruous as putting on a dress suit to go to a fire.

The significance of the theme should indicate the nature of the accompaniment. To take a simple sentiment and overload 84 it with a modern complex harmonic accompaniment is like going after sparrows with a sixteen inch siege gun.

Comedy in the song should not be associated with tragedy in the accompaniment. A lively poem should not have a lazy accompaniment. The great songwriters were models in this respect. This accounts for their greatness. Take for example Schubert’s Wohin and Der Wanderer , Schumann’s Der Nussbaum , Brahms’ Feldeinsamkeit . These accompaniments are as full of mood as either poem or melody.

The element of proportion enters into songwriting no less than into architecture. A house fifteen by twenty feet with a tower sixty feet high and a veranda thirty feet wide would be out of proportion. A song with sixty-four measures of introduction and sixteen measures for the voice would be out of proportion. Making a song is similar to painting a landscape. In the painting the grass, flowers, shrubbery etc., are in the foreground, then come the hills and if there be a mountain range it is in the background. If the mountain range were in the foreground it would obscure everything else. So in making a song. If it tells a story and reaches a climax the climax should come near the end of the song. When the singer has carried his audience with him up to a great emotional height then all it needs is to be brought back safely and quickly to earth and left there.

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VIII

HOW TO STUDY A SONG

First determine the general character of the song. A careful study of the words will enable the student to find its general classification. It may be dramatic, narrative, reminiscent, introspective, contemplative, florid, sentimental.

The following are examples:

Dramatic, The Erl King , Schubert.

Narrative, The Two Grenadiers , Schumann.

Reminiscent, Der Doppelgänger , Schubert.

Florid, Indian Bell Song , from Lakme, Delibes.

Introspective, In der Frühe , Hugo Wolf.

Contemplative, Feldeinsamkeit , Brahms.

Songs of sentiment. This includes all songs involving the affections and the homely virtues.

To these might be added songs of exaltation, such as Beethoven’s “Nature’s Adoration.” Character songs, in which the singer assumes a character and expresses its sentiments. A good example of this is “The Poet’s Love” cycle by Schumann. Classifying the song in this way is the first step toward discovering its atmosphere. There is always one tempo at which a song sounds best and this tempo must grow out of a thorough understanding of its character. Metronome marks should be unnecessary. Intelligent study of a song will unerringly suggest the proper tempo.

Next, study the poem until it creates the mood. Read it, not once, but many times. Imbibe not only its intellectual but its emotional content. It is the office of poetry to stimulate 87 the imagination. It is under the influence of this stimulus that songs are written, and under its influence they must be sung. Hugo Wolf said that he always studied the poem until it composed the music. This means that he studied the poem until he was so filled with its mood that the proper music came of itself. Fix in mind the principal points in the poem and the order in which they occur. There usually is development of some kind in a poem. Learn what it is. Notice which part of the poem contains the great or central idea. Read it aloud. Determine its natural accent. The singing phrase grows out of the spoken phrase. Singing is elongated, or sustained, speech, but it should be none the less intelligent by reason of this.

Now adapt the words to the music. If the music has grown out of the words as it should, it will follow the development of the poem and give it additional strength.

By this time one should be in the mood of the song, and he should not emerge from it until the song is finished. If one is filled with the spirit of the song, is sincere and earnest, and is filled with a desire to express what is beautiful and good he will not sing badly even if his voice be ordinary.

The composer may do much toward creating the mood for both singer and listener by means of his introduction. The introduction to a song is not merely to give the singer the pitch. It is for the purpose of creating the mood. It may be reminiscent of the principal theme of the song, it may consist of some fragment of the accompaniment, or any other materials which will tend to create the desired mood.

In the introduction to Rhein-gold where Wagner wishes to portray a certain elemental condition he uses 136 measures of the chord of E flat major.

In Feldeinsamkeit (The Quiet of the Fields) where the mood is such as would come to one lying in the deep grass in the field 88 watching “the fair white clouds ride slowly overhead,” in a state of complete inaction, Brahms establishes the mood by this treatment of the major chord.

In Der Wanderer (The Wanderer) Schubert uses this musical figure to indicate the ceaseless motion of one condemned to endless wandering.

In The Maid of the Mill cycle where the young miller discovers the brook Schubert uses this figure, which gives a clear picture of a chattering brooklet. This figure continues throughout the song.

In the song On the Journey Home , which describes the feelings of one who, after a long absence returns to view the “vales and mountains” of his youth, Grieg, with two measures of introduction grips us with a mood from which we cannot escape.

89 But one of the most striking examples of the operation of genius is Schubert’s introduction to Am Meer (By the Sea). Here with two chords he tells us the story of the lonely seashore, the deserted hut, the tears, the dull sound of breakers dying on a distant shore, and all around the unfathomable mystery of the mighty deep.

Classic song literature is full of interesting examples of this kind. If we learn how to study the works of these great ones of the earth we shall see how unerring is the touch of genius, and some day we shall awaken to see that these kings and prophets are our friends, and that they possess the supreme virtue of constancy.

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IX

SCIENTIFIC VOICE PRODUCTION

He who studies the voice in a physics laboratory naturally considers himself a scientific man, and those teachers who make his discoveries the basis of their teaching believe they are teaching the science of voice production. The scientist says: “Have I not studied the voice in action? I have seen, therefore I know.” But the element of uncertainty in what he has seen makes his knowledge little more than speculative. But suppose he is sure of what he has seen. Of what importance is it? He has seen a vocal organ in the act of producing tone under trying conditions, for one under the conditions necessary to the use of the laryngoscope is not at all likely to reach his own standard of tone production.

Scientists would have us believe that the action of the vocal mechanism is the same in all voices. This claim must necessarily be made or there would be no such thing as scientific production. But of all the vocal vagaries advanced this has the least foundation in fact.

Scientifically and artistically speaking there is no such thing at present as perfect voice, and there will be no such thing until man manifests a perfect mind. The best examples of voice production are not altogether perfect, and most of them are still a considerable distance from perfection. It is with these imperfect models that the scientific man in dealing and on which he bases his deductions.

Be it right or wrong singers do not all use the vocal mechanism in the same way. I have in mind two well known contraltos one of whom carried her chest register up to A, and even 91 to B flat occasionally. The other carried her middle register down to the bottom of the voice. Can the tenor who carries his chest voice up to be said to use his voice in the same way as one who begins his head voice at ?

In the examination of a hundred voices selected at random all manner of different things would be observed. Perhaps this is responsible for the great diversity of opinion among scientists, for it must be said that so far there is little upon which they agree. Before absolute laws governing any organ or instrument can be formulated the nature of the instrument must be known. The scientists have never come anywhere near an agreement as to what kind of an instrument man has in his throat. They have not decided whether it is a stringed instrument, a brass, a single or double reed, and these things are vital in establishing a scientific basis of procedure. Not knowing what the instrument is, it is not strange that we are not of one mind as to how it should be played upon.

If we are to know the science of voice production we must first know the mechanism and action of the vocal organ. This instrument, perhaps an inch and a half in length, produces tones covering a compass, in rare instances, of three octaves. How does it do it? According to the books, in a variety of ways.

A majority of those voice teachers who believe in registers recognize three adjustments, chest middle, and upper, or chest medium, and head, but Dr. MacKenzie claims that in four hundred female voices which he examined he found in most cases the chest mechanism was used throughout. Mancini (1774) says there are instances in which there is but one register used throughout.

Garcia says there are three mechanisms—chest, falsetto, and head, and makes them common to both sexes.

92 Behnke divides the voice into five registers—lower and upper thick, lower and upper thin, and small.

Dr. Guilmette says that to hold that all of the tones of the voice depend on one mechanism or register is an acknowledgment of ignorance of vocal anatomy. He further declares that the vocal cords have nothing to do with tone—that it is produced by vibration of the mucous membrane of the trachea, larynx, pharynx, mouth; in fact, all of the mucous membrane of the upper half of the body.

When it comes to the falsetto voice, that scarehead to so many people who have no idea what it is, but are morally sure it is wicked and ungodly, the scientists give their imaginations carte blanche. Dr. Mackenzie, who says there are but two mechanisms, the long and short reed, says the falsetto is produced by the short reed.

Lehfeldt and Muller hold that falsetto is produced by the vibrations of the inner edges or mucous covering of the vocal cords, the body of the cords being relaxed.

Mr. Lunn feels sure that the true vocal cords are not involved in falsetto, that voice being produced by the false vocal cords.

Mantels says that in the falsetto voice the vocal cords do not produce pitch, that the quality and mechanism are both that of the flute, that the cords set the air in vibration and the different tones are made by alterations in the length of the tube.

Davidson Palmer says that the falsetto is the remnant of the boy’s voice which has deteriorated through lack of use, but which is the correct mechanism to be used throughout the tenor voice.

Mr. Chater argues along the same lines as Mr. Mantels except that he makes the instrument belong to the clarinet or oboe class. Others believe the vocal cords act as the lips do in playing a brass instrument.

93 But the action of the vocal cords is but the first part of the unscientific controversy. What takes place above the vocal cords is equally mystifying. The offices of the pharynx, the mouth, the nasal cavities, the entire structure of the head in fact, are rich in uncertainties.

Some think the cavities of the pharynx and head are involved acoustically and in some way enlarge, refine and purify the tone, but one famous man says the head has nothing whatever to do with it. Another gentleman of international reputation says the nose is the most important factor in singing. If your nasal cavities are right you can sing, otherwise you cannot.

And so this verbal rambling continues; so the search for mind in matter goes on, with a seriousness scarcely equalled in any other line of strife. There is nothing more certain to permanently bewilder a vocal student than to deluge him with pseudo-scientific twaddle about the voice. And this for the simple reason that he comes to learn to sing, not for a course in anatomy.

What is scientific voice production? Books without number have been written with the openly expressed intention to give a clear exposition of the subject, but the seeker for a scientific method soon finds himself in a maze of conflicting human opinions from which he cannot extricate himself.

We are told with much unction and warmth that science means to know. That it is a knowledge of principles or causes, ascertained truths or facts. A scientific voice teacher then must know something. What must he know? Books on scientific voice production usually begin with a picture of the larynx, each part of which is labeled with a Greek word sometimes longer than the thing itself. It then proceeds to tell the unction of each muscle and cartilage and the part it plays in 94 tone production. Now if this is scientific, and if science is exact knowledge, and this exact knowledge is the basis of scientific voice teaching, then every one who has a perfect knowledge of these facts about the voice, must in the eternal and invariable nature of facts be a perfect voice teacher, and every one of these perfect voice teachers must teach in exactly the same way and produce exactly the same results. Does history support this argument? Quite the reverse.

There is a science of acoustics, and in this science one may learn all about tones, vibrating bodies, vibrating strings, vibrating cavities, simple, compound and complex vibrations. Will this knowledge make him a scientific voice teacher? When he has learned all of this he has not yet begun to prepare for voice teaching. There is no record of a great voice teacher having been trained in a physics laboratory.

It is possible to analyze a tone and learn how fundamental and upper partials are combined and how these combinations affect quality. Does this constitute scientific voice production? This knowledge may all be gained from the various hand books on acoustics. Has any one the hardihood to assert that such knowledge prepares one for the responsible work of training voices? One may know all of this and still be as ignorant of voice training as a Hottentot is of Calvinism.

Further, who shall decide which particular combination of fundamental and upper partials constitutes the perfect singing tone? If a tone is produced and we say, there is the perfect tone, all it proves is that it corresponds to our mental concept of tone. It satisfies our ear, which is another term for our taste.

Can a tone be disagreeable and still be scientifically produced? One combination of fundamental and overtones is, strictly speaking, just as scientific as another combination. The flute tone with its two overtones is just as scientific as the string tone with its six or eight. A tone is pleasant or disagreeable 95 according as it corresponds to a mental demand. Even the most hardened scientist would not call a tone which offends his ear scientific. Therefore he must first produce, or have produced the tone that satisfies his ear. The question then naturally arises—when he has secured the tone that satisfies his ear of what value beyond satisfying his curiosity is a physical analysis? A tone is something to hear, and when it satisfies the ear that knows, that in itself is unmistakable evidence that it is rightly produced.

If this scientific knowledge of tone is necessary then every great artist in the world is unscientific, because not one of them makes any use whatsoever of such knowledge in his singing.

No. All of the scientific knowledge one may acquire is no guaranty of success as a teacher, but is rather in the nature of a hindrance, because it is likely to lead him into mechanical ways of doing things. Further, the possession of such knowledge is no indication that one will use it in his teaching. How much of such knowledge can one use in teaching? How can he tell, save from the tone itself whether the pupil is producing it scientifically? It is a well established fact that the more the teacher tries to use his scientific information in teaching the less of an artist he becomes.

Could it be possible that a beautiful tone could be produced contrary to the laws of science? It would be an extraordinary mind that would argue in the affirmative.

The most beautiful tone is the most perfectly produced, whether the singer knows anything of vocal mechanism or not. In such a tone there is no consciousness of mechanics or scientific laws. The vocal mechanism is responding automatically to the highest law in the universe—the law of beauty. The most scientific thing possible is a 96 beautiful idea perfectly expressed, because a thing inherently beautiful is eternally true, hence it is pure science.

Every tone of the human voice is the expression of life, of an idea, a feeling, an emotion, and unless interfered with the vocal mechanism responds automatically.

He who by experiment or reading has learned the action of the vocal mechanism, and attempts to make his pupil control every part of it by direct effort may imagine that he is teaching scientific voice production, but he is not, he is only doing a mechanical thing in a clumsy way.

Is it a scientific act to tell a pupil to hold his tongue down, as one writer argued recently? Is a teacher calling into action the eternal laws of science when he tells his pupil to drive the tone through the head, hoist the soft palate, groove the tongue, and make the diaphragm rigid? No. He is simply doing a mechanical thing badly for want of a better way. It is no more scientific than kicking the cat out of the way if she gets under your feet.

Any one who has learned the elements of psychology or philosophy knows that everything exists first as idea. The real universe is the one that exists in the mind of the creator. The real man is the part of him that thinks. To hold that the body thinks or acts is equivalent to saying that Gray’s “Elegy” was in the pen with which the poet wrote.

To a natural scientist the only real thing is what he can see, therefore he bases his faith on what he conceives to be matter; but if we study the great ones—Oswald, Huxley, Grant, Allen, and the like, we find that they have long ago reached the conclusion that there is no such thing as matter. According to Schopenhauer the world is idea, and this so called material environment is thought objectifying itself.

Vocal teachers, like the members of other professions, are not altogether immune to an attack of intellect, and at such 97 times the thought that they are doing something scientific is particularly agreeable.

The only study of science that can benefit any one is the study of causation, and causation cannot be cognized by the physical senses. We never see, hear, feel, taste, or smell cause. What we see or hear is effect. Causation is mental. Natural science is dealing with phenomena, with effect not cause. A regular recurrence of phenomena may establish a so called natural law, but the law is that which caused the phenomena, “Law is force” says Hegel, and it is therefore mental. We are told that the law of the earth is its path around the sun. This is not true, the law of the earth is the mind which makes it revolve around the sun. If we would learn the nature, activity, and cause of anything we must look for it in mind not in matter. For this reason the process of voice production is psychologic not physiologic. When a pupil sings, what we hear is effect not cause. If he is doing all manner of unnecessary things with his lips, tongue, larynx, etc. what we see is effect and the cause is in wrong mental concepts. The thing which caused the tone is mental , the force which produced it is mental , and the means by which we know whether it is good, or bad is mental .

Of this we may be sure, that the tone the pupil sings will not be better than the one he has in mind. A tone exists first as a mental concept, and the quality of the mental concept determines the quality of the tone.

If there be such a thing as scientific voice production it will be found in the sense of what is inherently beautiful, and the scientific tone is one which will perfectly express a right idea or emotion, and in the nature of things there is an appropriate tone for everything that may be legitimately expressed, for they are correlated ideas.

Whence originated this so called scientific voice teaching? 98 That the old Italian knew nothing of it is well understood. They considered the process artistic rather than scientific. How does it sound , was their slogan. The thing uppermost in their minds was beautiful tone, and they were wise enough to know that when one has a definite concept of the pure singing tone he has a more valuable asset than all the mechanical knowledge he can acquire. They had but one end in view, namely, a finished artist, and everything they did was made to contribute to it. The artist always has in mind the finished product . The scientist tries to find out how it is done . The artist begins with the idea and works forward to its complete expression. The scientist begins with the physical mechanism and works backward toward the idea.

What is responsible for the change from the methods of the the seventeenth and eighteenth centuries? It is safe to say that it did not come through the voice teachers.

In the early part of the nineteenth century an interesting thing happened. How it happened or why it happened at that particular time is not known nor does it matter. The human mind became all at once aggressively inquisitive. The desire to get at the ultimate of everything took possession of humanity and still holds it. The result was an era of scientific analysis and invention, the aim of which was to control the forces of nature. Previous to that time methods of living, production, transportation, agriculture, etc. were little different from that of biblical times. People and nations lived much to themselves. They looked within for their inspiration and developed their own national characteristics. But with the invention of the steamship, railway, and telegraph a change came. These improved methods of transportation and communication brought all of the mentalities of the world together, and soon all habitable parts of the globe were in daily and hourly contact. The result was a mental fermentation which increased the complexity 99 of civilization immeasurably and the present exaggerated and unnatural condition of society is the outgrowth.

Between 1809 and 1813 were born Mendelssohn, Chopin, Schumann, Liszt, and Wagner. These men are known as the founders of the modern romantic school of music. They grew up with the new civilization and could not do otherwise than reflect its complexity in their music. That the new civilization was responsible for the new art there is no doubt whatever. All old types have passed away. All branches of art have suffered radical changes in conforming to new ideals.

Since the wave of scientific investigation started around the world nothing has been able to escape it. The hand of the scientist has been upon everything, and to him rather than to the voice teachers must be given the credit for originating scientific voice teaching.

When the scientists began publishing the results of their investigations voice teachers at once became interested. The plan looked promising. It offered them a method shorn of uncertainties. A method that brought everything under the operation of physical laws; a method that dealt only with finalities, and would operate in spite of a lack of musical intelligence on the part of the student, and at the same time enable them to lay to their souls the flattering unction of science. True it ignored altogether the psychology of the matter. It said “do it this way and a beautiful tone will come whether you are thinking it or not, because scientific laws eternally operating in the same way eternally produce the same results.”

The scientific method gave voice teachers an opportunity to work with something tangible, something they could see; whereas the development of tone concept, the artistic instinct, musical feeling, and musicianship had to do with things which to most of them were intangible and elusive. No one doubts the honesty of the teachers who became obsessed with the 100 scientific idea. To them it meant increased efficiency and accuracy, quicker results with less effort, and so they broke with the old Italians, the basis of whose teaching was beautiful tone and beautiful singing. In spite of the honesty of purpose of all those who followed the new way, the results were calamitous. The art of singing received a serious setback. Voices without number were ruined. From the middle to the end of the nineteenth century the scientific idea was rampant, and during that period it is probable that the worst voice teaching in the history of the world was done. Large numbers of people with neither musicianship nor musical instincts acquired a smattering of anatomy and a few mechanical rules and advertised themselves as teachers of scientific voice production. The great body of vocal students, anxious to learn to sing in the shortest possible time, having no way of telling the genuine from the spurious except by trying it, fell an easy prey, and the amount of vocal damage and disaster visited upon singers in the name of science is beyond calculation.

Fortunately the reaction has begun. Slowly but surely we are returning to a saner condition of mind. Every year adds to the number of those who recognize singing as an art, whose vision is clear enough to see that the work of the scientific investigator should be confined to the laboratory and that it has no place in the studio. We are beginning to see that the basic principle of singing is freedom in the expression of the beautiful , and that the less there is of the mechanical in the process the better.