The Psychology of Singing Part 4

is purely a matter of direction or focusing of the breath-blast. The whole subject of emission and forward placing is in a very unsatisfactory condition.

_The Traditional Precepts in Modern Instruction_

So much importance is attached by modern teachers to the traditional precepts of the old school that this subject calls for somewhat lengthy treatment. Before discussing the manner in which the precepts are applied in practical instruction, it will be well to review first the interpretations of the precepts offered by different vocal scientists.

It must be remarked, in the first place, that no single one of the precepts has ever been satisfactorily explained; that is, no direct means of performing the actions indicated by the precepts has ever been found. If ever the precepts had a definite meaning, considered as specific directions for performing certain actions in a special way, that meaning has been lost. Mechanical a.n.a.lysis has not reduced the precepts to a form in which they are of direct value to the modern teacher.

That the "forward tone" is interpreted as a reference to the emission of the voice was noted earlier in this chapter. The explanation of the "open throat" precept as a function of mouth-pharynx resonance has also been mentioned.

"Singing on the breath" is a very perplexing subject for vocal theorists. Many authorities a.s.sert that this precept describes an effect obtained by the "opposed muscular action" breath-control. (See citation from Shakespeare in Chapter II.) But this explanation is hardly satisfactory; if the precept had meant no more than breath-control, it would have been forgotten long ago.

The "support of the tone" is mentioned by a large number of theoretical writers on the voice. These writers generally state, in substance, that "the tone must be supported by the breathing muscles of the chest, and not by the throat muscles." (See _The Technics of Bel Canto_, by G. B.

Lamperti, New York, 1905.) But this explanation is hardly to be considered as a scientific doctrine. Every one knows that a tone has no weight, so in the physical sense it can need no support. In short, scientific a.n.a.lysis has thrown no more light on this than any other of the old precepts.

Notwithstanding the modern teacher's complete ignorance of the mechanical operations which they seem to indicate, the old precepts form a very important feature of instruction in singing. The great majority of teachers cite these precepts constantly, and frequently direct their pupils to "open the throat," to "bring the tone forward," etc. Is it to be believed that an intelligent master would use these directions in any occult or cabalistic sense? Such a statement is occasionally made by a consistent upholder of the mechanical system of Voice Culture. Paulo Guetta, for example, in a recent exhaustive work on the subject, ridicules the use of the old precepts. Says this ardent advocate of mechanical instruction in singing:

"Nowadays alchemy and necromancy awaken nothing but curiosity. How then can one who thinks and reasons admit that an art can be cultivated and sustained by theories extravagant, fantastic, enigmatic, explained and condensed in abstruse phrases and sentences, which not only have no meaning whatever, but even lead one to doubt whether the teacher himself knows what result it is desired to obtain? Do you wish a little example?

Behold!

"'Press the whole voice against the mask.' 'Place the voice in the head.' 'The voice is directed to the nasal cavities.' 'Place the voice forward.'

"Others, with the most austere gravity, will tell you that your voice is too far back, or that you send the voice to the lower teeth, and promise in a few days to place the voice forward, at the upper teeth, or wherever else it should be." (_Il Canto nel suo Mecanismo_, Milan, 1902.)

This statement is by no means justified. The precepts have a real and definite meaning for the vocal teacher. Any one familiar with the highest type of artistic singing must have observed that the singer's "throat seems to be open"; the tones impress the hearer as being in some way "forward in the singer's mouth," and not at the vocal cords; the voice "seems to be supported" somewhere; the tones float out freely on the breath. A harsh and badly produced voice seems to be held in the singer's throat by main force. The critical hearer feels instinctively that such a singer's voice would be greatly improved if the tones could only be supported in a forward position in the mouth, and kept from slipping back into the throat. It seems that this would relieve the throat of the strain of holding the tone; the throat would then be open, and the voice would float out freely on the breath.

In short, the traditional precepts describe accurately the most striking points of difference between perfect singing and bad singing, so far as the effect on the listener is concerned. Modern teachers are thoroughly familiar with the highest standards of the vocal art; they fully appreciate how well the precepts describe the perfection of singing.

Through long continued listening to voices, the precepts come to have a very real meaning. It is inevitable therefore that the teacher should try to impart to the pupil this intimate feeling for the voice. True, this acquaintance with the voice is purely empirical; as has just been remarked, no mechanical a.n.a.lysis of this empirical knowledge has ever been successfully made. The modern teacher's apprehension of the meaning of the precepts is only very vaguely connected with a supposed insight into the mechanical processes of tone-production.

Yet there is nothing vague about the impression made on the teacher in listening to his pupils. On the contrary, every faulty tone impresses the teacher very keenly and definitely as being too far back, or as caught in the throat, or as falling back for lack of support, etc. How could it be expected then, that the teacher should refrain from telling the pupil to correct the faulty production, in the manner so clearly and directly indicated by the tones?

But this direct application of the precepts is of absolutely no value in instruction, because of the teacher's ignorance of the mechanical processes supposedly involved. There is after all some justification for Guetta's criticism of empirical instruction. It is all very well for the teacher to feel that the pupil's voice is gripped in the throat, and to bid him "open your throat." The pupil may strive ever so earnestly to open his throat, but he does not know how, and the teacher is utterly unable to tell him.

All instruction based on the empirical precepts is thus seen to be extremely unsatisfactory. While the precepts convey a very valuable meaning to the teacher, no way has ever been found for translating this meaning into rules for the mechanical management of the vocal organs.

Recourse is had, to some extent, to a description of the singer's sensations; exercises on special vowels and consonants are also much used, for imparting the ideas embodied in the precepts. Both of these topics are now to be considered.

_The Singer's Sensations_

The correct use of the voice awakens in the singer a variety of sensations generally held to be different from those accompanying any incorrect vocal action.

One important fact must first be noted regarding the manner in which the singer's sensations are described by various authorities. The use of the voice awakens a wide variety of local sensations, which bear no necessary relation to each other. A singer may, at will, pay entire attention to any one, or to any particular set, of these sensations, and for the time being completely ignore all the others.

Physiologically considered, the singer's sensations are of two cla.s.ses,--first, muscular sensations strictly speaking; and second, a sense of tingling or vibration, definitely located usually about the breast bone, and in the front and upper part of the head.

_Muscular Sensations of Singing_

It is very difficult to a.n.a.lyze and describe exactly the muscular sensations which accompany any complex action. Swimming, diving, dancing, skating,--each awakens a set of extremely vivid muscular feelings; yet to describe these sensations so graphically that they could be felt in imagination by one who had never experienced them actually,--that would be almost impossible.

This peculiar aspect of muscular sensations is particularly true as regards the action of singing. While every vocal teacher knows exactly how it feels to sing properly, all descriptions of the singer's muscular sensations are extremely vague. But the vividness of these sensations keeps them constantly before the teacher's mind, and some application of them, in the present state of Voice Culture, is almost inevitable.

The basic sensation of correct singing, as generally described, is a feeling of perfect poise and harmony of the whole body; this is accompanied by a sense of freedom about the throat and jaw, and firm grasp and control of the expiratory muscles. Attempts are frequently made to amplify this description, but the results are always very vague.

A feeling of "absence of local effort" at the throat is much spoken of, or "perfect relaxation of the vocal muscles."

A few specially localized muscular sensations are also much discussed.

Descriptions of this cla.s.s however are often so loosely given as to render a definite statement almost impossible. Most frequently mentioned are the feeling of "backward pressure in the throat," and of "drinking in the tone," instead of sending it out. Then again, the "tone must be felt at the upper front teeth." A feeling as of an "expanded and flexible vocal tube, extending from the base of the lungs to the lips,"

is also much talked of. "Feel that you grow bigger as the tone swells"

is about as intelligible as the feeling of "floating jaw."

On the whole, the subject of the singer's muscular sensations is usually rather mystifying to the student.

_Sensations of Tingling or Vibration_

Descriptions of sensations of this cla.s.s are much more coherent than those just considered. A definite location is given to the feelings, in the chest and in the head.

A feeling of trembling in the upper chest is usually held to indicate that the chest cavity is working properly as a resonator. This sensation is therefore the chief reliance of most teachers in "placing"

the lower tones, especially for low voices. Sensations in the nasal cavities and head are utilized for acquiring control of nasal resonance, for placing the upper notes of the voice, and for "bringing the voice forward." Exercises for control of both cavities, on special vowels and consonants, combine the two topics, "vowel position" and sensation.

_Singing in the Mask_

In recent years a method of instruction has been developed in France, which is commonly called by its advocates "singing in the mask." The basic idea of this method is that the singer must imagine his face to be covered by a mask, and must "sing into this mask." This idea may seem rather vague at first; but a few trials will show how easy it is for the singer to persuade himself that he projects his voice into his face.

This method goes to the extreme in utilizing the sensations of vibration in the nose and forehead. These sensations are a.n.a.lyzed, localized, and described, down to the most minute detail. While other topics of instruction are included,--breathing, registers, position of tongue, larynx, palate, etc., everything else is subordinated to nasal resonance. "Singing in the mask" is of course a purely empirical method, and little has been attempted in the way of justifying it on scientific principles.

All instruction based on the singer's sensations is purely empirical, in the meaning ordinarily attached to this word in treatises on Vocal Science. Theoretical works on the voice seldom touch on the subject of sensations, nor do the vocal teachers generally make this subject prominent when speaking of their methods.[6]

[Note 6: An exception to this statement is seen in the recently published book of Mme. Lilli Lehmann, _Meine Gesangskunst_, Berlin, 1902. This famous artist and teacher devotes by far the greater part of her book to a minute a.n.a.lysis and description of the singer's sensations.]

Sensations occupy a rather peculiar position in modern methods. They are a distinctly subsidiary element of instruction and are seldom raised to the dignity accorded to the mechanical doctrines of vocal management.

The use of the singer's sensations, as applied in practical instruction, is almost exclusively interpretive. In the mechanical sense the traditional precepts have no meaning whatever; this is also true of several of the accepted doctrines of Vocal Science. For example, the precept "Support the tone," is absolutely meaningless as a principle of mechanical vocal action. But, when interpreted as referring to a set of sensations experienced by the singer, this precept takes on a very definite meaning. n.o.body knows what the support of the tone is, but every vocal teacher knows how it feels. In the same way, no means is known for directly throwing the air in the nasal cavities into vibration. But the sensation in the front of the head, which indicates, presumably, the proper action of nasal resonance, is familiar to all teachers. Most of the positive materials of modern methods are thus interpreted in terms of sensations.

True, the accepted theory of Vocal Science does not directly countenance this interpretation. The basic principle of modern Voice Culture is the idea of mechanical vocal management. All instruction is supposed to aim at direct, conscious, and voluntary control of the muscular operations of singing. Teachers always impart to their pupils this idea of the mechanical control of the voice. The vocal action is always considered from the mechanical side. Even those expressions whose mechanical meaning is vague or unscientific are yet used as referring definitely to muscular actions. The conscious thought of the teacher is always turned to the mechanical idea supposedly conveyed by scientific doctrine and empirical precept. The translation of this idea into a description of sensations is almost always the result of a sub-conscious mental process.

It therefore follows that in practical instruction the appeal to sensations is more often indirect than direct. For example, when a student's tones are caught in the throat, the master says explicitly,--"Free the tone by opening your throat." The master explains the (supposed) wrong vocal action, and describes how the tone should be produced. Incidentally, the master may also tell how and where the tone should be felt.

There is also a great deal of instruction based frankly and directly on the singer's sensations. Instruction of this type usually takes the form of special exercises on certain vowels and consonants, which are believed to be peculiarly suited for imparting command of particular features of the correct vocal action. The topics generally covered are chest resonance, nasal resonance, open throat, and forward placing of the tone. This form of instruction is held to be referable in some way to scientific principles. The laws of vowel and consonant formation formulated by Helmholtz are often cited in proof of the efficacy of exercises of this type. There is also much discussion of the "location"

of the tone. But there is little justification for the statement that instruction based on the singer's sensations is scientific in character.

A misconception of acoustic principles is evidenced by most of the statements made concerning the use of special vowels and consonants in securing the correct vocal action. The exercises which aim to utilize the singer's sensations in producing particular vowels and consonants are now to be described.

_Exercises on Special Vowels and Consonants_

Of the rules concerning the use of special vowels, probably the most important is that _a_ (as in _far_) is the most favorable vowel for the general purposes of voice training. Teachers generally have their pupils sing most of their exercises on this vowel. Much attention is paid to the exact p.r.o.nunciation of the vowel, and fine distinctions are drawn between its various sounds in Italian, French, German, and English. The preference for the Italian p.r.o.nunciation is very general.

It is claimed for this sound that it helps materially in acquiring command of the "open throat." Indeed, a peculiar virtue in this regard is ascribed to the Italian vowels generally. No convincing reason has ever been given for this belief. But the usual custom is to "place the voice" on the Italian _a_, and then to take up, one at a time, the other Italian vowels.

The l.a.b.i.al consonants, _p_, _b_, _t_, _d_, are believed to have a peculiar influence in securing the "forward position" of the tone. Much the same influence is also ascribed to the vowel _oo_, although many authorities consider _i_ (Italian) the "most forward" vowel. Exercises combining these consonants and vowels are very widely used, on single tones, and on groups of three, four, or five notes. The syllables _boo_, _poo_, _too_, _doo_ are practised, or if the teacher hold to the other "forward" vowel, _bee_, _pee_, _tee_, _dee_; the student is instructed to hold the vowel in the "forward position" secured by the initial consonant. Later on, the "forward" vowel is gradually widened into the other vowels; exercises are sung on _boo-ah_, _doo-ah_, etc. This form of instruction is capable of great elaboration. Many teachers use a wide variety of combinations of these vowels and consonants; but as the basic idea is always the same, this cla.s.s of exercises calls for no further description. The singer's sensations, notably those of "open throat,"

"expanded vocal tube," "forward tone," and vibration in the chest, are generally brought to the pupil's attention in this form of exercise.

Another set of sounds are held to be specially adapted for securing the use of nasal resonance. These are the letters _m_, _n_, and _ng_, when used for starting a tone, and also the vowel _i_ (Italian). The exercises used are similar in character to those just described. In singing these exercises, the student is supposed to "start the tone high up in the head on the initial _m_ or _n_, and to hold it there, while gradually and smoothly opening the mouth for the vowel," etc. The sensations specially noticed in this type of exercise are the feelings of vibration in the nose and forehead. The "forward tone," as well as the nasal resonance, is supposed to be favored by the practice of these exercises.