A Rational Vocal Method
Song, so far as voice-production is concerned, is the result of
physiological action, and as voice-production is the basis of all song,
it follows that a singing method, to be correct, must be based on the
correct physiological use of the vocal organs. The physiology of
voice-production lies, therefore, at the very foundation of artistic
singing.
The proper physiological basis for a singing method having
een laid,
something else, something highly important, remains to be superimposed.
Voice is physical. But everything that colors voice, charging it with
emotion, giving it its peculiar quality and making it different from
other voices, is largely, although not wholly, the result of a psychical
control--a control not exercised mysteriously from without, like
Svengali's over Trilby, but by the singer himself from within. Every
singer is his own mesmerist, or he has mistaken his vocation. For while
voice is a physical manifestation, its "atmosphere," its emotional
thrill and charm, is a psychical one--the result of the individual's
thought and feeling, acting unconsciously or, better still,
subconsciously, on that physical thing, the voice.
Between the two, however, between mind and body, there lies, like a
borderland of fancy, yet most real, the nervous system, crossed and
recrossed by the most delicate, the most sensitive filaments ever
spun, filaments that touch, caress, or permeate each and every muscle
concerned in voice-production, calling them into play with the rapidity
of mental telegraphy. Over this network of nerves the mind, or--if you
prefer to call it so--the artistic sense, sends its messages, and it
is the nerves and muscles working in harmony that results in a correct
production of the voice. So important, indeed, is the cooperation of
the nervous system, that it is a question whether the whole psychology
of song may not be referred to it--whether the degree of emotional
thrill, in different voices, may not be the result of greater or less
sensitiveness in the nervous system of different singers. This might
explain why some very beautiful voices lack emotional quality. In such
singers the physical action of the vocal organs and of all the resonance
cavities of the head may be perfect, but the nerves are not sufficiently
sensitive to the emotion which the song is intended to express, and so
fail to carry it to the voice.
Immense progress has been made in anatomical research, and in no other
branch more than in the study of the throat and of the larynx, which is
the voice-box of the human body. There also has been a great advance in
the study of metaphysics. It would seem high time, therefore, that both
the results of modern anatomical study and the deductions of advanced
psychological research, should be recognized in the use of that subtle
and beautiful thing, the human voice, which in its ultimate quality is
a combination of physiological and psychological phenomena--the physical,
voice-producing organs acting within and for themselves, but also being
acted upon by a series of suggestive impulses from the mind and soul,
countless in number and variety. Indeed, one might say that while in
singing the vocal organs are the first essential, they must, in order
to achieve their full effect, be in tune with the infinite. Artistic
singing involves complete physiological control of the voice-producing
function, combined with complete command of the metaphysical resources
of art. Thus only can voice be produced with that apparent spontaneity
which we call artistic, and at the same time be charged with the
emotional quality which gives it individual significance.
These two factors of voice-production, the physical and the psychical,
should be recognized both by the teacher and by the student in striving
to develop the voice, and by the physician who seeks to restore an
impaired voice to its pristine quality. The substitution by teachers of
various methods, originated by themselves, for the natural physiological
method to which the vocal organs become self-adjusted and for the
correct processes of auto-suggestion originating within the well-taught
singer himself, is the cause of most ruined voices. The physician who
realizes this will, in treating an impaired voice, know how to maintain
the proper balance between the two factors--between medicine and surgery
on the one hand and considerations of temperament and mentality on the
other.
There have been written books on voice-method of which "be natural" is
the slogan; books on the physiology of voice-production, in which, as
far as the singer is concerned, too much importance is attached to the
results of laryngoscopic examination; and books on the psychology of
voice-production in which the other factors are wholly neglected. None
of these three varieties of book, however, covers the ground, but each
only a part of it. The three--nature, physiology and psychology--must
be combined in any book that professes to offer a synthetic method of
voice-production.
It is possible that knowledge of the structure of the vocal organs is of
more importance to the physician and to the teacher than to the singer
himself, and that too constant thought of them might distract the
latter's attention from the product to the machine, from the quality of
voice to be produced to the vocal apparatus producing it. Nevertheless,
some knowledge of the organs which he brings into play in singing cannot
fail to be helpful to the vocalist himself, and surely their importance
to the teacher of singing and to the physician who has an impaired voice
to restore cannot be overestimated. Correct teaching, in fact, directs
the mind to the end, and by taking into account the physical parts
concerned in singing, imparts to them the habit of unconsciously obeying
natural laws. Singing may not be a question of how a distorted throat
looks in an oblique mirror, yet the knowledge that, because a note is
faultily produced, the throat must be distorted, and how, will be of
great service to the teacher who wishes to correct the fault, and
indispensable to the physician who wishes to eradicate the results of
a bad method. The very first principle of a vocal method should be, to
establish so correct a use of the vocal organs that nature in this
respect becomes second nature. For correct action of the voice-organs
can develop into a habit so perfectly acquired that the singer acts
upon it automatically; and the most disastrous result of poor teaching
is that a bad habit also becomes second nature and is almost impossible
to eradicate.
There seems to be no question but that the old Italian masters of
singing, whether knowingly or unknowingly, taught according to correct
physiological principles, and that, because of a neglect of these
principles since then, while there has been a general advance in
everything else, the art of voice-production actually has retrograded.
For not only did the old Italian masters understand the voice in its
physical aspects; they also insisted, because they understood it so
well, on a course of voice-training which lasted long enough to give
the pupil complete ease and entire control of technic. The story of the
famous master, Porpora, and his equally famous pupil, Caffarelli, is
worth recalling. On a single sheet of music paper Porpora wrote all the
feats of which the voice is capable, and from that one sheet Caffarelli
studied with him five, some say six years. Then the great master
dismissed him with these words: "Go, my son, I have nothing more to
teach you; you are the greatest singer in Italy and in the world." In
our own hurried days the teacher is only too apt, after a few months,
or even after only a few weeks, to say: "Go, my dear. You know enough.
You are pretty to look at, and you'll make a hit!" For, curiously
enough, while the student of the pianoforte or the violin still will
devote years to acquiring perfection upon it, a person who thinks
himself gifted with a voice expects to become a singer with a year or
two of instruction, possibly even after studying only a few months. Yet
the apparatus concerned in voice-production is a most delicate one, and,
being easily ruined when incorrectly used, haste in learning how to use
it not only is absurd but criminal--voice-murder, in fact.
It has been said that one error of the old Italian method was that it
concerned itself only with beautiful tone-production, whereas real
singing is the vitalization of words by emotion. But the vitalization
of words by emotion may well follow upon beautiful tone-production and,
though in the case of the old Italians this undoubtedly was aided by the
smoothly flowing quality of the Italian language, a singer, properly
taught, should be able to sing beautifully in any tongue.
Besides haste, one great danger to-day to the art of singing, and
especially to the art of beautiful tone-production, which lies at the
root of all beautiful singing, is the modern worship of individualism,
of the ability of a person simply to do things differently from some one
else, instead of more artistically, so that we are beginning to attach
more importance to whims and personality than to observance of the canons
of true art. It is only when the individual has supreme intelligence,
that any such disregard of what constitutes true art should be tolerated.
Henry Irving, for example, was extraordinarily effective in certain roles,
while in others his acting was atrocious. But even in these latter there
was intellect behind what he did, and the spectator became so interested
in observing his manner of striving for an effect, that he forgave him
for falling short of what he strove for. But this is a very exceptional
and a very dangerous kind of precedent. Art ever is more honored in the
observance than in the breach. Yet its breach often is honored by modern
audiences, and especially operatic audiences, because they tend to rate
temperament too high and art too low, and to tolerate singers whose
voice-production is atrocious, simply because their temperament or
personality interests them. Take a case in point: The Croatian prima
donna, Milka Ternina, whose art ranges from Tosca to Isolde, sings (in
"Tosca") the invocation to the Virgin which precedes the killing of
Scarpia, with a wealth of voice combined with a power of dramatic
expression that simply is overwhelming; and she acts the scene of the
killing with sufficient realism to raise her entire performance to the
highest level of vocal dramatic art. An Italian prima donna who has been
heard in the same role at the same opera house sings the invocation
wretchedly, but acts the following scene, the killing of Scarpia, with
startling realism. She wins applause for her performance, as much
applause as the other, which shows that an operatic audience will not
only tolerate, but even applaud a singer who substitutes physical
attractions, temperament and a peculiar wriggle of the spinal column
for beautiful voice and correct method.
We all possess voice-mechanism, and possibly there is no other physical
apparatus that is misused so much. Americans misuse it even in
speech; yet what a valuable possession is an agreeable and pleasant
speaking-voice. This abuse of the vocal organs by the great majority of
Americans makes the establishment of a correct method of voice-production
in this country all the more desirable. Yet, what do we find here? Almost
any charlatan can set up as a singing-teacher, and this despite the fact
that the voice-mechanism is a most delicate and subtle structure, and
that a slight physical disturbance or wrong use of it seriously affects
the quality of the voice produced.
Had I not been a singer before I became a physician, I might not realize
the part that nature, properly guided, plays in the use of the voice.
Had I remained a singer and not become a physician, I might not realize
how important an aid in properly guiding nature in the use of the voice
is a scientific knowledge of the action of the voice-producing organs.
Had I not been a singer and were not now a physician, I might not realize
the influence upon the artist's physical well-being, and especially upon
that delicate apparatus, the voice-mechanism, of temperament, mental
condition and other purely metaphysical factors. This book, then, while
it believes in consulting nature, does not believe in that "natural"
method which simply tells you to stand up and sing; nor does it believe
in that physiological method which instructs you to plant yourself in
front of a mirror and examine your throat with a laryngoscope; nor in
advising you to follow minutely the publications of the Society for
Psychological Research. It believes in a synthetic coordination of the
three. In my practice I have become convinced that every impairment of
the voice is due to outraged nature, resulting in a physiological
condition of the vocal organs that should not exist, and, in turn,
inducing a psychological condition, such as worry and despondency, which
also should not exist. By discovering with the aid of the laryngoscope
the physiological defect and removing it, body, and, with it, mind and
voice are restored to their proper condition. But if the singer goes
back to a teacher whose method is wrong, the same impairment, or even
worse, will result.
Jean de Reszke is a perfect example of how a singer can develop his voice
when he turns from a wrong method to a right one. This celebrated tenor
actually thought he was a baritone, and so did his teacher. He was
trained as a baritone, made his debut in a baritone role and sang as a
baritone for several years. But he experienced great fatigue in singing,
much greater fatigue than seemed proper or necessary. This led him
eventually to have his voice tested by another teacher, who discovered
that he was a tenor. Singing with the wrong voice, which also means
with a wrong method, had exhausted him. As a tenor his beautiful
voice-production, based on a correct physiological method, made him
equally at home and equally at ease in roles making the most opposite
demands upon his powers. He sang equally well in Gounod and Wagner;
and in Wagner, whether he was singing the young Siegfried, Siegfried of
"Goetterdaemmerung," or Tristan.
The proper coordination of all the parts of the physical vocal apparatus
with the powers of mind and emotion, is what in the end constitutes the
perfect singer, and that proper coordination has, as its first basis, a
due regard for the physiology of voice-production as well, of course,
as for the general rules of health. In Gilbert and Sullivan's "Mikado,"
Nanki Poo, hearing a tomtit by the river reiterating a colorless "tit
willow," asks the bird if its foolish song is due to a feeble mind or
a careless diet.
"Is it weakness of intellect,
Birdie," I cried,
"Or a rather tough worm
In your little inside?"
But all that the dear little birdie replied,
Was, "Willow, Tit Willow, Tit Willow."
Colloquially expressed, what Mr. Nanki Poo asked the bird was as
follows: "Being gifted by nature with a perfect larynx, which should
enable you to sing beautifully, do you confine yourself to singing a
colorless 'Tit Willow' because you don't know any better, or because you
are attempting to sing on top of an improperly selected meal?" In other
words, he put violation of the laws of hygiene by a singer on a par with
idiocy. Thus, even from comic opera, in the performance of which most
of the rules of vocal art are violated, one yet may gather certain
truths--by listening to the words--provided the singers know enough to
enunciate them distinctly.
The physiology of voice-production not only offers a rational method,
it also enables the student to guide his own development, to advance
his physical welfare, and, because he knows the why and wherefore of
things vocal, to perceive what is best in the performance of others
and to profit by it. Moreover, correct method of voice-production is
in itself a health developer, and a singer who is taught by it often
is able to overcome the disadvantages of a poor physique; while a
singer, originally of strong physique, may find himself physically
weakened by the use of a faulty method.
As between a person who employs a beautiful voice artistically and
a person who sings less beautifully, relying chiefly on interesting
personality and temperament, instead of on correct method, the former
singer usually long outlasts the latter. In other words, genuine vocal
art is the crowning glory of a naturally beautiful voice.