The Psychology of Singing | Page 4

the practical side of
Voice Culture must be well aware. As the present work is designed
solely to suggest a new manner of dealing with this question, it is
advisable to define precisely what is meant by the problem of
tone-production.
In theory the question may be stated very simply. It is generally
believed throughout the vocal profession that the voice has one correct
mode of action, different from a wide variety of incorrect actions of
which it is capable;--that this mode of action, though ordained by
Nature, is not in the usual sense natural or instinctive;--that the correct
vocal action must be acquired, through a definite understanding and
conscious management of the muscular movements involved. The
theoretical problem therefore is: What is the correct vocal action, and
how can it be acquired?
On the practical side, the nature of the problem is by no means so
simple. In actual instruction in singing, the subject of vocal
management cannot readily be dissociated from the wide range of other
topics comprised in the singer's education. In much that pertains to the
art of music, the singer's training must include the same subjects that
form the training of every musician. In addition to this general musical
training, about the same for all students of music, each student must
acquire technical command of the chosen instrument. This is
necessarily acquired by practice on the instrument, whether it be piano,
violin, oboe, or whatever else. In the same way, vocal technique is
acquired by practice in actual singing. Practice makes perfect, with the
voice as with everything else.

But the voice is not invariably subject to the law that practice makes
perfect. In this important respect the singer's education presents a
problem not encountered by the student of any instrument. Given the
necessary talents, industry, and opportunities for study, the student of
the violin may count with certainty on acquiring the mastery of this
instrument. But for the vocal student this is not necessarily true. There
are many cases in which practice in singing does not bring about
technical perfection. The mere singing of technical exercises is not
enough; it is of vital importance that the exercises be sung in some
particular manner. There is one certain way in which the voice must be
handled during the practice of singing. If the vocal organs are exercised
in this particular manner, the voice will improve steadily as the result
of practice. This progress will continue until perfect technical
command of the voice is acquired. But if the vocal student fails to hit
upon this particular way of handling the voice in practice the voice will
improve little, or not at all. In such a case perfect vocal technique will
never be acquired, no matter how many years the practice may
continue.
What is this peculiar way in which the voice must be handled during
the practice of singing? This is the practical problem of tone-production,
as it confronts the student of singing.
It is important that the exact bearing of the problem be clearly
understood. It is purely a feature of education in singing, and concerns
only teachers and students of the art. Properly speaking, the finished
singer should leave the teacher and start on the artistic career, equipped
with a voice under perfect control. There should be no problem of
tone-production for the trained singer, no thought or worry about the
vocal action. True, many authorities on the voice maintain that the
artist must, in all singing, consciously and intelligently guide the
operations of the vocal organs. But even if this be the case the fact
remains that this ability to manage the voice must be acquired during
student days. In seeking a solution of the problem, that period in the
prospective singer's training must be considered during which the
proper use of the voice is learned.

It may be taken for granted that teachers of singing have always been
aware of the existence of the problem of tone-production, and have
always instructed their pupils in the correct management of the voice.
Yet it is only within the past hundred and fifty years that vocal
management has been the subject of special study. A brief review of the
history of Voice Culture will serve to bring this fact out clearly.
To begin with, the present art of singing is of comparatively recent
origin. It is indeed probable that man had been using the voice in
something akin to song for thousands of years before the dawn of
history. Song of some kind has always played an important part in
human life, savage as well as civilized. To express our emotions and
feelings by means of the voice is one of our most deep-seated instincts.
For this use of the voice to take on the character of