The Psychology of Singing | Page 7

the vocal action in 1832,
and that he invented the laryngoscope only in 1855.
It must not be understood that Garcia was the first teacher to attempt to
formulate a systematic scheme of instruction in singing. In the works of
Mannstein (1834) and of Marx (1823) an ambitious forward movement
on the part of many prominent teachers is strongly indicated. But
Garcia was the first teacher to apply scientific principles in dealing with
the specific problem of tone-production. He conceived the idea that a

scientific knowledge of the workings of the vocal organs might be
made the basis of a practical system or method of instruction in singing.
This idea of Garcia has been the basic principle of all practical methods,
ever since the publication of the results of his first laryngoscopic
investigations in 1855.
Before attempting to suggest a new means of dealing with the problem
of vocal management, it is well to ascertain how this problem is treated
in modern methods of instruction. It would not be easy to overstate the
importance assigned to the matter of tone-production in all modern
systems of Voice Culture. The scientific study of the voice has dealt
exclusively with this subject. A new science has resulted, commonly
called "Vocal Science." This science is generally accepted as the
foundation of all instruction in singing. All modern methods are to
some extent based on Vocal Science.
To arrive at an understanding of modern methods, the two directions in
which vocal theorists have approached the scientific study of the voice
must be borne in mind: First, by an investigation of the anatomy of the
vocal organs, and of the laws of acoustics and mechanics in accordance
with which they operate. Second, by an analysis of the traditional
precepts of the old Italian school in the light of this scientific
knowledge.
As the present work demands a review of modern methods from the
practical side only, it is not necessary to include a description of the
vocal organs. It will be sufficient to describe briefly the manner in
which scientific investigators of the voice treat the subject of the vocal
organs.
The vocal mechanism consists of three portions,--the breathing
apparatus, the larynx with its appendages, and the resonance cavities.
Vocal scientists apply their efforts to finding out the correct mode of
action of each portion of the mechanism, and to formulating rules and
exercises by which these correct actions can be acquired and combined
for the production of perfect tones. The analysis of the traditional
precepts also conforms to this general plan; each precept is referred to
that portion of the vocal apparatus to which it seems best to apply. The

outline of the principles of modern methods contained in the following
chapters follows this general scheme.
It must be understood at the start that on most of the doctrines included
in Vocal Science there is no unanimity of opinion among either
theorists or teachers. Far from this being the case, practically all the
principles of Vocal Science are the subjects of controversy.
CHAPTER II
BREATHING AND BREATH-CONTROL
It is generally considered that, as the breath is the foundation of singing,
the manner of breathing is of vital importance to the singer. This
subject has therefore received a vast amount of attention from vocal
scientists, and the muscular actions of breathing have been exhaustively
studied.
Several sets of rules for inspiration and expiration are put forth by
different authorities. But there is no occasion for going into a detailed
discussion of the different modes of breathing advocated by the various
schools, or of the theoretical arguments which each advances. It is
sufficient to say that the modes of breathing most in vogue are five in
number,--deep abdominal, lateral or costal, fixed high chest, clavicular,
and diaphragmatic-abdominal. However, on experimenting with these
five systems of breathing, it is found that the number may be reduced to
two; of these the others are but slight modifications. In one system of
inspiration the abdomen is protruded, while the upper chest is held firm,
the greatest expansion being at the base of the lungs. In the other mode
of taking breath the abdomen is slightly drawn in, while the chest is
expanded in every direction, upward, laterally, forward, and backward.
In this system the upper chest is held in a fixed and high position.
Necessarily the manner of filling the lungs involves the manner in
which they are emptied. Opinions are practically unanimous as to the
proper position of the singer before taking breath, that is, at the end of
an expiration. The singer must stand erect, the weight of the body
evenly supported on the balls of both feet, with the whole body in a

condition of lithe suppleness. In both systems of breathing the manner
of expiration is simply a return