The Psychology of Singing | Page 7

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 to this position.
A wide variety of breathing exercises are in use, but these do not require detailed description. Any one of the prescribed systems of breathing can easily be adopted, and the student of singing seldom encounters any difficulty on this point. Still most teachers attach great importance to the acquirement of the correct manner of breathing. Toneless mechanical exercises are generally given, by which the student is expected to master the muscular movements before applying in singing the system advocated by the teacher. These exercises are usually combined with those for breath-control, and they are described under that head.
Breath-Control
Very early in the development of Vocal Science the management of the breath began to receive attention. Mannstein,[2] writing in 1834, says: "The air in expiration must stream from the chest slowly and without shock. The air