An artist can be formed only by his own intelligence and
practice, under the direct guidance of a master. But here,
more than in any other art, the constant watchfulness of
a teacher is a necessity. For, as one gets only an imperfect
idea of his own personal appearance from a mirror, so the
singer and dramatic artist can form but a partial judgment of
his own performances. They are too subjective, and cannot be
viewed as an external whole, like the works of the painter
and sculptor. It is, moreover, as has already been remarked,
simply impossible to obtain even a partial knowledge of any
art from books alone, even if we were able to describe with
precision the fine, delicate differences of tones, colors
and forms.
These pages, therefore, make no claim whatever to be regarded
as a manual of singing. They aim only to communicate and extend
a knowledge of the latest discoveries and advances in the domain
of vocal art, and to protest against and correct prevailing
prejudices and errors in regard to this art, as well as to
engage the attention of those to whose care the culture of
the voice is entrusted.
[18] The friends of this style of music (programme music so
called) appeal to the authority of Beethoven, who, it is
claimed, opened the way for it when he introduced into his
Pastoral Symphony interlineations which should suggest the
right sentiment to the hearer. But, although Beethoven
allowed himself to approach the uttermost limits in this
direction, he never overstepped them. It was only in his
Pastoral Symphony that he introduced these interlineations,
and they do not entirely contradict the peculiar character
of the music, as so many of our modern programmes do.