ANATOMY AND PHYSIOLOGY
To what extent a vocal student should be instructed in matters
anatomical and physiological is a question which has often been raised,
and upon which the most contradictory views have been expressed. It is
argued by some, that having in mind all the great singers of the past
who flourished before the laryngoscope was thought of that the less the
student knows about such things the better. It is contended that he will
surely become self-conscious and unnatural by thinking about the
physiological mechanism of processes which should be absolutely
instinctive and automatic; and possibly in some instances this does
occur.
I do not think, however, that if the instruction is properly given it
need have any such effect, and I thoroughly believe, myself, in the
student being given at least a general idea as to the construction of
the vocal organs and the manner in which they function.
To precisely what extent the student should be instructed in what a
famous singer once humorously referred to as “thoracic,
crico-thyroideal, and epiglottic matters” may be a question for
consideration, but as to the desirability of his being acquainted in a
general way with the working of the vocal apparatus I have no sort of
doubt.
The truth is that the whole business of singing, if reduced to its
elements, is much simpler and easier to understand than is sometimes
supposed, and there is not the slightest reason why any difficulty need
be experienced in explaining the matter in its general outlines. I would
go further, indeed, and say that he is not likely to prove a very
intelligent pupil who is not sufficiently curious and interested to wish
to know something upon the subject.
At the same time, it is, no doubt, perfectly true that many of the
greatest singers of the past have been destitute of the slightest
knowledge of such matters. In which connection one may recall the famous
saying of Patti when interrogated as to her method: “Je n’en sais rien.”
But it does not follow that others not possessed of her marvelous
natural gifts should follow her example in this respect. For she did
unconsciously and instinctively what in the case of most others only
comes as the result of laborious study and practice.
One may recall, in this connection, the saying of that profound student
of the art on the technical side, who was also in her day such a great
executant, Lilli Lehmann, that it is not enough to sing well, one must
be told also the how and why, and be given a firm foundation, if
permanent results are to be hoped for. For otherwise one will
[Illustration: ROUGH SECTION OF NOSE, MOUTH, AND PHARYNX, SUGGESTING BY
DOTTED LINES HOW THE TONE PASSES FROM THE LARYNX THROUGH THE MOUTH AND
PASSAGES OF THE HEAD.]
run the risk of coming to grief when for some reason or other an
unexpected strain is put upon one’s resources and there is no sound
knowledge and understanding to fall back upon.
How can one properly understand, for instance, the all-important subject
of breathing, if one has not at least some idea as to the natural
processes involved? Vocal teachers and students of voice production are
often twitted upon the conflicting character of the views which they
hold and the principles which they lay down, but here is one subject, at
all events, upon which there is universal agreement, namely, the supreme
importance of right breathing as the very foundation of the singer’s
art.