THE PSYCHOLOGY OF VOCAL CULTURE
Mental conception precedes execution. The picture must exist in the
artist's mind before it can be drawn on the canvas. The architect must
mentally see the majestic cathedral in all its details before he can
draw the plans from which it can be built. In the field of physical
activity no movement is made until the mind has gone before and
prepared the way. A person's ability to do is in a great degree
measured by his determination to do, but sitting in a rocking-chair
and thinking will never make an athlete. Mental action is necessary,
but only through trained muscular action can the mental action
materialize in a finished performance.
So too the mind must anticipate the action of the vocal organs, but
the organs themselves must be led to interpret the mental concept
until such action becomes spontaneous. Action in turn quickens the
mental process, and the mental picture becomes more vivid.
Note with emphasis that the mental concept _precedes_ the action and
governs it. Therefore, instead of producing tone by local effort, by
conscious muscular action of any sort, correctly _think the tone_,
correctly shape and color it _mentally_. =Every vocal tone is a mental
concept made audible.= The beginner and the confirmed bungler alike
fail in this prime essential--they do not make this mental picture of
tone before singing it. Kindred to this is deficiency in hearing, in
discriminating between good tone color and poor. The student must
constantly compare his tone as it is sung with the picture in his
mind. Training the voice is therefore largely a training of mind and
ear, a developing of nicety in discrimination. Singing is mental
rather than physical, psychologic rather than physiologic. Think
therefore of the effect desired rather than of the process.
In considering the details of voice production analytically we are apt
to forget that man, notwithstanding his complexity, is a _unit_ and
acts as a unit. Back of all and underlying man's varied activity is
the psychical. In the advanced stages of the art of speech and song
this psychical element is of pre-eminent importance.
The speaker who essays to give expression to his own thoughts must
have his ideas sharply defined and aflame in order to so utter them
that they will arouse his hearers to enthusiasm. The speaker or singer
who would successfully interpret the thoughts of others must first
make those thoughts his very own. When this is attained, then the
voice, action, and the whole spirit of the performer, responding to
the theme, will beget a like responsiveness in his audience.
THE SINGER BEHIND THE VOICE
Books upon books have been written on voice training, and will
continue to be written. The preceding pages have been devoted to the
fundamental subject of tone production, but it is time to suggest that
back of the voice and the song is the singer himself with his complex
personality. Back of the personality is the soul itself, forever
seeking utterance through its mask of personality. All genuine impulse
to sing is from the soul in its need for expression. Through
expression comes growth in soul consciousness and desire for greater
and greater self-expression.
Singing is far more than "wind and muscle," for, as Ffrangcon-Davies
puts it, "The whole spiritual system, spirit, mind, sense, _soul_,
together with the whole muscular system from feet to head, will be in
the wise man's singing, _and the whole man will be in the tone_."
Of all the expressions of the human spirit in art form, the sublimated
speech we call song is the most direct. Every other art requires some
material medium for its transmission, and in music, subtlest of all
the arts, instruments are needed, except in singing only.
FREEDOM
In song the singer himself is the instrument of free and direct
expression. Freedom of expression, complete utterance, is prevented
only by the singer himself. No one hinders him, no one stands in the
way but himself. The business of the teacher is to _set free_ that
which is latent. His high calling is by wise guidance to help the
singer to get out of his own way, to cease standing in front of
himself. Technical training is not all in all. Simple recognition of
the existence of our powers is needed even more. Freedom comes through
the recognition and appropriation of inherent power; recognition comes
first, the appropriation then follows simply. The novice does not know
his natural power, his birthright, and must be helped to find it,
chiefly, however, by helping himself, by cognizing and re-cognizing
it.
No student of the most human of all arts--singing--need give up if he
has burning within him the _song impulse_, the _hunger to sing_. This
inner impulse is by its strength an evidence of the power to sing; the
very hunger is a promise and a prophecy.
DETERRENTS
The deterrents to beautiful singing are physical in appearance, but
these are outer signs of mental or emotional disturbance. Normal
poise, which is strength, smilingly expresses itself in curves, in
tones of beauty.
_Mental discord_ results in angularity, rigidity, harshness.
_Impatience_ produces feverishness that makes vocal poise impossible;
and impatience induces the modern vice of forcing the tone. Growth is
a factor for which hurried forcing methods make no allowance.
_Excess of emotion_ with its loss of balance affects the breathing and
play of the voice.
_Exertion_, trying effort, instead of easy, happy activity induces
hampering rigidities.
_Intensity_, over-concentration, or rather false concentration,
emotional tension, involves strain, and strain is always wrong.
_Over-conscientiousness_, with its fussiness about petty detail, and
insistence on non-essentials, is a deterrent from which the robust are
free. _Over-attention to the mechanics_ of voice production is a
kindred deterrent. Both deterrents prevent that prime characteristic
of expression--spontaneity.
_Anxiety_ is a great contractor of muscle, a great stiffener. Anxiety
always forgets the _power_ within, and falsely says to the
song-hunger, "You shall never be satisfied."
_Self-repression_ is a great deterrent that afflicts the more
sensitive, particularly those of puritanic inheritance. It is a
devitalizer and a direct negative to expression, which is vital, is
_life_.
All of these deterrents are negative and may be overcome by fuller
recognition of the inner power that by its very nature must
perpetually seek positive expression.
CONCLUSION
In conclusion, the student can perpetually find encouragement in a
number of happy facts.
Man is endowed by nature, except in rare instances, with a perfect
vocal apparatus. When abnormal conditions are found they are usually
in the adult voice, and are due solely to misuse. In other words
defects are not inherent but acquired and _can be removed_.
By nature the human voice is beautiful, for the tendency of nature is
always in the direction of beauty. Whatever is unlovely in singing, as
in all else, is _un_natural. True method is therefore never artificial
in its action, but simple, because the natural is always simple.
Finally, no, not finally, but firstly and secondly and thirdly and
perpetually, every student of singing and every teacher of it must
constantly bear in mind the happy law:
=THE RIGHT WAY IS ALWAYS AN EASY WAY=
BOOKS CONSULTED
TITLE AUTHOR PUBLISHED
An Essay on the History
and Theory of Music, and
of the Qualities and Capacity
of the Human Voice Isaac Nathan London, 1823.
Elements of Vocal Science Richard Mackenzie Bacon London, 1824.
Orthophony; or the Cultivation
of the Voice in Elocution William Russell Boston, 1859.
Vocal Physiology Charles Alex. Guilmette New York, 1860.
Die Lehre von den
Tonempfindungen als
physiologische Grundlage
für die theorie der Musik H.L.F. Helmholtz Brunswick, 1863.
The Sensations of Tone as
a Physiological Basis for
the Theory of Music H.L.F. Helmholtz
(Translation of above) (Translated by A.J.
Ellis) London, 1875.
Sound John Tyndall London, 1867.
Principles of Elocution and
Voice Culture Benj. W. Atwell Providence, 1868.
The Voice, Its Artistic
Production, Development
and Preservation George J. Lee London, 1870.
The Cultivation of the
Speaking Voice John Pyke Hullah Oxford, 1870.
Voice Building Horace R. Streeter Boston, 1871.
Principles of Elocution and
Voice Culture Benjamin Atwell Boston, 1872.
Hints for Pronunciation in
Singing Georgiana Weldon London, 1872.
The Voice in Singing Emma Seiler Philadelphia, 1872
The Voice as an Instrument Ange A. Pattou New York, 1878.
The Vocal Process John Howard New York, 1878.
Speech in Song Alexander J. Ellis London, 1878.
Voice and Vocalization Wm. P. Robert London, 1879.
The Human Voice and
Connected Parts Joseph Montgomery Farrar London, 1881.
The Mechanism of the
Human Voice Emil Behnke London, 1882.
Gymnastics of the Voice Oskar Guttmann Albany, 1882.
The Art of Voice Production
with Special Reference
to the Methods of
Correct Breathing Ange A. Pattou New York, 1882.
The Old Italian School of
Singing Leo Kofler Albany, 1882.
The Secrets of the Voice in
Singing Emilio Belari New York, 1883.
Deep Breathing Sophia A. Ciccolina New York, 1883.
Artistic Voice in Speech
and Song Charles Lunn London, 1884.
Voice, Song and Speech Lennox Browne and Emil
Behnke London, 1884.
Modern Singing Methods,
Their Use and Abuse John Franklin Botume Boston, 1885.
The Diaphragm and Its
Functions J.M.W. Kitchen Albany, 1885.
The Voice from a Practical
Standpoint Edmund J. Meyer New York, 1886.
The Hygiene of the Vocal
Organs Morrell Mackenzie, M.D. London, 1886.
How to Sing Wm. Henry Daniell New York, 1887.
The Art of Breathing as
the Basis for Tone Production Leo Kofler New York, 1887.
The Voice. How to Train
It Edward Barrett Warman Boston, 1890.
Scientific Voice. Artistic
Singing and Effective
Singing Thomas Chater London, 1890.
Voice Figures Mrs. Margaret Watts
Hughes London, 1891.
The Human Voice; Its
Cultivation W.H. Griffiths London, 1892.
The Philosophy of Singing Clara Kathleen Rogers New York, 1893.
The What and How of
Vocal Culture F. Rowena Medini New York, 1893.
Exercises in Vocal Technique John Franklin Botume Boston, 1894.
Text-Book on the Natural
Use of the Voice George E. Thorp and
William Nicholl London, 1895.
Respiration for Advanced
Singers John Franklin Botume Boston, 1897.
Voice Building and Tone
Placing Henry Holbrook Curtis,
M.D. New York, 1896.
Twenty Lessons on the
Development of the
Voice George E. Thorp London, 1896.
Voxometric Revelation
(The Problem Surrounding
the Production of
the Human Voice Finally
Discovered) Alfred Augustus North London, 1896.
The Art of Singing Wm. Shakespeare London and
Boston, 1898.
The Rightly-Produced
Voice Edward Davidson Palmer London, 1898.
How to Train Children's
Voices T. Maskell Hardy London, 1899.
How to Sing (Meine
Gesangskunst) Lilli Lehmann New York, 1902.
Scientific Tone Production Mary Ingles James Boston, 1903.
English Diction for Singers
and Speakers Louis Arthur Russell Boston, 1905.
The Training of Boys'
Voices Clarke Ellsworth Johnson Boston, 1906.
Voice Production in Singing
and Speaking Wesley Mills, M.D. Philadelphia, 1906.
The Art of the Singer W.J. Henderson New York, 1906.
The Commonplaces of
Vocal Art Louis Arthur Russell Boston, 1907.
The Singing of the Future David Ffrangcon-Davies London, 1908.
The Art of Singing and
Vocal Declamation Sir Charles Santley London, 1908.
INDEX
ABDOMINAL BREATHING, employed by Martel, 4, 26;
lateral, 3.
(See also _Chest-abdominal breathing_ and
_Lateral abdominal breathing_.)
ACOUSTICS, 43;
experiments in, 46-48;
Pascal on, 49.
ACTOR, enunciation of the, 19;
importance of deep breathing for, 19.
ADAM'S APPLE, the male larynx, 9.
AGE to begin study of voice, 77.
AH-sound, narrow limits of, 18;
how produced, 22;
Lilli Lehmann on, 19;
place of, in practice, 57.
AIR CAVITIES (see _Sinuses_).
ANXIETY, a deterrent to beautiful singing, 85.
APPLICATION OF ESSENTIALS, 79.
APPUNN, on pitch of vowel sounds, 20.
ARTICULATION, differing opinions concerning, 3;
relation of, to resonance, 51;
through upper lip, 72.
(See also _Pronunciation_.)
ARTICULATOR, 6.
ARTISTRY, 79.
ASCHAM, ROGER, on voice culture through imitation, 77.
AW-sound, lip position for, 22;
in exercises, 59, etc.
BEAUTY OF TONE, a criterion of correct vocal action, 56.
BELL, on pitch of vowel sounds, 20.
BOOTH, EDWIN, as a good speaker, 16.
BOOTH, JUNIUS BRUTUS, impairment of his voice, 53.
BREATH CONTROL, 23-32;
importance of, in both speaking and singing, 23;
muscles of respiration in, 23;
the diaphragm in, 23;
muscles in, 24;
the lungs in, 25;
inspiration, 25;
expiration, 25;
correct method of, 25;
a cure for nervousness, 27;
necessity of exercises, 27;
economy a factor in, 30;
exaggerated, 30;
initial use of, 31;
exercises for, 33-37;
of Farinelli, 37.
BREATH FORCE, initial use of, 31;
reserve, 31;
wasted, 31.
BREATH MASTERY, meaning of, 32.
BREATHING, art of, 3;
an amplification of the daily habit, 5;
defined as singing, 23;
correct, 25, 28;
not differing in sex, 26;
vicious habits of, 26;
controlling deeply, 26;
tests of, 26;
nose versus mouth, 26;
regularity of, 26;
in obtaining power and largeness of tone, 27;
for high tones, 27;
relation of, to nervousness, 27;
rhythmic, 27;
necessity of exercises, 27;
illustrations of, 28, 29;
exercises in, 33-37;
economy in, 30;
tests in, by Professor Mills, 30;
exaggerated control of, 30;
exhaustion, 31;
initial force in, 31;
reserve power in, 31;
mastery of, 32.
(See also _Abdominal breathing_.)
BROSCHI, DON CARLO, breath control of, 36.
BROWNE, DR. LENNOX, on the laryngoscope, 3.
BROWNE and BEHNKE, on nasal resonance, 53.
CHEST, expansion of and resonance, 49.
CHEST-ABDOMINAL BREATHING, 25;
illustrated in sleeping child, 25;
tests in, 26;
illustrated, 28, 29.
CHEST TONES, former emphasis given to, 2;
wrongly termed, 5.
CLAY, HENRY, as a good speaker, 16.
CLOSED TONES, former emphasis given to, 2;
wrongly termed, 5.
CRYER, DR. W.H., on the frontal sinus, 12.
CULTURE OF THE VOICE (see _Voice culture_).
DEEP BREATHING, importance of, for the actor, 19.
(See also _Breathing_.)
DETERRENTS TO BEAUTIFUL SINGING, 84, 85.
DIAPHRAGM, in breathing, 19;
not a muscle of expiration, 23;
described, 23, 24;
in inspiration, 24;
in expiration, 24;
illustrated, 24, 29.
DIFFERENCE BETWEEN SINGING AND SPEAKING, 17.
EAR, function of, in tone production, 57;
training of, 57.
EE-sound, lip position for, 20;
in exercises, 57, 59, etc.
EFFORT, TENSE, a deterrent to beautiful singing, 84.
EMOTION, effect on tone quality, 7;
excess of, a deterrent to beautiful singing, 84.
EMPIRICISTS, where they have failed, 4.
EPIGLOTTIS, 10.
ESSENTIALS, application of, 79.
ETHMOID BONE, 8.
ETHMOIDAL SINUSES, illustrated, 7;
function of, 12.
EVERETT, EDWARD, as a good speaker, 16.
EXERCISES, BREATHING:
necessity of, 27, 33;
preliminary suggestions, 33, 34;
attitude in taking, 34;
I, to show what a deep breath is, 34;
II, slow inhalation with sudden expulsion, 35;
III, sipping the breath, with quick exhalation, 35;
IV, for rib expansion, 35;
V, slow inhalation with slow expiration, 36;
VI, rapid inspiration with slow expiration, 36;
VII, Farinelli's great exercise, 36;
VIII, the cleansing breath, 37;
half breath, 37.
EXERCISES, VOCAL:
I, to establish nasal and head resonance, 58-61;
for speakers, 60, 61;
II, to establish head and nasal resonance, 61;
III, IV, V, upper resonance, 62-64;
VI, to enlarge the throat and thus magnify the tone, 64;
VII, for production of the vowel sounds in proper focus, 65;
VIII, to enlarge the throat and focus the vowels, 66;
IX, quick changing notes without changing resonance, 67;
X, for agility, 67, 68;
XI, to develop the use of the lips and under jaw, 68, 69;
XII, for facility and quick vowel change, 69, 70;
XIII, ascending and descending scale, 71;
XIV, the long scale, 71;
additional, 72, 73;
repose as a preparation for, 80.
EXPIRATION, muscles of, 23, 24;
under controlled pressure, 24;
described, 25;
the lungs in, 25;
illustrated, 28, 29.
FACE, training muscles of, 15.
FARINELLI, breath control of, 36.
FFRANGCON-DAVIES, on pronunciation, 18;
on registers, 39;
on function of ear in voice training, 57;
definition of singing of, 83.
FOCUSING THE VOICE (see _Voice placing_).
FORBES-ROBERTSON, on diction, 19.
FORMES, CARL, voice of, in declining years, 4.
FREEDOM IN SINGING, 84.
FRONTAL SINUSES, function of, 12;
illustration of, 7.
GARCIA, MANUEL, inventor of laryngoscope, 2;
use of laryngoscope, 2;
Sir Charles Stanley on, 3.
GOUNOD, on pronunciation, 19.
HALF-BREATH, Sembrich and, 37.
HARD PALATE, function of, 12.
HARSHNESS, an indication of tension, 56.
HEAD CAVITIES, a resonator for the voice, 6;
effect of, on resonance, 12.
HEAD TONES, in previous years, 2;
wrongly termed, 5.
HELMHOLTZ, on pitch of vowel sounds, 20;
on acoustics, 43, 49.
HENDERSON, W.J., on pronunciation, 18.
HIGH TONES, breath control necessary for, 27.
HOLMES, OLIVER WENDELL, on Edward Everett's voice, 16.
HYOID BONE, 8, 10.
I-sound, described, 21.
IMPATIENCE, a deterrent to beautiful singing, 84.
INSPIRATION, muscles of, 23, 24;
process of, described, 25;
illustrated, 28, 29.
(See also _Breath control_ and _Breathing_.)
INSTRUMENT, MUSICAL, elements of, 43, 44.
INTENSITY, INVOLVING STRAIN, a deterrent to beautiful singing, 84.
KINDERGARTEN TEACHERS, instruction by, 78.
KOENIG, on pitch of vowel sounds, 20.
LARYNGOSCOPE, and registers, 2;
Garcia the inventor of, 2;
usefulness of, 2;
limitations of, 3;
disappointing results of, 38;
not an instrument for the singer, 51.
LARYNX, moving, 3;
viewed through the laryngoscope, 3;
illustrated, 7;
description of, 8, 9;
relation of size of, to pitch, 9;
automatic action of, 38;
not alone the vocal organ, 50;
reflex action of, 51;
force of tone does not originate in, 75;
must be left uncramped, 75.
LATERAL ABDOMINAL BREATHING, 3, 25, 28.
LEHMANN, MADAME LILLI, on use of Ah, 19;
on registers, 39;
on nasal resonance, 54.
LIFE'S PERIODS, 79.
LIND, JENNY, effects of wrong methods on, 4.
LIPS, in articulation, 14;
position of, 20-22;
illustrated, 21, 22.
LUNGS, a motor for the voice, 6;
illustrated, 24;
described, 25;
overcrowding, 31.
MACKENZIE, DR. MORELL, on the laryngoscope, 3;
on singing and speaking, 17.
MACREADY, WM. CHARLES, as a good speaker, 16.
MARTEL, voice of, at seventy, 4.
MAXILLARY SINUSES, 7, 8, 12.
MAY, DR., breathing tests made by, 26.
MCKINLEY, M.S., on Garcia and the laryngoscope, 2.
MENTAL DISCORD, a deterrent to beautiful singing, 84.
MEYER, EDMUND J., on resonance, 43.
MILLS, DR. WESLEY, on breath measure, 30;
on ease of vocal action, 56;
on the function of the ear in tone production, 57.
MOTOR OF THE VOCAL INSTRUMENT, 6.
MOUTH, theory of its function, 1;
a resonator for the voice, 6.
MUSCLES OF RESPIRATION, 23.
MUSIC TEACHERS, scientific, 4;
empirical, 4.
NASAL CAVITIES, as reinforcing agents in tone production, 2;
a resonator for the voice, 6;
illustrated, 7;
formation of, 8;
vibrations in, 8;
effect on resonance, 12;
Edward Everett's use of, 16;
as a resonator, 52, 53;
obstruction of, in Booth, 53.
NASAL RESONANCE, erroneous theories concerning, 1, 2;
Madame Rudersdorff recognized effect of, 2;
involved in head resonance, 52;
versus nasal tone quality, 53;
Lilli Lehmann on, 54;
Sembrich's study of, 54;
importance of, 54.
NATURAL VOICE, what is meant by, 77.
NERVOUSNESS, a cure for, 27, 80.
NOSTRILS, relation of, to tone quality, 14.
O-sound, lip position for, 20;
illustrated, 21;
in exercises, 59, etc.
OO-sound, lip position for, 20, 21;
in exercises, 59, etc.
OPEN TONES, 2, 5.
ORAL SURGERY, 2.
ORATORIO, faulty diction in, 18.
OVER-CONSCIENTIOUSNESS, a deterrent to beautiful singing, 84.
OVERTONES, 45, 46.
PERSONALITY, effect on the voice, 83.
PHARYNX, function of, 10.
PHILLIPS, ADELAIDE, voice of, in declining years, 4.
PITCH OF TONE, influence of resonance cavities on, 12, 13.
PLACING THE VOICE (see _Tone production_).
POWER OF TONE, dependent on resonant cavities and breath control, 27.
PRINCIPLES ADVOCATED, 5.
PRONUNCIATION, indifference of American singers to, 17;
W.J. Henderson on, 18;
change of attitude toward, 18;
importance of, to singer, 18;
relation of, to tone, 18;
Ffrangcon-Davies on, 18;
sing words rather than tones, 18;
Lilli Lehmann on, 19;
emotional power impossible without, 19;
Gounod on, 19;
Forbes-Robertson on, 19;
upper lip in, 19;
effect of smile on, 19.
PSYCHOLOGY OF VOCAL CULTURE, 82-85.
PTERYGOID MUSCLES, and the under jaw, 10.
PUBLIC SCHOOLS, voice training in, 78.
REEVES, SIMS, voice of, 4.
REGISTERS, 38-42;
blending the, 2, 41;
not a natural feature of the voice, 2;
fallacy of theory of, 2;
a myth, 5;
the _bête noire_ of vocalists, 38;
defined, 38;
Clara Kathleen Rogers on, 38;
Lilli Lehmann on, 39;
Ffrangcon-Davies on, 39;
of the organ, 40;
of voice and instruments compared, 40, 41;
an artificial creation, 41, 42.
REPOSE, AS A PREPARATION FOR VOCAL EXERCISES, 80;
how to induce, 80.
RESONANCE, differing opinions concerning, 3;
principle of, 5;
nasal and head cavities in, 12;
influence of resonance cavities on pitch, 12;
pitch of vowels in, 20;
and power, 27;
and breath force, 31;
in general, 43-50;
development of science of, 43;
quality and power of, 44;
significance of, 45;
experiments to demonstrate, 46-50;
induced, 47;
sympathetic, 47, 48;
density of air and, 47;
volume and character of tones dependent on, 49;
head and nasal, 51-55;
relation of articulation to, 51;
focusing tone a matter of, 52;
effect of its absence, 54;
exercises to establish, 58-72.
RESONATOR OF THE VOICE, 6.
RESPIRATION (see _Breath control_ and _Breathing_).
RESPIRATORY MUSCLES, a motor for the voice, 6;
described, 23, 28;
action of, 25;
illustrated, 24, 29.
ROGERS, CLARA KATHLEEN, on registers, 38.
RUDERSDORFF, MADAME, and nasal resonance, 2.
SANTLEY, SIR CHARLES, on Garcia and the laryngoscope, 3.
SCALE OF VOWEL SOUNDS, 20, 72.
SELF-REPRESSION, a deterrent to beautiful singing, 84.
SEMBRICH, MARCELLA, and the half-breath, 37;
use of nasal resonance, 54.
SINGING, subtlety of, 4;
obstacles to, 5, 74, 84;
versus speaking, 5, 17;
mission of singer, 18;
defined as breathing, 23;
age to begin, 77;
in public schools, 78;
by method, 79;
vibrato in, 80;
psychology of, 82-85;
sublimated speech, 83;
defined by Ffrangcon-Davies, 83;
freedom in, 84;
deterrents to, 84.
SINUSES, illustrated, 7;
pairs of, 8;
function of, 12.
SMILE, EFFECT OF, on pronunciation, 19.
SOFT PALATE, office of, 11, 52.
SPEAKING, obstacles to, 5;
tones of, identical with singing tones, 5;
difference from singing, 17;
expression in, 83.
SPEAKING VOICE, misunderstood, 16;
connection with singing voice, 16;
how cultivated, 16;
identity with singing voice, 17;
and pronunciation, 18, 19.
SPHENOID BONE, 8.
SPHENOIDAL SINUSES, illustrated, 7;
pairs of, 8;
function of, 12.
STAGE ELOCUTION, criticism of Forbes-Robertson on, 19.
TEETH, function of, in use of voice, 12.
THROAT, theory of sound in, 1;
a resonator, 6;
illustrated, 7;
relation to voice, 8.
(See _Larynx_ and _Pharynx_.)
THROAT STIFFNESS, most frequent obstacle to good singing, 74;
effect on larynx, 74;
difficulty in recognizing one's own, 74;
throat consciousness a common cause of, 74;
induced by lack of breath mastery, 75;
American hurry begets, 75;
voice culture a struggle with, 75;
remedies for, 75, 76.
TIMBRE OF VOICE, defined and explained, 7, 8.
TONE, defined, 45;
analyzed 45;
experiments to determine composition and resonance of, 46-50;
focusing of, 52;
vocal, a mental concept, 82;
whole man in, 83.
TONE PRODUCTION, largely a matter of resonance, 56;
effect of right thought on, 56;
judged by naturalness and beauty of result, 56;
function of the ear in governing, 57;
cultivating normal, 57;
exercises to aid in, 58-73;
effect of throat stiffness on, 74;
natural, 77;
age to begin study of, 77.
TONE QUALITY, variety in, 6;
effect of emotion upon, 7, 75, 84;
relation of pronunciation to, 18;
how to secure purity of, 18, 19;
experiments to determine, 46-50;
and resonance, 5, 44, 45, 49, 50;
cause of nasal, 52-54;
beauty or harshness of, a criterion of judgment, 56, 57;
effect of throat stiffness on, 74-76;
dependent on mind and ear, 82;
related to personality of singer, 83;
natural and unnatural, 85.
TONGUE, as an articulator, 6;
illustrated, 7;
connection with larynx, 9;
position of, in speaking and singing, 13;
tongue consciousness, 14.
UNDER JAW, 10;
in ascending the scale, 10.
UPPER LIP, in pronunciation, 19;
in practising, 68;
in articulation, 72.
UVULA, office of, 11.
VENTRICLE IN THE LARYNX, 8.
VIBRATO, 80, 81.
VIBRATOR, of the voice, 6;
of instruments, 43.
VITALIZING TEXT WITH TONE, the singer's mission, 18.
VOCAL CORDS, vibrator for the voice, 6;
in the larynx, 8;
described, 9;
not the principal cause of tone, 44, 45, 49;
necessity of free action of, 51.
VOCAL INSTRUMENT, discussion of, 6-15;
beauty and complexity of, 6;
three elements of, 6, 7;
illustrated, 7;
relation of parts of, 8;
larynx, 8, 9;
vocal cords, 9;
epiglottis, 10;
pharynx, 10;
under jaw, 10;
soft palate, 11;
hard palate and teeth, 12;
nasal and head cavities, 12;
tongue, 13;
lips, 14;
nostrils, 14;
face, 15;
defects in, 85.
VOCAL TONE, an audible mental concept, 82.
VOICE CULTURE, opinions concerning, 2;
wrong methods of a generation ago, 3, 4;
cannot be developed mechanically, 4;
principles advocated, 5;
the right way the easy way, 5;
resonance an important factor of, 5, 43, 45, 50, 52, 54;
should begin in childhood, 77;
learned by imitation, 77;
Roger Ascham on, 77, 78;
in public schools, 78;
artistry in, 78, 79;
three periods of, 79;
application of essentials of, 79;
repose as a preparation for, 80;
the vibrato in, 80;
psychology of, 82-85;
personality in, 83;
freedom in, 84;
deterrents in, 84, 85.
VOICE PLACING, 51, 52, 56-73.
VOICE TIMBRE, defined, 7, 8.
VOWEL SOUNDS, 11, 18, 19;
singer's scale of, 20, 72;
each has its own pitch, 20;
lip position for, 20-22;
placing of, 52;
exercises for practice, 58-73.
WEBSTER, DANIEL, as a good speaker, 16.
WHEATSTONE, on pitch of vowel sounds, 20.
WILLIS, on pitch of vowel sounds, 20.
THE MUSIC STUDENTS LIBRARY
[Illustration: THE MUSIC STUDENTS LIBRARY]
=A series of Educational Text-books suited to the requirements of the
average student and covering every essential branch of musical
instruction.=
_Note_:--Unless otherwise specified, books are bound in cloth.
PIANO
=Burrowes' Piano Primer.= Frederic Field Bullard,
Editor. An enlarged edition with pronouncing
dictionary. _Paper_ 75 A
=Ears, Brain and Fingers.= Howard Wells. 1 25 A
=Half Hour Lessons in Music.= Mrs. Hermann
Kotzschmar. Class work for beginners. Practical
for teachers and mothers. Illus. 1 25 A
=Interpretation of Piano music.= Mary Venable.
Studies in the meaning of printed signs used in
music, and their bearing on the interpretation of
standard works. 2 00 A
=Natural Laws in Piano Technic.= Mary Wood Chase.
Presents the essential laws of a sound piano
technic. 1 50 A
=Piano Teaching: Its Principles and Problems.=
Clarence G. Hamilton, A.M. A practical book,
written by a practical man to meet practical
needs. 1 50 A
ORGAN
=Primer of Organ Registration.= Gordon Balch Nevin.
Numerous illustrations and a Dictionary of
Organ Stops. 1 50 A
VIOLIN
=How to Master the Violin.= Pavel L. Bytovetzski.
A practical guide for students and teachers. 1 25 A
=How to Study Kreutzer.= Benjamin Cutter. What
every violin teacher discusses and illustrates in
the lesson room. 1 25 A
VOICE
=ABC of Music.= Auguste Mathieu Panseron. (Ed. by
N.C. Page.) A standard primer of vocalization. 1 50 A
do. _Paper_ 90 A
=Commonplaces of Vocal Art.= Louis Arthur Russell.
The plain truths of vocal art presented in simple
untechnical language. 1 25 A
=English Diction for Singers and Speakers.= Louis
Arthur Russell. For all who pretend to refined
or artistic use of the English language. 1 25 A
=French Diction for Singers and Speakers.= William
Harkness Arnold. The elements of French
pronunciation are reduced to a few fundamental
principles, readily mastered. 1 25 A
=Head Voice and Other Problems.= D.A. Clippinger. 1 25 A
PRACTICAL TALKS ON SINGING
=Resonance in Singing and Speaking.= Thomas Fillebrown,
M.D. An exposition of fundamentals,
with breathing and vocal exercises and illustrations. 1 50 A
=Training of Boys' Voices.= Claude Ellsworth Johnson.
A practical guide to the correct "placing" of
boys' voices. 1 25 A
=Twelve Lessons in the Fundamentals of Voice Production.=
Arthur L. Manchester. Presents
clearly the fundamentals illustrated by exercises. 1 25 A
EAR TRAINING, HARMONY AND COUNTERPOINT
=Ear Training for Teacher and Pupil.= C.A. Alchin.
Designed to teach the pupil to think in tones,
and so to sing, name, write, and play what he
hears. 1 50 A
=Intervals, Chords, and Ear Training.= Jean Parkman
Brown. Exercises and examples in rudimentary
harmony and ear training for use in conjunction
with piano study. 1 25 A
=Harmony.= Sir John Stainer, Mus. Doc. New edition
of a standard text-book which presents the
principles of harmony with conciseness and
lucidity. 1 50 A
do. _Paper_ 90 A
=Harmony Simplified.= Francis L. York. A practical
text-book presenting in a concise manner the
fundamental principles of harmony, with non-essentials
omitted. 1 50 A
=Manual of Harmony.= Ernst Friedrich Richter. Trans.
by J.C.D. Parker. A practical guide to the
study of harmony. 2 00 A
=Harmonic Analysis.= Benjamin Cutter. Teaches one
to analyze the harmonic structure of both classic
and modern music. 1 50 A
=Counterpoint.= Sir J. Frederick Bridge. This book has
freshness and plainness combined with thoroughness,
and must commend itself to young students
and teachers. 1 25 A
do. _Paper_ 90 A
=Counterpoint Simplified.= Francis L. York. A concise
text-book of formal counterpoint. (Sequel
to author's "Harmony Simplified"). 1 50 A
=Guide to Musical Composition.= H. Wohlfahrt. Tr.
by J.S. Dwight. On the invention of melodies,
their transformation, development and suitable
accompaniment. 1 25 A
FORM, INSTRUMENTATION AND ACOUSTICS
=Instrumentation.= Ebenezer Prout, Mus. Doc. A
valuable guide and assistant to students who
wish to gain a knowledge of the proper blending
of orchestral instruments, their compass,
capabilities, etc. 1 50 A
do. _Paper_ 90 A
=Lessons in Music Form.= Percy Goetschius, Mus. Doc.
A manual of analysis of all the structural factors
and designs employed in musical composition. 1 50 A
=Musical Forms.= Ernest Pauer. The students of musical
form, and especially those who study composition,
will find this a very valuable and
thorough work. 1 75 A
do. _Paper_ 90 A
=Sound and Its Relation to Music.= Clarence G. Hamilton,
A.M. A handbook of acoustics as relating
to music. Based on the latest discoveries and
experiments. 1 50 A
CONDUCTING, HISTORY, MUSIC APPRECIATION
AND DEFINITIONS
=Essentials in Conducting.= Karl W. Gehrkens, A.M.
On personal requirements, technic of the baton,
interpretation, rehearsing, program making, etc. 1 75 A
=Outlines of Music History.= Clarence G. Hamilton, A.M.
A compact, clearcut work for class use and the
general reader. Fully illustrated. 2 25 A
=Music Appreciation.= Clarence G. Hamilton, A.M.
Based on methods of literary criticism, this
unique text-book is for those who wish to listen
to music with quickened hearing and real understanding.
With 24 portraits, 28 diagrams and
over 200 music cuts. 2 50 A
=Music Club Programs From all Nations.= Arthur
Elson. Outlines the various schools from all
nations with a rich series of programs and over
one hundred portraits. 2 00 A
=Some Essentials in Musical Definitions.= M.F.
MacConnell. Covers the needed information on
all points connected with musical theory, and
therefore of special value to piano, singing,
violin, and organ students. 1 25 A
[Illustration]
THE MUSICIANS LIBRARY
=This notable series has been planned to embrace all the masterpieces
of song and piano literature; to gather into superbly made volumes of
uniform size and binding the best work of the best composers, edited
by men of authority. Each volume is independent, complete in itself,
and sold by itself.=
Paper, Cloth Back, per Volume $2 50 A
Cloth, Gilt, per Volume. 3 50 A
PIANO VOLUMES
=Bach Piano Album=
Vol. I. Shorter Compositions. Edited by Dr. Ebenezer Prout.
=Bach Piano Album=
Vol. II. Larger Compositions. Edited by Dr. Ebenezer Prout.
=Beethoven Piano Compositions=
Vols. I and II. Edited by Eugen D'Albert.
=Brahms, Johannes=
Selected Piano Compositions. Edited by Rafael Joseffy.
=Chopin, Frederic=
Forty Piano Compositions. Edited by James Huneker.
=Chopin, Frederic=
The Greater Chopin. Edited by James Huneker.
=Grieg, Edvard=
Larger Piano Compositions. Edited by Bertha Feiring Tapper.
=Grieg, Edvard=
Piano Lyrics and Shorter Compositions. Edited by Bertha Feiring
Tapper.
=Haydn, Franz Josef=
Twenty Piano Compositions. Edited by Xaver Scharwenka.
=Liszt, Franz=
Twenty Original Piano Compositions. Edited by August Spanuth.
=Liszt, Franz=
Twenty Piano Transcriptions. Edited by August Spanuth.
=Liszt, Franz=
Ten Hungarian Rhapsodies. Edited by August Spanuth and John Orth.
=Mendelssohn, Felix=
Thirty Piano Compositions. Edited by Percy Goetschius, Mus. Doc. With
a Preface by Daniel Gregory Mason.
=Mozart, Wolfgang Amadeus=
Twenty Piano Compositions. Edited by Carl Reinecke.
=Schubert, Franz=
Selected Piano Compositions. Edited by A. Spanuth.
=Schumann, Robert=
Fifty Piano Compositions. Edited by Naver Scharwenka.
=Wagner, Richard=
Selections from the Music Dramas. Edited by Otto Singer.
* * * * *
=Anthology of French Piano Music=
Vol. I. Early Composers. Vol. II. Modern Composers. Edited by Isidor
Philipp.
=Anthology of German Piano Music=
Vol. I. Early Composers. Vol. II. Modern Composers. Edited by Moritz
Moszkowski.
=Early Italian Piano Music=
Edited by M. Esposito.
=Modern Russian Piano Music=
Vols. I and II. Edited by Constantin von Sternberg.
=Twenty-four Negro Melodies.=
Transcribed for Piano by S. Coleridge-Taylor.
SONG VOLUMES
=Brahms, Johannes=
Forty Songs. High Voice. Low Voice. Edited by James Huneker.
=Franz, Robert=
Fifty Songs. High Voice. Low Voice. Edited by William Foster Apthorp.
=Grieg, Edvard=
Fifty Songs. High Voice. Low Voice. Edited by Henry T. Finck.
=Handel, George Frideric=
Vol. I. Songs and Airs. High Voice. Vol. II. Songs and Airs. Low
Voice. Edited by Dr. Ebenezer Prout.
=Jensen, Adolf=
Forty Songs. High Voice. Low Voice. Edited by William Foster Apthorp.
=Liszt, Franz=
Thirty Songs. High Voice. Low Voice. Edited by Carl Armbruster.
=Schubert, Franz=
Fifty Songs. High Voice. Low Voice. Edited by Henry T. Finck.
=Schumann, Robert=
Fifty Songs. High Voice. Low Voice. Edited by W.J. Henderson.
=Strauss, Richard=
Forty Songs. High Voice. Low Voice. Edited by James Huneker.
=Tchaikovsky, P.I.=
Forty Songs. High Voice. Low Voice. Edited by James Huneker.
=Wagner, Richard=
Lyrics for Soprano. Edited by Carl Armbruster.
=Wagner, Richard=
Lyrics for Tenor. Edited by Carl Armbruster.
=Wagner, Richard=
Lyrics for Baritone and Bass. Edited by Carl Armbruster.
=Wolf, Hugo=
Fifty Songs. High Voice. Low Voice. Edited by Ernest Newman.
=Fifty Mastersongs=
High Voice. Low Voice. Edited by Henry T. Finck.
=Fifty Shakspere Songs=
High Voice. Low Voice. Edited by Charles Vincent, Mus. Doc.
=Modern French Songs=
High Voice. Low Voice. Vol. I. Bemberg to Franck. Vol. II. Georges to
Widor. Edited by Philip Hale.
=One Hundred English Folk-songs=
Medium Voice. Edited by Cecil J. Sharp.
=One Hundred Folk-Songs of all Nations.=
Medium Voice. Edited by Granville Bantock.
=One Hundred Songs by Ten Masters=
High Voice. Low Voice. Edited by Henry T. Finck. Vol. I. Schubert,
Schumann, Franz, Rubinstein and Jensen. Vol. II. Brahms, Tchaikovsky,
Grieg, Wolf and Strauss.
=One Hundred Songs of England=
High Voice. Low Voice. Edited by Granville Bantock.
=Seventy Scottish Songs=
High Voice. Low Voice. Edited by Helen Hopekirk.
=Sixty Folk-songs of France=
Medium Voice. Edited by Julien Tiersot.
=Sixty Irish Songs=
High Voice. Low Voice. Edited by William Arms Fisher.
=Sixty Patriotic Songs of All Nations=
Medium Voice. Edited by Granville Bantock.
=Songs by Thirty Americans=
High Voice. Low Voice. Edited by Rupert Hughes.
=Songs From the Operas for Soprano=
Edited by H.E. Krehbiel.
=Songs From the Operas for Mezzo Soprano=
Edited by H.E. Krehbiel.
=Songs From the Operas for Alto=
Edited by H.E. Krehbiel.
=Songs From the Operas for Tenor=
Edited by H.E. Krehbiel.
=Songs From the Operas for Baritone and Bass=
Edited by H.E. Krehbiel.
Other volumes are in preparation. Booklets, giving full particulars,
with portraits of Editors, and contents of volumes published, FREE on
request.