THE AIM OF THIS BOOK
To the making of books there is no end, but the flooding of the
musical world with countless publications on the phenomenon of
_Voice_ makes it imperative for the author to justify this
addition to the already voluminous literature on this subject.
The vast majority of the books written in various languages in
the last thirty years have, in truth, added practically nothing
new, nor influenced to any great degree the development and
progress of the art of singing. On the contrary, some of them,
by displaying absurd theories based on misinterpreted
physiological laws, have caused much damage; and others by
simply repeating, in more or less varied forms the principles
laid down by such authorities as Tosi, Mancini, Porpora, Garcia,
Guillemin, Mandl and Mackenzie have not taken into consideration
that those principles can hardly be of benefit to the critical
conditions of the singing of to-day, for the art of song has
deteriorated very much in recent years, while operatic music has
undergone a radical evolution toward interpretation.
An old motto says: “For extreme evils, extreme remedies.” The
author, therefore, much concerned about the present situation,
feels that the time has come to urge a radical reform in voice
education. This reform must be founded on scientific laws, and
must direct the art of singing toward a fundamental
reconstruction better suited to the exigencies of our times,
freeing the field of singing from both the unprogressive and
empirical, though correct, method of the old Italian school, on
the one hand, and the devastating influence of the _arbitrary
methods_ of voice culture created by incompetent teachers, on
the other. This constitutes the _aim_ of this book.
No criticism, however, is leveled at the glorious old Italian
school of the _bel canto_; but the operatic music of to-day
differs widely from that written generations ago. The operas of
Wagner, for instance, cannot be rejected for not following the
same structure and style as those of Pergolesi, Glück, Mozart,
Donizetti, Bellini, etc.; nor should they be limited to few
interpreters only because they are more strenuous and difficult
to sing. Voices should be trained to such easy production and
correct technic, that the length and the intense style of
Wagner’s or any other modern composer’s operas will not expose
the vocal organs to any dangerous strain.
We live in an epoch in which, in _every branch_ of human
knowledge, there has been _progress_ and _evolution_ from
_empiricism_ to _scientific principles_ and _definite rules_.
Music itself, in its different branches, from composition to the
technic of instrumental executions, has changed much and
improved. Only the art of singing is still striving in its
empiric form, ruled either by doubtful traditions or by
arbitrary methods of singing, the number of which is as large as
their practical value is small. Certainly, if one substantial
and correct method existed, there should be room for no other.
Whose fault, however, if the art of singing is not only
stagnant, but steadily deteriorating?
Some people lay the responsibility on modern opera. It is true
that modern composers write more elaborate and complex music for
singing than their predecessors; but nobody, in truth, can blame
them for having, under the inspiration of their genius, directed
their works toward new forms of art, which require more
efficient vocal means.
It is our impression that teachers and singers alone are to
blame, if they are not able to face at ease the new exigencies,
and follow the creative power of these geniuses in their
evolution and progress.
Now, what can be done to change the present conditions? The
author believes that by laying down a few new scientific
principles on the mechanism of voice production and some
suggestions for a thorough reconstruction of voice culture, he
has brought out some original views which should incite the
interest of the singing field in the promotion of a radical
reform in the art of singing.
The mechanism of voice production and voice culture cannot be
properly used unless properly taught; and the teaching must be
founded on physiological truths.
The author is not sanguine regarding the immediate effect of
this basic reform which he suggests. It takes a long time for
truth to win its way in any field of endeavor; but if the
advancement of his views has the effect of stimulating
discussion and of creating a mental attitude which will lead to
the revision of our preconceived notions and to the discarding
of worn-out theories, prejudices and superstitions, his efforts
will have served some purpose.
Frequently one hears the much abused remark from teachers, “What
do scientists know about voice? It is purely an artistic
development, and they have no right to interfere with voice
culture and the art of singing. This is the domain of the
singing teachers alone.” The majority of the public accept this
statement without discussion.
Yet it is necessary to remind these people that every art has
its origin, to a greater or less degree, in some science. They
must know that even behind the creation of a musical composition
stands the science of harmony and counterpoint, and the
structure of its frame and proportions is purely a scientific
construction. Any one who knows a little about Beethoven can see
in his creations the most vivid example of what science is to
music.
The art of painting is based on the science of drawing; and the
imaginative power of a painter in creating a beautiful
landscape, or in reproducing the character of a person in a
portrait, has its origin in the skill of a hand directed by the
functional power of the brain. It is, however, obvious that the
functioning power of the brain is better known to the
psychologist than to the painter himself, and any disorder
related to that function can be detected more readily by the
former than by the latter. Therefore, science is always of great
assistance to art.
There can be no voice without a functioning vocal apparatus, the
physiological activity of which gives origin not only to the
voice, but to the correct mechanism of its production, which
establishes the scientific foundation of the art of singing.
Now, as no one would dispute that the specialist of heart or
brain diseases must be well acquainted with the functions of
these organs and the treatment of their disorders, no one should
doubt that the laryngologist must have a thorough knowledge of
the functions of the vocal organs and their physiological
product—the voice—and a firmer grasp on the subject than the
untaught layman. So, too, he surely must be more able than
anybody else to suggest the proper use of the vocal organs for
producing a correct mechanism of singing; and whenever a
disorder or deformity in voice production develops, he can find
the radical means for restoring them to normal.
Therefore, how ludicrous is the statement that the teaching of
voice production belongs only to one whose best asset often is
limited to the knowledge of how to run a few scales on the
piano, or how to read a score; or to those singers who, having
sung in defiance of the laws of nature during a brief career,
are forced to give it up for the more lucrative profession of
vocal instructor.
The public must begin to discriminate between _voice culture_
and _artistic vocal education_. The correct training and
developing of the physiological functions of the vocal organs
during the process of voice production constitutes voice
culture. It comprises a knowledge of the normal function of the
lungs, as moving power; of the larynx with the vocal cords, as
producing power; and of the mouth, which includes the tongue,
palate, lips, and the resonance chambers, as resonating power of
the voice. To know the defective, as well as the correct,
function of all these organs which control the mechanism of
voice production constitutes such an important factor in voice
culture, that it must be intrusted to the care of responsible
experts of the voice, well acquainted with the physiological
rules of the vocal apparatus.
The _vocal education_ as related to music, that is, operas,
songs, etc., is purely a technical study and an acquisition of
vocal musical knowledge, which is alike for all musical
instruments. That alone should be intrusted to music
instructors, coaches, accompanists and conductors.
In face of the alarming condition of the art of singing at
present, the author feels fully justified in expressing his
ideas on the important subject of voice and voice culture,
regardless of any prejudiced or unfavorable criticism. All
earnest music lovers should take this stand, and encourage such
efforts.
The problem of the responsibilities for the actually harmful
condition of voice culture must be solved, and the responsible
elements must be denounced without fear. The reaction which may
arise from professionals, who are slaves to prejudice,
ignorance, or material interests, is to be expected; but if it
is true that good singing is fatally deteriorating, all efforts
must be combined to discover the real cause, and what must be
done to restore the disappearing art of singing.