WHO WILL READ THIS BOOK?
In the preparation of this work the author had constantly before
him the question, _who will read this book?_
As a general proposition it may be stated that books on voice do
not appeal to the general reader. They are usually of interest
only to the so-called musical world and to the few scientific
men known as laryngologists. Those who should be particularly
interested in a book of this nature are singers, singing
teachers and students of singing.
In regard to singers, it is lamentable, but nevertheless true,
that the vast majority do not read books on voice. Having made
their “success,” and having “arrived” (in some cases, of course,
in their own belief only), they consider it superfluous to read
anything about voice culture. A robust _ego_, often an essential
part of the makeup of these individuals, makes them look with
disdain on other people’s ideas about singing, and they ignore
any new viewpoint regarding the phenomenon of the voice, however
important it may be.
Most of these singers strive for the applause of the audience,
and only for this. It cannot be denied, though, that the average
audience, lacking discrimination, is easily satisfied, most
easily enthused and aroused to vociferous applause by
artificialities, fireworks, and tricks. Therefore part of the
responsibility lies with the audience, as for the vast majority
of singers its applause is the verdict of the greatness of their
achievement and talent, and satisfies all their ambitions. This
class of singers, naturally, representing the purely commercial
element of the singing field, will not read this book.
It must be acknowledged, however, that there are exceptions.
These are the real artists, individuals with ideals, who must
not be confused with the mass, and who are always anxious to
learn in spite of their real success.
The real artists, having a higher conception of their art, sing
for art’s sake and do not prostitute art merely for the sake of
applause. Conscious of their mission, they hold the applause of
the multitude at its proper value, and constantly strive for
finer and better expression in their singing.
To them a new viewpoint about voice is deserving of
consideration, and they may find some interest in the author’s
views.
The Singing Teacher
Bernard Shaw has said: “He who can, does; he who cannot,
teaches.” This may be aptly applied to a condition of affairs
now existing in the vocal world.
Teaching is an art requiring great attainments, and not every
one can teach. The teacher must have a fundamental basic
knowledge of the physiology of the voice, not from mere hearsay,
but from actual study and work. He must know physical principles
of acoustics, and must have an elementary anatomical and
physiological knowledge of the vocal organs. Then, too, he must
be a musician, endowed with an exceptionally fine ear, and keen
powers of communication in order to reach the average
intelligence of pupils.
Considering all these things, I contend that the teaching of
singing is a difficult profession, which few are competent to
follow. To those few I submit my thesis, and request their
constructive criticism.
There is a large class of singing teachers, however, made up of
unscrupulous intruders, whose pernicious influence is of
inestimable harm both to the competent teachers and to the
inexperienced students. The field of teaching is kept in a
degraded and unwholesome condition by the malpractices of these
individuals who, disregarding, without investigation, any ideas
which might throw light on the difficult problems of voice
culture, retard its progress and evolution. Their origin is
usually traced to studios where as accompanists they have laid
the only foundation for their careers. Some of them do not even
belong to the musical field. Daring outsiders of any social
strata secure admittance to the musical world through
connections with singers or teachers, and with no other title or
support than their boldness and audacity, gain a foothold in the
free land of voice teaching unmolested, taking advantage of the
public ignorance and indifference. In this way they succeed in
making themselves conspicuous in the domain of voice culture.
The unfortunate result is that they find the road to their
misdeeds wide open, while it remains closed to the really
earnest and competent professionals, who disdain to lower
themselves to undignified competition. From this class of
unscrupulous intruders the author expects no recognition.
The Pupils of Singing
Enthusiastic, confident, zealous, anxious to learn, and
frequently gifted, these credulous young men and women pay the
penalty for the ignorance which generally exists regarding voice
culture.
A student of any other branch of art or science is requested,
nay, ordered, by those who have his tuition in charge, to read
all the available literature on the particular subject taught,
in order to become familiar with the viewpoints of the various
authorities. It is the function of the teacher then to indicate
where the truth lies and where the fallacy.
The average singing teacher, however, is not interested in
having his pupils read anything except his own literature, from
which it is only possible to deduce what a great personage the
teacher is. Students often place implicit faith in the ability
of masters who, by flattery and falsehood, maintain a hold on
their inexperienced victims, until, disgusted and disheartened,
the pupils find out too late that their voices have been ruined.
It is lamentably true, however, that pupils expect everything
from their teachers, relying very slightly upon their own
efforts and responsibility for their future; but if these
conditions prevail, it is precisely because they are ill
advised.
Of these young men and women, interested in the _truth_, I ask a
respectful hearing.
The art of singing is in a very critical condition. Millions
have been spent, and are still being spent, for the education of
thousands of beautiful voices, for voices of exceptional
material exist to-day as heretofore; but where are the good
singers?
Yes, there are still a few of the old school who really shine as
rare stars in the firmament of song. But when these artists have
passed away, shall we have to be dependent upon the phonographic
records for beautiful singing as memories of a glorious past?
This pessimistic view is still, however, tinged with hope. That
precious gift, the human voice, which more than any other medium
reaches the deeper corners of the human heart, will not be
hushed. The renaissance of the art of singing must and will
come, as surely as the dawn of tomorrow, if we succeed in
forcing open the door for a radical reform in the singing world.
By enforcing the laws of Nature, and applying rules based on
scientific principles, thus preventing natural voices from being
deformed at the beginning of their training, pupils may be
taught to sing correctly, beautifully, and easily. Ease is the
_sine qua non_ of correct singing, as singing means nothing but
expressing in musical form sentiments, such as happiness,
sorrow, love, which do not require any physical effort to be
expressed. A few words spoken in musical rhythm, with grace,
color, and artistic expression, are more effective and
convincing than the most vociferous, senseless noises, or
rasping gutturals, forcibly and acrobatically produced.
Therefore, singers must sing words for their _meaning_, not for
their _tones_. It is more important for them to remember this
principle than to rely on the top notes of their voices as their
strongest artistic resource. Holding a B-flat finale for an
exaggerated length of time, to produce a sensational effect for
the sake of the audience’s applause, is neither beautiful nor
artistic. Art is truth, and truth disdains such vulgar display.