It must be apparent to the reader, from the analysis of modern methods, that no real Science of Voice has thus far been erected. This is due to the fact that the general principles of scientific investigation have not been applied to the study of the voice. Under the influence of the idea of mechanical vocal management the attention of all investigators has been turned exclusively to the mechanical features of tone-production. Meanwhile the empirical knowledge of the old masters seems to have been forgotten. As a matter of fact, as will now be seen, this empirical knowledge has never been lost. Every modern teacher of singing shares the empirical knowledge which formed the sole material of the old method. But this knowledge is not applied effectually in modern instruction for two reasons. First, modern teachers do not realize the importance of this knowledge; indeed, they are practically unaware of this valuable possession. Although in fact the basis of nearly all modern instruction in singing, empirical knowledge is always unconsciously used. Second, empirical knowledge is always applied in the prevailing mechanical spirit. The attempt is always made to translate the sub-conscious empirical understanding of the voice into rules for direct mechanical management. Under the influence of the mechanical idea the modern teacher's most valuable possession, empirical knowledge of the voice, becomes utterly unserviceable.

Thus far, the whole result of this work has been destructive. The accepted Vocal Science has been shown to be erroneous in its conception and unsound in its conclusions. The work cannot halt here. Vocal Science must be reconstructed. This can be done only by following the general plan of all scientific investigation, beginning with the observation of all ascertainable facts bearing on the voice.

How can any facts be observed about the voice other than by the study of the vocal mechanism? An answer to this question is at once suggested so soon as scientific principles are applied to the subject. Strictly speaking, the voice is a set of sounds, produced by the action of the vocal organs. The scientific method of inquiry is therefore to begin by observing these sounds. Sounds as such can be observed only by the sense of hearing. It follows then that the attentive listening to voices is the first step to be taken.

Can any empirical knowledge of the voice be obtained by the mere listening to voices? If so, we ought now to be in possession of any facts which might be thus observed. Is it possible that information of this character is already a common possession of the vocal world, and yet that this information has never been applied in the investigation of the voice? This is exactly the case. Many facts regarding the voice have been observed so continually that they are a matter of common knowledge, and yet these facts have never been recorded in a scientific manner.

Consider, for example, this remark about a famous singer, made by one of the foremost musical critics of the United States: "Mme. T—— 's lower medium notes were all sung with a pinched glottis." How did this critic know that the singer had pinched her glottis? He had no opportunity of examining her throat with the laryngoscope, nor of observing her throat action in any other way. In fact, the critic was seated probably seventy-five feet from the artist at the time the tones in question were sung. The critic had only one means of knowing anything about the singer's throat action, and that was contained in the sound of the tones. There must therefore have been something in the sound of the tones which conveyed this information to the critical listener. For many years this gentleman had been in the habit of listening closely to singers, and he had found some way of estimating the singer's throat action by the character of the tones produced.

This same means of judging the manner of production from the sound of the tones seems to have been utilized nearly two hundred years ago. Speaking of the most frequent faults of tone-production, Tosi remarks: "The voice of the scholar should always come forth neat and clear, without passing through the nose or being choked in the throat." Mancini also speaks of the faults of nasal and throaty voice: "Un cantare di gola e di naso." A throaty tone, therefore, impressed these writers as being in some way formed or caught in the singer's throat. It may be set down as certain that no pupil ever explained to either of these masters how the objectionable sounds were produced. How then did Tosi and Mancini know the manner in which a throaty tone is produced?

We need not go back to the early writers to find out what is meant by a throaty tone. Fully as many throaty singers are heard nowadays as the old masters ever listened to. What do we mean when we say that a singer's voice is throaty? The answer to this question seems at first sight simple enough: The tones impress us as being formed in the singer's throat. But what conveys this impression? Something in the sound of the tone, of course. Yet even that is not enough. How can a tone, merely a sound to which we listen, tell us anything about the condition of the singer's throat during the production of the tone? Here again the answer seems simple: The listener knows that, in order to produce a tone of like character, he would have to contract his own throat in some way.

Here we have a highly significant fact about the voice. On hearing a throaty tone, the listener can tell how this tone is produced; he feels that he would have to contract his own throat in order to produce a similar tone. Let us carry this discussion a little further. How does the listener know this? Certainly not by actually singing a throaty tone. When seated in a concert hall, for example, and listening to a throaty singer, the hearer cannot rise from his seat, sing a few throaty tones himself, and then note how his throat feels. The critic just mentioned did not sing some notes with "pinched glottis" in order to learn how Mme. T—— sang her low tones. Evidently it is not necessary actually to imitate the singer; the hearer gets the same result by imitating the sounds mentally. In other words, when we hear throaty tones we mentally imitate these tones; thus we know that we should have to contract our own throats in order to produce similar tones.

But even here we cannot stop. To imitate the singer actually is one thing; mental imitation is something entirely different. In the first case, actual imitation, our muscular sense would inform us of the state of throat tightening. But in the case of mental imitation there is no actual tightening of the throat, nothing, at any rate, comparable to what takes place in actual imitation. There is then a dual function of the imagination; first, the mental imitation of the sound; second, the imaginary tightening of the throat. The analysis of the mental process must therefore be modified, and stated as follows: When we listen to a throaty tone we mentally imitate the tone; an imaginative function of the muscular sense informs us what condition the singer's throat assumes for the production of the tone.

A similar operation takes place in listening to nasal voices. An impression is conveyed by a nasal tone, through which the hearer is informed of a condition of tightness or contraction somewhere in the singer's nose.

The terms applied to the two most marked forms of faulty tone-production, nasal and throaty, are derived from impressions conveyed by the sounds of the tones. These names, nasal and throaty, refer to a feeling of tightness or contraction experienced in imagination by the hearer; in one case this feeling is located in the nose, in the other, in the throat. But the terms nasal and throaty are general descriptions of faulty tones. Each one covers a wide range of tone qualities. There is an almost infinite variety of throaty tones, and of nasal sounds as well. The knowledge of the voice obtained by listening to vocal tones is of equally wide extent. Every throaty tone, whatever its precise character, informs the hearer of the exact condition of the singer's throat in producing the tone. In short, every vocal tone is thus analyzed by the critical listener, and referred in imagination to his own throat. An insight into the singer's vocal action is imparted to the hearer through an imaginative process which always, of necessity, accompanies the attentive listening to vocal tones.

Every vocal tone awakens in the hearer a set of imagined muscular sensations. These sensations furnish the means for an exhaustive analysis of the operations of the voice. The production of tone therefore awakens two sets of muscular sensations, one actually felt by the singer, the other felt in imagination by the listener. The former are commonly known as the "singer's sensations"; but, as will be explained later, this expression is often very loosely applied. It is advisable on this account to give a new name to the singer's sensations, and also to give a name to the muscular sensations awakened in the hearer. Let us therefore call the sensations experienced by the singer in the production of tone the "direct sensations of tone." To the imaginary sensations of the hearer let us give the name, the "sympathetic sensations of tone."

These two terms will be used throughout the remainder of this work in the meanings here given to them.

Direct sensations of tone are the sensations actually felt by the singer as a result of the exercise of the vocal organs.

Sympathetic sensations of tone are the muscular sensations experienced in imagination by the hearer as a result of the listening to the tones of voices other than his own.



CHAPTER II

SYMPATHETIC SENSATIONS OF VOCAL TONE

A peculiar relation of sympathy exists between the human voice and the human ear. So intimate is this relation that the two might almost be considered as forming one complete organ. One aspect of this relation has already been noted, the guidance of the vocal organs by the sense of hearing. There is now to be considered another feature of this relation between voice and ear,—the assistance rendered by the vocal organs to the sense of hearing.

That a sub-conscious adjustment of the vocal organs may supplement the sense of hearing in the estimation of pitch is mentioned by Prof. Ladd. Speaking of the ability, by no means uncommon, to tell the pitch of any musical note heard, Prof. Ladd says: "Such judgment, however, may be, and ordinarily is, much assisted by auxiliary discriminations of other sensations which blend with those of the musical tone. Among such secondary helps the most important are the muscular sensations which accompany the innervation of the larynx and other organs used in producing musical tones. For we ordinarily innervate these organs (at least in an inchoate and partial way)—that is, we sound the note to ourselves—when trying carefully to judge of its pitch." (Elements of Physiological Psychology.)

Much more important in the study of the problem of tone-production are the adjustments of the hearer's vocal organs which were named the sympathetic sensations of tone. This peculiar auxiliary to the sense of hearing calls for the closest attention.

Sympathetic sensations of tone are awakened in the hearer through the mere listening to the sounds of the human voice. Vocal tones impress the listener's ear in a manner entirely different from any other sounds. Not only are the tones of the voice heard, just as other sounds are heard; in addition to this, every vocal tone heard is mentally imitated, and this mental reproduction of the tone is referred in imagination to the hearer's own vocal organs. Besides hearing the vocal tone as a sound pure and simple, the listener is also informed of the manner of throat action by which the tone is produced.

This mental imitation and judgment of vocal tones is not a voluntary operation. On the contrary it cannot even be inhibited. It is impossible for us to listen to the voices of those about us, even in ordinary conversation, without being to some extent aware of the various modes of tone-production.

This idea of the mental imitation of voices may impress us at first as highly mysterious. Sympathetic sensations of tone have been felt and noted, probably ever since the human voice and the human ear were developed. Yet the process is purely sub-conscious. It is performed involuntarily, without thought on the part of the hearer, even without any consciousness of the process. The hearer simply knows how the voices to which he listens are produced. A throaty voice simply sounds throaty; the hearer feels this, and pays no attention to the source of the information. We take it as a matter of course that a nasal voice seems to come through the speaker's nose. Why a certain quality of sound gives this impression we never stop to inquire. The impressions of throat action conveyed by other people's voices seem so simple and direct that nobody appears to have thought to analyze the psychological process involved.

This psychological process is found on analysis to be highly complex. In addition to the actual physical exercise of the sense of hearing, three distinct operations are performed in imagination. These are the mental imitation of the tone, the imagined adjustments of the vocal organs, and the imaginative exercise of the muscular sense. Although simultaneously performed, each of these four operations may be considered separately.

Hearing

As the judgment of vocal tones by sympathetic sensations is purely a function of the sense of hearing, the keenness of these sensations varies in each individual in proportion to the keenness of the ear. It would be a great mistake to assert that we all feel these sympathetic sensations with equal vividness. On the contrary, many people are so inattentive to the qualities of sounds that they hardly know the meaning of the term "nasal tone."

One trait in particular distinguishes the musician and the music lover; this is, the possession of a keen sense of hearing. The ear is trained by exercise in its own function,—hearing. The more attentively we listen to music the higher do we develop our ability to discriminate between musical sounds. Moreover, natural endowments vary in different individuals, with regard to the ear, as with all other human faculties. To appreciate fully the wonderful insight into vocal operations conveyed by the sympathetic sensations of tone, a naturally keen musical ear is required; further, this natural gift of a good ear must be developed by attentive listening to music, vocal and instrumental, carried on through several years.

Mental Imitation of Vocal Tones

That every sense has its counterpart in the imagination need hardly be said. We know what it means to feel warm or cold, hungry or thirsty; we know the taste of an apple, the scent of a rose. We can at will create pictures before the mind's eye. In the same way we can hear in imagination any sound we choose to produce mentally.

An inseparable function of the sense of hearing is the impulse to imitate mentally the tones of speakers and singers. The imitation of sounds is an instinctive operation. "Talking proper does not set in till the instinct to imitate sounds ripens in the nervous system." (The Principles of Psychology, Wm. James, N. Y., 1890.) Little can be said about the impulse to imitate voices mentally, further than that it is an exercise of this same instinct.

Imagined Adjustments of the Vocal Organs

It has already been seen that the vocal organs have the ability to adjust themselves, through instinctive guidance, for the production of any tone demanded by the ear. This same ability is invoked in the mental imitation of tones. In one case the muscular contractions are actually performed; in the other the muscular adjustments are wholly or in part imaginary.

It is highly probable that actual contractions of the laryngeal muscles take place, under certain conditions, as an accompaniment to the listening to voices. This is evident in the case of extremely aggravated throaty and forced voices. In listening to the harsh, raucous cries of many street vendors, when calling out their wares, the hearer frequently feels a sense of actual pain in his own throat.

Involuntary and unconscious contractions of the laryngeal muscles, somewhat similar to those under consideration, are well known to experimental psychologists. Prof. Ladd's statement that these contractions assist the ear in the judgment of absolute pitch has already been cited. Another example of unconscious laryngeal movements has been investigated by Hansen and Lehmann ("Ueber unwillkuerliches Fluestern," Philos. Studien, 1895, Vol. XI, p. 47), and by H. S. Curtis ("Automatic Movements of the Larynx," Amer. Jour. Psych., 1900, Vol. XI, p. 237). The laboratory experiments of these investigators show that when words, or ideas definitely expressed in words, are strongly thought but not uttered, the vocal organs unconsciously adjust themselves to the positions necessary for uttering the words. Curtis says of these unconscious laryngeal contractions: "Such movements are very common with normal people, and are comparatively easy of demonstration."

The apparatus used by Hansen and Lehmann in their experiments consists of two large concave reflectors. These are placed at a convenient distance, one facing the other, so that two experimenters may be seated, the first having his mouth at the focal point of one reflector, the second with his ear at the focal point of the other. As the first experimenter repeats mentally any words or phrases, these are found to be unconsciously whispered. These sounds of whispering, inaudible under ordinary conditions, are so magnified by the two reflectors as to be distinctly heard by the second experimenter.

Curtis proved that actual movements of the larynx unconsciously accompany intense thought. His demonstrations were conducted along lines familiar to all students of experimental psychology. Similar experiments would probably show that unconscious movements of the larynx also occur during the listening to vocal tones.

A peculiarity of the laryngeal adjustments accompanying the listening to voices is seen in the fact that the possession of a fine or well-trained voice is not required in this process. It does not matter whether the physical organs are capable of producing fine musical tones. The nervous equipment alone is involved; this is frequently highly developed, even though the physical voice is very poor. A keen and highly-trained ear is the only requisite. Players in the opera orchestras often develop this faculty to a high degree, even though they may never attempt to sing a note.

Muscular Sense

An exhaustive analysis of the various classes of sensations, commonly grouped under the general heading of muscular sense, would involve a mass of technicalities not necessary to the present purpose. It is sufficient to bear in mind the limitations of this sense, and to notice what it tells us, and what it does not tell.

Through the exercise of the muscular sense we are informed of the movements, positions, and conditions of the different parts of the body. Of specific muscular contractions very little information is conveyed. Thus, when the arm is bent at the elbow the muscular sensations of the movement are clear and definite; but, under normal conditions, these sensations do not inform us that the movement results from the contraction of the biceps muscle. Knowledge of the muscular structure of the body is not involved in muscular sense. The muscular sensations of bending the arm are felt in precisely the same way by the professor of anatomy and the ignorant child.

Further, no amount of attention paid to muscular sensations will inform us exactly what muscles are contracted in any complex action. A single stroke in the game of tennis, returning a swift service for example, may involve some contraction of every muscle of the entire body. A skilful player may observe with the utmost care the muscular sensations accompanying this stroke; he would never be able to learn from these sensations whether the number of muscles in his forearm is ten or one hundred.

For the same reason the sympathetic sensations of tone tell us nothing whatever of the muscular structure of the vocal organs. When listening to a throaty voice, we feel that the singer's throat is tightened, stiffened, or contracted. But no matter how keen and vivid this sensation may be, it leaves us in complete ignorance of the names and locations of the muscles wrongly contracted. This is true, however thoroughly we may know the anatomy of the vocal organs.

Much of the prevailing confusion about the voice is due to a misunderstanding of this point. When, for example, the musical critic asserted that Mme. T—— sang certain tones with "pinched glottis," he fell into this error. His sympathetic sensations informed him of some unnecessary tightening of the singer's throat. From these sensations he seems to have inferred that the glottis-closing muscles were too strongly contracted. This assumption was not warranted by any information conveyed in the sympathetic sensations.

It is not necessary now to determine to what extent the muscular sensations accompanying the listening to voices are purely imaginative, and to what extent they result from actual, though unconscious, contractions of the listener's throat muscles. The psychological process is the same in either case.

Sympathetic sensations of tone always accompany the listening to voices. While the psychological process is complex, this process is performed unconsciously and involuntarily. Even though the attention may be definitely turned to the sympathetic sensations themselves, the mental imitation and the laryngeal adjustments seldom rise into consciousness. As a rule, the entire operation is purely sub-conscious. The listener simply knows how the voices to which he listens are produced. This knowledge has always been accepted as intuitive; but this is merely another way of saying that the process of its acquirement is sub-conscious.

Direct Sensations of Tone

In addition to the source of misunderstanding of the vocal action just mentioned,—the attempt to define the precise muscular contractions indicated in the sympathetic sensations, another common misinterpretation of these sensations must be noted. As a consequence of the sub-conscious character of the sympathetic sensations, the two classes of muscular sensation of vocal tone, direct and sympathetic, are frequently confounded and classed together as the "singer's sensations." A third source of confusion is seen in the attempt to apply the sympathetic sensations, by formulating rules for the guidance of the student, in performing specific actions for the management of the vocal organs. All three of these topics will be considered in a later chapter. Before approaching this subject let us see just what information may be derived from the observation of the direct sensations of tone.

The direct sensations of tone are never so vivid, so precise, nor so reliable as the sympathetic sensations. In other words, the hearer is better able to judge of the singer's throat action than the singer himself. This may seem a paradoxical statement, but a brief consideration will show it to be fully justified.

In the case of teacher and pupil, it will hardly be questioned that the master hears the pupil's voice to better advantage than the pupil. This is also true when a trained singer's tones are observed by a competent hearer. The singer's direct sensations are highly complex. They include the muscular sensations accompanying the exertion of the breathing muscles, and these are usually so intense as to overshadow the sensations due to the laryngeal adjustments. On the other hand, the hearer is free to pay close attention to the sensations of throat action, and therefore feels these much more keenly than does the singer. On this account the direct sensations of tone are of vastly less value in the study of the vocal action than are the sympathetic sensations.



CHAPTER III

EMPIRICAL KNOWLEDGE OF THE VOICE

Through attention paid to the sympathetic sensations of tone, the listener may carry on mentally a running commentary on the throat actions of all those whose voices are heard. Continuing to use the word empirical in the sense thus far adopted, it may be said that the summary of the impressions conveyed in the sympathetic sensations of tone constitutes empirical knowledge of the voice. In other words, empirical knowledge of the voice is an understanding of the operations of the vocal mechanism, obtained through the attentive listening to voices.

Let us consider first the running commentary on the throat action, mentally carried on by the listener. This mental commentary is an inseparable accompaniment of the listening to the voices of others, whether in speech or song. As we are concerned now only with the problem of tone-production in artistic singing, our consideration will be limited to the critical hearer's observation of the tones of singers.

Let us imagine two friends to be seated side by side in the concert hall, listening to the performance of a violin sonata by an artist of about mediocre ability. Suppose one of the friends to be a highly trained musical critic, the other to be almost unacquainted with music of this class. Let us now inquire how the tones of the violin will impress these two hearers; and further, let the inquiry be limited strictly to the matter of tone, leaving out of consideration all questions of composition and rendition.

As a matter of course, the tones of the violin will impress these two listeners in widely different ways. The untrained observer will greatly enjoy the beautiful tones,—supposing of course that he be gifted with a natural fondness for music. But so far as musical value is concerned, all the tones will sound to him practically alike.

For the trained hearer, on the other hand, every note drawn by the performer from his instrument will have a distinct value. Some of the tones will be true in pitch and perfect in quality. Some will vary slightly from the correct pitch; others will perhaps be in perfect tune, and yet be marred in quality by faults of scratching, thinness, roughness, etc.

When the two come to compare notes at the end of the performance the trained critic will be utterly unable to convey to his friend his impressions of the player's technique. Vividly clear as it is to the critic, his understanding of tonal values is lodged solely in his cultivated ear. This understanding cannot be imparted in words; it must be acquired by experience in actual listening to music.

Let us now imagine this same critic to be listening to a singer, not an artist of the first rank, but one whose voice is marred by some slight faults of production. In this case the critic will note exactly the same sort of differences in tonal value as in the case of the violinist. Some of the singer's notes will be perfect musical tones, others will be marred by faults of intonation or of quality. But a great difference will be noted between faulty tones played on the violin, and faulty tones sung by the human voice. In addition to their blemishes as musical tones, the faulty notes of the voice also convey to the critical listener an idea of the state of the singer's throat in producing them.

Every blemish on the beauty of a vocal tone, every fine shade of quality which detracts from its perfection, indicates to the critical hearer some faulty action of the singer's vocal organs. The more faulty the musical character of the singer's tones the more pronounced is this impression of faulty production. On the other hand, just so nearly as the singer's tones approach perfection as musical sounds, so do they also impress the ear of the critical listener as indicating the approach to the perfect vocal action.

The critic could not impart to his untrained friend the impressions made by the violinist's tones. Somewhat the same is true of the impressions made by the tones of the voice on the critical ear. In voices of extremely nasal or throaty sound these blemishes can, of course, be detected by the ordinary hearer. But the fine shades of difference in vocal tone quality, heard by the trained critic, cannot be noted by the inexperienced listener.

This fine ability to discriminate between musical sounds comes only through experience in listening to music, better still, when this has been combined with the actual study of music. But the ability to judge the vocal actions of singers, through the sympathetic sensations of tone, does not depend on any actual exercise of the listener's own voice. For the developing of this ability the exercise of the ear suffices. The mere exercise of the ear, in listening to singers, entails also the training of what may be called the "mental voice." Attentive listening to voices, involving as a natural consequence the sub-conscious impressions of sympathetic sensations, results in the development of a faculty to which this name, the mental voice, very aptly applies.

A music-lover whose experience of hearing singing and instrumental music has been wide enough to develop the mental voice in a fair degree, possesses in this faculty a valuable means for judging singers. The mental voice carries on a running commentary on the manner of production of all the voices to which this music-lover listens. At every instant he is informed of the exact condition of the singer's throat. For him there is an almost infinite variety of throaty tones, each one indicating some degree and form of throat tension or stiffening. A perfect vocal tone, on the other hand, is felt to be perfectly produced, as well as heard to be musically perfect.

Equipped with a highly trained sense of hearing, and the resulting faculty of mental voice, the lover of singing has an unfailing insight into the operations of the vocal mechanism. This understanding of the workings of the vocal organs is the empirical knowledge of the voice.

This empirical knowledge of the voice can be possessed only by one who is equipped with a highly cultivated ear. The keener the ear the more precise and definite is this understanding of the voice. Season after season, as the music-lover continues to attend concerts, operas, and recitals, his feeling for the voice becomes gradually more keen and discerning.

Further, empirical knowledge of the voice can be acquired in no other way than by actual experience in listening to voices. No matter how keen and definite are the impressions of throat action felt by the experienced hearer, these impressions cannot be described to the uninitiated. In fact, these impressions are to a great extent of a character not capable of being recorded in precise terms. The general nature of a throaty tone, for example, is thoroughly understood. But of the thousands of varieties of the throaty tone no adequate description can be given. Each observer must learn for himself to hear these fine shades of difference in tone quality.

Every experienced music lover has his own mental standard of tonal perfection. The trained ear knows how a perfect musical tone should sound, independent of the precise quality of the tone. The tone quality is determined, of course, by the instrument on which it is sounded. But along with the individual characteristics of the sound, the tones drawn from every instrument, to be available in the artistic performance of music, must conform to the correct standard. Knowing the general musical character of the tones of all instruments, the cultured hearer can at once detect any variation from this character. Further, he knows how the tones of a badly-played instrument would sound if the instrument were correctly handled. An unskilled trumpeter in an orchestra, for example, may draw from his instrument tones that are too brassy, blatant, or harsh. An observant hearer knows exactly what these tones would be if the instrument were skilfully played.

In just the same way the mental voice has its own standard of vocal perfection. Every voice which falls below this standard is felt by the critical hearer to be imperfectly used. When listening to a nasal singer we know that the voice would be greatly improved in quality if the nasal sound of the tones were eliminated. We feel that the correction of the faults of production indicated by a throaty voice would add greatly to the beauty of the voice. More than this, we can also form some idea how an imperfectly produced voice would sound if all the faults of vocal action were to be corrected.

A perfectly produced voice affects the ear in a peculiar and distinct way. Not only is such a voice free from faults; it has also, on the positive side, a peculiar character which renders it entirely different from any wrongly used voice. The cultured hearer is impressed with a sense of incompleteness and insufficiency in listening to a voice which does not "come out" in a thoroughly satisfactory manner. This is true, even though the voice is not marred by any distinct fault.

A voice absolutely perfect in its production awakens a peculiar set of sympathetic sensations. In addition to its musical beauty such a voice satisfies an instinctive demand for the perfect vocal action. An indescribable sensation of physical satisfaction is experienced in listening to a perfectly managed voice.

On further consideration of this feeling of physical satisfaction awakened by a perfectly produced voice, it seems a mistake to call it indescribable. A beautiful description of this set of sympathetic sensations has been handed down to us by the masters of the old Italian school. This description is embodied in two of the traditional precepts, those dealing with the open throat and the support of the tone.

Mention of the traditional precepts leads at once to the consideration of another aspect of the empirical knowledge of the voice. Vocalists have been attentively listening to voices since the beginning of the modern art of singing. Although many of the impressions made by the voice on the ear cannot be expressed in words, one set of impressions has been clearly recorded. A marked difference was evidently noticed by the old Italian masters between the feelings awakened in the hearer by a voice properly managed and those awakened by an incorrectly produced voice. These impressions were embodied in a set of precepts for the guidance of the singer, which are none other than the much-discussed traditional precepts.

In other words, the traditional precepts embody the results of the old masters' empirical study of the voice. Considered in this light, the old precepts lose at once all air of mystery and become perfectly intelligible and coherent. To a consideration of this record of the empirical knowledge of the voice the following chapter is devoted.



CHAPTER IV

THE TRADITIONAL PRECEPTS OF THE OLD ITALIAN SCHOOL

There should be nothing mysterious, nothing hard to understand, about the empirical precepts. It was pointed out in Chapter V of Part I that these precepts contain a perfect description of correctly produced vocal tone, so far as the impression on the listener is concerned. This means nothing else than that the old precepts summarize the results of empirical observation of correct singing. There is nothing new in this statement; considered as empirical knowledge, the modern vocal teacher understands the meaning of the old masters' precepts perfectly well. The misunderstanding of the subject begins with the attempt to apply the precepts as specific rules for the direct mechanical management of the voice. In this connection they were seen to be valueless. Let us now see if the old precepts are found to contain any meaning of value to the vocal teacher when considered as purely empirical formulae.

Each one of the precepts may be said to describe some special characteristic of the perfect vocal tone, considered solely as a sound. These characteristics may each be considered separately, that is, the hearer may voluntarily pay close attention to any special aspect of the vocal tone. The best plan for arriving at the exact meaning of the precepts is therefore to consider each one in turn.

The Forward Tone

Every lover of singing is familiar with this characteristic of the perfectly produced voice; the sound seems to come directly from the singer's mouth, and gives no indication of being formed at the back of the throat. This characteristic of the perfect tone is simply heard. It is not distinguished by any sympathetic sensations, but is purely a matter of sound. On the other hand, a wrongly produced voice seems to be formed or held in the back of the singer's throat. The tones of such a voice do not come out satisfactorily; they seem to be lodged in the throat instead of at the front of the mouth.

In the badly used voice the impression of throat is conveyed by the sympathetic sensations awakened in the hearer. A striking difference between correct and incorrect singing is thus noted. A wrongly produced voice is felt by the hearer to be held in the singer's throat. When properly used the voice gives no impression of throat; it seems to have no relation to the throat, but to be formed in the front of the mouth.

So much has been written about "forward emission" that the forward characteristic of vocal tones seems to be enshrouded in mystery. As a matter of fact, the forward tone is easily explained. The perfectly produced voice issues directly from the mouth for the same reason that the tones of the trombone issue from the bell of the instrument. It is all a matter of resonance. This is well illustrated by a simple experiment with a tuning fork and a spherical resonator reinforcing the tone of the fork.

When the fork is struck, the ear hears the sound issuing from the resonator, not that coming direct from the fork. This is brought out distinctly by placing the fork at a little distance from the resonator. The listener can then definitely locate the source of the sound which impresses the ear. Under these circumstances the sound coming from the resonator is found to be many times more powerful than that coming direct from the tuning fork. If left to its own judgment the ear takes the resonator to be the original source of the sound.

In the voice the exciting cause of the air vibrations is located at the back of the resonator,—the mouth-pharynx cavity. The sound waves in this case can issue only from the front of the resonator,—the singer's mouth. No matter how the voice is produced, correctly or badly, this acoustic principle must apply.

Why then does not the incorrectly used voice impress the hearer as issuing directly from the mouth, the same as the correctly produced tone? This is purely a matter of sympathetic sensations of throat tightness, awakened by the faulty tone. Every wrongly used voice arouses in the listener sympathetic sensations of throat contraction. This impression of throat, noted by the hearer, consists of muscular, not of strictly auditory sensations.

As a statement of scientific fact, the forward-tone precept is erroneous. It does not describe scientifically the difference between correct and incorrect tone-production. Correctly sung tones are not produced at the lips. Every vocal tone, good or bad, is produced by the motion of the vocal cords and reinforced by the resonance of the mouth-pharynx cavity. Only when considered as an empirical description is the forward-tone precept of value. In this sense the precept describes accurately the difference in the impressions made on the hearer by correct and incorrect singing. A badly produced tone seems to be caught in the singer's throat; the correctly used voice is free from this fault, and is therefore heard to issue directly from the singer's mouth.

This marked difference between correct and incorrect tone throws a valuable light on the meaning of the correct vocal action. Every badly used voice gives the impression of wrong or unnecessary tightness, stiffening, and contraction of the throat. When perfectly used, the voice does not convey any such impression of throat stiffness.

The Open Throat

Just as with the forward tone, the meaning of the open throat is best brought out by contrasting the impressions made on the hearer by a perfect and a badly used voice. A badly produced tone seems to be caught, or as Tosi expressed it, "choaked in the throat." The singer's throat seems to be tightened and narrowed so that the sound has not sufficient passageway to come out properly. On the other hand, the perfectly used voice comes out freely, without interference or hindrance at any point in the singer's throat. There seems to be plenty of room for the tone to come forth; in other words, the singer's throat seems to be open.

All these impressions are purely a matter of sympathetic sensations. In listening to a faulty singer the hearer feels a sensation of tightness and contraction of the throat. A well used voice awakens exactly the opposite sensation, that of looseness and freedom of the throat.

Here again is seen the difference between correct and incorrect singing, empirically considered. Judging from the impressions made by rightly and wrongly used voices, any incorrect vocal action involves a condition of tightness and contraction of the throat. Perfect singing gives the impression that the throat is loose and supple, and free from all unnecessary tension.

The Support of the Tone

Following the plan of contrasting correct and incorrect singing, the meaning of this precept is readily found. The perfect voice is felt by the hearer to be firmly and confidently held by the singer in a secure grasp of the throat muscles. Such a voice awakens the sympathetic sensations of perfectly balanced muscular effect, similar to the muscular sensations of the hand and forearm when an object is firmly grasped in the hand.

A badly used voice seems to be convulsively gripped in the singer's throat. The tones seem to fall back into the throat for want of some secure base on which to rest. This impression is conveyed by a peculiar set of sympathetic sensations of highly unpleasant muscular tension far back in the throat.

This precept, "Support the tone," points to the difference already noted between the right and the wrong vocal action. Badly produced tones indicate a state of excessive tension of the throat muscles. Correct singing gives the impression that the throat muscles exert exactly the requisite degree of strength, and no more.

Taken together, the open-throat and the forward-tone precepts embody an admirable description of the sympathetic sensations awakened by perfect singing. The singer's entire vocal mechanism is felt to be in a condition of lithe and supple freedom. There is no straining, no constraint, no forcing, no unnecessary tension. Each muscle of the vocal mechanism, and indeed of the entire body, exerts just the necessary degree of strength.

Similar muscular sensations always accompany the expert performance of any action requiring a high degree of dexterity. Whatever be the form of exertion, skilful physical activity awakens muscular sensations of perfectly balanced and harmonized contractions. This feeling of muscular poise and adjustment is pleasurable in a high degree.

A keen enjoyment is experienced in the skilful performance of many complex muscular activities. Much of the pleasure of skating, dancing, rowing, tennis, etc., is dependent on this feeling of muscular poise and harmonious contraction. Healthy exercise is always normally enjoyable; but skilful performance greatly enhances the pleasure. A beginner learning to skate, for example, exerts himself fully as much as the accomplished skater. Yet the beginner does not by any means derive the same degree of pleasure from his exertions.

Precisely this feeling of balanced and harmonious muscular exertion is experienced by the perfect singer. More than this, the hearer also, through sympathetic sensations, shares the same pleasurable feeling. This is the sensation described as the feeling of soaring, of poise, and of floating, in many descriptions of the "singer's sensations."

Singing on the Breath

When the voice is perfectly used the tones seem to detach themselves from the singer, and to float off on the breath. Nothing in the sound of the tones, nor in the sympathetic sensations awakened, gives any indication that the breath is checked or impeded in its flow. The current of tone seems to be poured out on the breath just as freely as a quiet expiration in ordinary breathing.

This is a purely empirical description of perfect singing. As we know very well, the vocal action is quite different from this description. But the important point is that the phrase "singing on the breath" does very accurately describe the impression made on the hearer by perfect singing.

Singing on the breath represents the highest possible degree of purely vocal perfection. One may attend operas and concerts for a whole season and listen to a score of famous singers, and count oneself fortunate to have heard even one artist who attains this standard of tonal excellence. Singing on the breath is an effect of wondrous tonal beauty; it is simply this, pure beauty, pristine and naive.

With the slightest degree of throat stiffness or muscular tension, singing on the breath is utterly impossible. So soon as the tones indicate the merest trace of throat contraction, the free outflow of the stream of sound is felt to be checked.

Coloratura singing, to be absolutely perfect, demands this degree of tonal excellence. Singing on the breath and coloratura are indeed very closely allied. The modern school of musical criticism does not hold coloratura singing in very high esteem. We demand nowadays expression, passion, and emotion; we want vocal music to portray definite sentiments, to express concrete feelings. Florid singing is not adapted to this form of expressiveness. It is only sensuously beautiful; it speaks to the ear, but does not appeal to the intellect.

Yet it may well be asked whether the highest type of coloratura singing, pure tonal beauty, does not appeal to a deeper, more elemental set of emotions than are reached by dramatically expressive singing. This question would call for a profound psychological discussion, hardly in place in a work devoted to the technical problem of tone-production. But this much is certain: Coloratura singing still has a strong hold on the affections of the music loving public. Even to-day audiences are moved by the vocal feats of some famous queen of song fully as profoundly as by the performance of a modern dramatic or realistic opera.

To describe a sound is an extremely difficult task. The tone of the muted horn, for example, is perfectly familiar to the average musician. Yet who would undertake to describe in words the tone of the muted horn? A description of the sounds produced by a perfectly managed voice is almost as difficult to frame in words. Still the old Italian masters succeeded in finding words to describe perfect singing. These few simple phrases—open the throat, support the tone, sing the tones forward, sing on the breath—embody a most beautiful and complete description of vocal perfection. The empirical study of the voice can hardly be expected to go further than this. From the old masters we have received a complete record of all that need be known empirically about the voice.



CHAPTER V

EMPIRICAL KNOWLEDGE IN MODERN VOICE CULTURE

It was pointed out in Chapter I of Part III that there is no possibility of conflict between empirical and scientific knowledge. Modern Voice Culture seems to present a direct contradiction of this statement. The vocal teacher's empirical understanding of the voice conflicts at every step with his supposedly scientific knowledge. No doubt the reader is already aware of the real meaning of this apparent contradiction. It only bears out the philosophic rule; an accepted science must be abandoned so soon as its deductions are found to be not in accord with observed facts.

Modern methods of instruction in singing can be understood only by following out this idea of conflict between known facts and accepted, though erroneous, scientific doctrines. As we have seen, the only universally accepted theory of supposedly scientific Voice Culture is the idea of direct mechanical guidance of the voice. Every vocal teacher attempts to make his empirical knowledge conform to this mechanical idea. As the empirical knowledge is correct, and the mechanical idea a complete mistake, conflict between the two is inevitable.

Every modern teacher of singing possesses in full measure the empirical understanding of the voice. To this statement hardly an exception need be made. Probably the most startling fact concerning the wide diffusion of this knowledge is that the nature of this knowledge is so thoroughly ignored. Because the psychological process is purely sub-conscious, empirical knowledge is always indirectly and generally unconsciously applied. In the teacher's mind the most prominent idea is that of mechanical vocal guidance. His attention is always directly turned to this idea. Empirical knowledge, consisting merely of a succession of auditory and muscular sensations, lurks in the background of consciousness.

To the intelligent vocal teacher there is something peculiarly fascinating about the study of tone-production. In listening to any faulty singer we feel with the utmost precision what is wrong with the voice. Each imperfect tone informs us clearly and definitely just where the wrong muscular contraction is located. It seems so easy to tell the singer what to do in order to bring the tone out perfectly. Under the influence of the mechanical idea we try to express this feeling in the terms of muscular action. This attempt is never successful; the singer cannot be brought to understand our meaning. Yet it is so clear in our own minds that our inability to express it is extremely tantalizing. We go on, constantly hoping to find a way to define the mechanical processes so clearly indicated to the ear. We always feel that we are just on the verge of the great discovery. The solution of the problem of tone-production is almost within our grasp, yet it always eludes us.

It was stated in Chapter V of Part I that empirical knowledge of the voice, based on the singer's sensations, is used to supplement and interpret the doctrines of mechanical vocal guidance. This is in the main true, so far as the vocal teacher is aware. But here again the result of the sub-conscious character of empirical knowledge of the voice is seen. As a matter of fact the real situation is the direct reverse of that described in the chapter mentioned. The mechanical doctrines are used in the attempt to interpret the empirical knowledge. This fact is well brought out in the following passage from Kofler: "The teacher must imitate the wrong muscle-action and tone of his pupil as an illustration of the negative side." (The Art of Breathing, N. Y., 1889.) Kofler does not touch on the question, how the teacher is able to locate the wrong muscle-action of the pupil. He takes this ability for granted; it is so purely an intuitive process that he does not stop to inquire into the source of this information of the pupil's vocal action. Through his sense of hearing he sub-consciously locates the faults in the pupil's tone-production. His only conscious application of this knowledge is the attempt to explain to the pupil the wrong muscle-action. This he naturally tries to do in the terms of mechanical action and muscular operation. Thus the mechanical doctrine is used in the attempt to explain the empirical knowledge. Yet the teacher is conscious only of citing the mechanical rule, and believes this to cover the entire instruction.

In the preceding chapter it was seen that the perfectly produced vocal tone may be considered in a variety of aspects. Each one of these aspects is characterized by a fairly distinct set of sympathetic sensations. Of faulty modes of throat action, as revealed by sympathetic sensations, there is an almost infinite variety. Of this wide variety of forms of throat tension the most prominent are those indicated by sets of sympathetic sensations, the direct opposites of those characterizing the perfect vocal action. Thus the open throat is indicated by one set of sympathetic sensations, the lack of this characteristic of tone by an opposite set, etc.

Whatever distinct fault of production the pupil's tone indicates, the master immediately notes the character of the faulty throat action. The master feels, simply and directly, what is wrong with the student's tone-production. Whence this knowledge comes he does not stop to inquire. Suppose the pupil to sing an exercise, and to produce tones which stick in the throat, instead of coming out freely. The master simply hears that the pupil's voice is caught in the throat; he does not observe that he is informed of this condition by muscular as well as auditory sensations.

This ignoring of the psychological nature of the impressions of tone is not necessarily detrimental to successful instruction. On the contrary, the master's empirical insight into the vocal operations of the pupil would probably not be advanced by an understanding of the psychological process. It is sufficient for the teacher's purpose to hear that the pupil's voice is caught in the throat. What robs this hearing, or feeling, of all value is this: the master attempts to interpret the sensation as an indication of the need of some specific muscular action, to be directly performed by the pupil. To this end he cites the mechanical rule, assumed to be indicated by the pupil's faulty vocal action. This may be, for example, the opening of the throat to give room for the tone to expand. It seems so perfectly simple to the teacher;—the pupil narrows his throat, and so holds in the tone; let him expand his throat and the tone will come out freely. This conclusion seems so clearly indicated by the sound of the tones that the master almost inevitably gives the precise instruction: "Open your throat and let your voice come out." This sums up, to the master's satisfaction, everything the pupil need do to correct this particular fault of tone-production.

Other sets of sympathetic sensations, awakened by badly produced tones, are interpreted in the same manner. A tone heard to be held in the back of the throat is believed to indicate the need of bringing the voice forward in the mouth. Other forms of throaty production are taken to show a lack of support, a wrong management of the breath, a need of breath-control, a misuse of nasal resonance, or an improper action of the vocal cords. In all these attempts to interpret sympathetic sensations by means of mechanical doctrines the teacher naturally relies on those doctrines in which he believes most firmly. Sympathetic sensations are indeed sometimes cited in proof of certain theories of breath-control, and also of nasal resonance. Both these topics are worthy of separate attention.

Sympathetic Sensations and Nasal Resonance

One of the most widely accepted theories of the vocal action is that the higher notes of the voice are influenced by reinforcing vibrations located in the nose and forehead. Whether this idea was derived more from direct than from sympathetic sensations need not be determined now. It is at any rate certain that a perfectly sung tone gives to the hearer the impression of nasal influence of some kind. The exact nature of this influence has never been determined. It may be air resonance, or sounding-board resonance, or both combined. Satisfactory proof on this point is lacking. In the belief of the practical teacher, however, this impression of nasal influence is the strongest argument in favor of nasal resonance.

Turning now to the question of nasal quality, strictly speaking, tones of this objectionable character always awaken the sympathetic sensations of contraction somewhere in the nose. Why such a contraction should cause this unpleasant sound of the voice is a profound mystery. Perhaps wrong tension of the soft palate exerts an influence on the actions of the vocal cords; or it may be that the form of the nasal cavities is altered by the muscular contraction. This aspect of the vocal action has never been scientifically investigated. The sympathetic sensation of nasal contraction or pinching is at any rate very pronounced. Curiously, this sympathetic sensation is cited as an argument in favor of their respective theories, by both the advocates and the opponents of nasal resonance.

Sympathetic Sensations and Breath-Control

Certain forms of exaggerated throat stiffness are frequently held to indicate the need of breath-control. The faulty vocal action in question is analyzed by the breath-control advocates substantially as follows: "Owing to the outflow of the breath not being checked at the proper point, the entire vocal mechanism is thrown out of adjustment. The singer exerts most of his efforts in the endeavor to prevent the escape of the breath; to this end he contracts his throat and stiffens his tongue and jaw. His tones are forced, harsh, and breathy; they lack musical quality. His voice runs away with him and he cannot control or manage it. In the attempt to obtain some hold on his voice he 'reaches' for his tones with his throat muscles. The more he tries to regain control of the runaway breath the worse does his state become."

This extreme condition of throat stiffness is unfortunately by no means rare. So far as concerns the sympathetic sensations awakened by this kind of singing the condition is graphically described by the breath-control advocates. But the conclusion is entirely unjustified that this condition indicates the lack of breath-control. Only the preconceived notion of breath-control leads to this inference. The sympathetic sensations indicate a state of extreme muscular tension of the throat; this is about the only possible analysis of the condition.

* * *

Empirical impressions of vocal tones determine the character of most present-day instruction in singing. This means no more than to say that throughout all vocal training the teacher listens to the pupil's voice. The impressions of tone received by the teacher's ear cannot fail to inform the teacher of the condition of the pupil's throat in producing the voice. For the teacher to seek to apply this information in imparting the correct vocal action to the pupil is inevitable.

Almost every teacher begins a course of instruction by having the pupil run through the prescribed series of mechanical exercises and rules. Breathing is always taken up first. Breath-control, laryngeal action, registers, and resonance follow usually in this order. The time devoted to this course of training may vary from a few weeks to several months. This mechanical instruction is almost always interspersed with songs and arias. The usual procedure is to devote about half of each lesson to mechanical doctrines and the remainder to real singing.

Blind faith in the efficacy of this mechanical training is the teacher's only motive in giving it. Very little attention is paid to the sound of the pupil's voice during the study of mechanical rules and doctrines. It is simply taken for granted that the voice must be put through this course. Once the mechanical course has been covered, the pupil's voice is supposed, in a vague way, to be "placed." From that time on, whether it be at the end of two months of study or of two years, the instruction is based solely on empirical impressions of tone.

Little remains to be said of the nature of this empirical instruction. It always retains the mechanical aspect. Whatever fault of production is noted, the teacher seeks to correct the fault by applying some mechanical rule. The futility of this form of instruction has already been pointed out.

Only two ways of applying empirical knowledge of the voice are known to the modern vocal teacher. These are, first, to tell the pupil to "open the throat," or to "support the tone," or to perform whatever other mechanical operation seems to be indicated as necessary by the sound of the tone; second, to bid the student to "feel that the tone is supported," to "feel that the throat is open," etc. Under these circumstances the little advantage derived from empirical knowledge in modern Voice Culture is readily understood.



CHAPTER VI

SCIENTIFIC KNOWLEDGE OF THE VOICE

So far as any definite record can be made, the knowledge of the voice obtained by attentive listening to voices has now been set down. The next step in the scientific study of tone-production is the consideration of all knowledge of the voice obtained from sources other than empirical. In other words, the knowledge of the voice usually classed as scientific is now to be examined.

Three sciences are generally held to contribute all that can possibly be known about the vocal action. These are anatomy, acoustics, and mechanics. Of these anatomy has received by far the most attention from vocal scientists. The laws of acoustics, bearing on the voice, have also been carefully considered. Beyond the theory of breath-control, little attempt has been made to apply the principles of mechanics in Vocal Science. Psychology, the science most intimately concerned with the management of the voice, has received almost no attention in this connection.

A complete record of the teachings of the established sciences with regard to the voice demands the separate consideration of the four sciences mentioned. Each will therefore be treated in turn. In the case of each of these sciences it is seen that the most essential facts of the vocal action have been definitely established. Many questions still remain to be satisfactorily answered which are of great interest to the theoretical student of the voice. Yet in spite of the lack of exact knowledge on these points, enough is now known to furnish the basis for a practical science of Voice Culture.

The Anatomy of the Vocal Mechanism

This subject has been so exhaustively studied that nothing new can well be discovered regarding the muscular structure of the vocal organs. In all probability the reader is sufficiently acquainted with the anatomy of the larynx and its connections. Only a very brief outline of the subject is therefore demanded. The muscles concerned with breathing call for no special notice in this connection.

The special organ of voice is the larynx. This consists of four cartilages, with their connecting ligaments,—the thyroid, the cricoid, and the two arytenoids, and of nine so-called intrinsic muscles,—two crico-thyroid, right and left, two thyro-arytenoid, two posterior crico-arytenoid, two lateral crico-arytenoid, and one arytenoideus. The inner edges of the thyro-arytenoid muscles form the vocal cords. The hyoid bone, serving as a medium of attachment for the tongue, may also be considered a portion of the larynx. By means of the extrinsic muscles the larynx is connected with the bones of the chest, neck, and head.

While the muscular structure of the vocal organs is thoroughly known, the actions of the laryngeal muscles in tone-production have never been absolutely determined. This much is definitely established: Vocal tone is produced when the vocal cords are brought together and held on tension, and the air in the lungs is expired with sufficient force to set the vocal cords in motion. The tension of the vocal cords can be increased by the contraction of their muscular tissues, the two thyro-arytenoid muscles; further, increased tension of the cords can also result from the tilting of the thyroid cartilage on the cricoid, by the contraction of the crico-thyroid muscles.

It is also definitely proved that the pitch of the vocal tone varies with the state of tension of the vocal cords; increasing the degree of tension raises the pitch, decreasing the tension lowers it. As to the relative importance of the different groups of muscles in varying the tension of the vocal cords, nothing has been definitely proved.

In addition to the variations in pitch resulting from variations in the tension of the vocal cords, there is also much ground for believing that the pitch may be raised by shortening the effective length of the vocal cords. This is apparently accomplished by the rotation of the arytenoid cartilages; but the specific muscular contractions concerned in the rotation of the arytenoids have not been located.

It is generally asserted by vocal theorists that the quality of the vocal tone, on any one note, is determined mainly by the influence of the resonance cavities. Dr. Mills says on this point: "When it is borne in mind that the vocal bands have little or nothing to do with the quality of the tone, the importance of those parts of the vocal apparatus which determine quality... becomes apparent." (Voice Production in Singing and Speaking, 1906.) This theory that the quality of the tone is determined solely by the resonance cavities is directly contradicted by Prof. Scripture. He proves that changes in tone quality result from changes in vocal cord adjustment. This subject is more fully treated in the following section. Even before this matter had been definitely settled by Prof. Scripture, there was a strong presumption in favor of the vocal cord adjustment theory. Howard advanced this idea in 1883. Several empirical observations support this theory. Most important of these is the fact that a single tone, swelled from piano to forte, goes through a wide variety of changes in quality. Stockhausen's mention of this fact has already been noted.

This fact tends to cast some doubt on the value of laryngoscopic observation as a means of determining the laryngeal action. Under the conditions necessary for examination with the laryngoscope it is impossible for the singer to produce any but soft tones in the head quality of voice. Most of these tones, if swelled to forte, would change from the head to the chest quality. It is probable that this change in quality is effected by a corresponding change in the vocal cord adjustment, as the conditions of the resonance cavities remain the same. But this cannot be determined by laryngoscopic observation.

So far as the actions of the laryngeal muscles are concerned, no difference can be defined between the correct vocal action and any improper mode of operation. Sir Morell Mackenzie examined a large number of people with the aid of the laryngoscope; of these, some were trained singers, others, while possessed of good natural voices, had had no vocal training whatever. Many variations were noted in the notes on which changes of register occurred. But it could not be determined by this mode of examination whether the subject was a trained singer or not.

If there is one specifically correct mode of operation for the vocal cords, this correct action has never been determined from the anatomy of the organs. No doubt there is some difference between the muscular actions of correct tone-production and those of any incorrect operation of the voice. But the nature of this difference in muscular action has never been discovered by means of dissections of the larynx, nor by laryngoscopic observation.

The Acoustic Principles of Tone-Production

An outline of the existing state of knowledge regarding the acoustic principles of tone-production must be drawn mainly from one source. This is the latest authoritative work on the subject, The Study of Speech Curves, by E. W. Scripture (Washington, 1906). In this work Prof. Scripture overthrows several of the conclusions of Helmholtz which had hitherto furnished the basis of all the accepted theories of vocal acoustics. Considering the eminently scientific character of all Prof. Scripture's research work, his thorough acquaintance with every detail of the subject, and the exhaustive attention devoted to this series of experiments, we are fully justified in accepting his present statements as conclusively proved.

A first impression received from a careful reading of The Study of Speech Curves is that the subject is vastly more intricate than had formerly been believed. Helmholtz's theory of vocal acoustics was fairly simple: The vocal cords vibrate after the manner of membranous reeds; a tone thus produced consists of a fundamental and a series of overtones; vowel and tone quality are determined by the influence of the resonance cavities, which reinforce certain of the overtones with special prominence. This theory is discarded by Prof. Scripture. "The overtone theory of the vowels cannot be correct." In place of this simple theory, Prof. Scripture reaches conclusions too complicated to be given in detail here. A brief outline of the subject must suffice for the needs of the present work.

Prof. Scripture found that the nature of the walls of a resonating cavity is of more importance than either its size, shape, or opening. A flesh-lined cavity is capable of reinforcing tones covering a range of several notes. Further, the vowel sound, and presumably also the tone quality, are determined more by the action of the vocal cords than by the adjustment of the resonance cavities. "The glottal lips vibrate differently for the different vowels." This adjustment of the glottal lips "presumably occurs by nervously aroused contractions of the fibers of the muscles in the glottal lips." Continuing, Prof. Scripture says:

"Physiologically stated, the action for a vowel is as follows: Each glottal lip consists mainly of a mass of muscles supported at the ends and along the lateral side. It bears no resemblance to a membrane or a string. The two lips come together at their front ends, but diverge to the rear. The rear ends are attached to the arytenoid cartilages. When the ends are brought together by rotation of these arytenoid cartilages, the medial surfaces touch. At the same time they are stretched by the action of the crico-thyroid muscles, which pull apart the points of support at the ends.

"In this way the two masses of muscle close the air passage. To produce a vowel such a relation of air pressure and glottal tension is arranged that the air from the trachea bursts the muscles apart for a moment, after which they close again; the release of the puff of air reduces the pressure in the trachea and they remain closed until the pressure is again sufficient to burst them apart. With appropriate adjustments of the laryngeal muscles and air pressure this is kept up indefinitely, and a series of puffs from the larynx is produced. The glottal lips open partly by yielding sidewise,—that is, they are compressed,—and partly by being shoved upward and outward. The form of the puff, sharp or smooth, is determined by the way in which the glottal lips yield; the mode of yielding depends on the way in which the separate fibers of the muscles are contracted.

"These puffs act on the vocal cavity, that is, on a complicated system of cavities (trachea, larynx, pharynx, mouth, nose) with variable shapes, sizes, and openings. The effect of the puffs on each element of the vocal cavity is double: first, to arouse in it a vibration with a period depending on the cavity; second, to force on it a vibration of the same period as that of the set of puffs. The prevalence of one of the factors over the other depends on the form of the puff, the walls of the cavities, etc."

Prof. Scripture does not undertake to point out a difference between the correct vocal action in tone-production, and any incorrect action. This difference in action does not seem capable of definition by any analysis of the acoustic principles involved.

Mechanical Principles of the Vocal Action

In Part II, Chapter II, it was seen that the outflow of the breath in tone-production is checked by the vocal cords, in accordance with Pascal's law of fluid pressures. Another law of mechanics bearing on this operation is now to be considered, viz., the law of the transformation and conservation of energy.

The application of the law of the transformation and conservation of energy to the operations of the voice is nicely illustrated by the well-known candle-flame test of (supposedly) breath-control. To perform this test the singer is instructed to practise the exercises for breath-control while holding a lighted candle with the flame an inch or two in front of the lips. According to the idea of the breath-control advocates, the expired breath should escape so slowly, and with so little force, that no current of air can be detected at the lips, the expiration therefore does not cause the candle flame to flicker.

Describing the toneless breathing exercises to be practised with the candle flame, Browne and Behnke say, "Let it be observed that the above exercise is quite distinct from the well-known practice of singing before a lighted candle, which is, comparatively speaking, an easy matter." (Voice, Song, and Speech.) A very striking fact is stated correctly by Browne and Behnke,—there is no current of air created at the lips during tone-production. Of the truth of this statement the reader may readily convince himself by trying this same experiment with a candle flame, or even with a lighted match. Hold a lighted match just in front of the lips and sing a powerful tone. The quality of the tone is of no consequence so long as it be powerful. Just sing, shout, yell, the louder the better. You will find that the flame is less affected under these circumstances than by the quiet expiration of ordinary breathing.

Considerable practice and close attention are required in order to hold back the breath in toneless breathing exercises. Whereas in producing any kind of powerful tone the breath normally creates no current of air at the lips.

There is no reason for considering this experiment a test of correct tone-production. It is impossible to produce a powerful tone of any kind, good, bad, or indifferent, and at the same time to create an appreciable current of air at the lips.

Needless to say, the breath-control theorists have entirely failed to grasp the significance of the candle-flame experiment. Yet we have here a demonstration of the mechanical law of tone-production.

Considered as a mechanical process, tone-production occurs when the energy exerted by the expiratory muscles, in their contraction, is converted into energy of motion of the vocal cords.[8] In other words, tone-production is an example of the transformation of energy. The law of the transformation and conservation of energy must therefore apply to this operation. This law is stated as follows: "Energy may be transformed from any of its forms to any other form. When energy is thus transformed the quantity of energy in the resulting form or forms is equal to the quantity of energy in the original form."

[Note 8: This exposition of the mechanical principle of tone-production is intended to be graphic, rather than strictly technical. For the sake of simplicity, that portion of the expiratory energy expended in friction against the throat walls, tongue, cheeks, etc., is disregarded, as well as that expended in propelling the air out of the mouth, in displacing the same quantity of external air, etc.]

The mechanical operation of tone-production comprises the following transformations of energy: First, the energy exerted in the contraction of the expiratory muscles is converted into energy of condensation or elasticity of the air in the lungs and trachea. Second, this energy of condensation of the air is converted into energy of motion of the vocal cords. In other words, the expiratory energy is transformed into energy of motion.

One objection, at first sight very serious, may be offered against this statement: the amount of strength exerted in the contractions of the breath muscles seems many times greater than is accounted for in the motion of the vocal cords. The movements of the vocal cords are so slight as to be observable only with the aid of a specially devised apparatus, the stroboscope. Can all the expiratory force expended in tone-production show such a small result? This apparent objection is found to be groundless in view of the application in this operation of Pascal's law. As this topic was fully treated in Chapter II of Part II, no further explanation is required here.

The erroneous idea of vocal mechanics involved in the doctrine of breath-control is now fully exposed. Tone can be produced only when the expired air exerts a pressure on the vocal cords. There is no necessity for any conscious or voluntary check on the expiration. The energy of the expiration is expended in setting the vocal cords in motion. No energy of condensation is left in the expired air the instant it has passed the vocal cords. Beyond that point there is no expiratory pressure.

In one sense it is true that the expiration is "controlled" in tone-production. But this control is strictly an automatic action. The vocal cords are adjusted, by the appropriate muscular contractions, to move in response to the air pressure exerted against them. This action involves, as a necessary consequence, the holding back by the vocal cords of the out-rushing air. So long as the vocal cords remain in the position for producing tone, they also control the expiration. In this sense breath-control is an inseparable feature of tone-production.

All that need be known of the mechanics of the voice is therefore perfectly plain. The vocal cords are set in motion by the pressure against them of the expired breath. This operation is in accordance with Pascal's law and the law of the conservation of energy.

But this analysis throws no light on the nature of the correct vocal action. It is impossible for the voice to produce a sound in any way other than that just described. In speaking or in singing, in laughing or in crying, in every sound produced by the action of the vocal cords, the mechanical principle is always the same. Nor is the bearing of this law limited to the human voice. Every singing bird, every animal whose vocal mechanism consists of lungs and larynx, illustrates the same mechanical principle of vocal action.

Only passing mention is required of the fallacy of the breath-band theory. The idea of any necessity of relieving the vocal cords of the expiratory pressure is purely fanciful. How any one with even a slight understanding of mechanics could imagine the checking of the breath by the inflation of the ventricles of Morgagni, is hard to conceive.

The Psychology of Tone-Production

This subject was treated, in some detail, in Chapter V of Part II. In that chapter however we were concerned more with a destructive criticism of the idea of mechanical tone-production than with the positive features of vocal psychology. At the risk of some repetition it is therefore advisable here to sum up the laws of psychology bearing on the vocal action.

Considered as a psychological process, tone-production in singing involves three distinct operations. First, the mental ear conceives a tone of definite pitch, quality, vowel sound, and power. Second, the vocal organs prepare to adjust themselves, by the appropriate muscular contractions, for the production of the tone mentally conceived. Third, the fiat of will is issued, causing the muscular contractions to be performed. These three operations are executed as one conscious, voluntary act. Let us inquire to what extent consciousness is concerned with each operation.

As conscious volitional impulses, the mental conception of the tone, and the fiat of will to produce the tone, are well enough understood. These two operations call for no extended consideration. We are at present concerned only with the psychological laws bearing on the muscular adjustments of the vocal organs.

Muscular contractions result from the transmission to the muscular fibers of motor nerve impulses. These nerve impulses originate in the motor nerve centers. They can never, under any circumstances, rise into consciousness. Contractions of the voluntary muscles occur either as reflex or as voluntary actions. In both cases the motor nerve impulses originate in the same nerve centers. In the case of reflex actions these lower muscular centers alone are involved; in voluntary actions the originating of the motor impulses is "controlled" by consciousness. In deciding that an action shall be performed, and in what way it is to be performed, consciousness directs that each motor center involved shall send out the appropriate discharges of nerve impulse.

Complex muscular activities require the sending out of nerve impulses from various motor centers. Such activities are usually not performed instantaneously, but require a longer or shorter time. Thus we may consider it as one action for the writer to rise from his chair, to lower the window and adjust the shade, and then to return to his seat. In this case a large number of motor centers are successively involved; at the proper instant each center discharges its impulse. To this end the motor centers must be instructed when to come into activity.

This distribution of nerve impulse is effected by the power of coordination. In voluntary actions coordination is accompanied by conscious control.[9] But coordination is not a function of the higher cerebral centers, that is, of consciousness. How the connection is made between the higher cerebral centers and the lower motor centers is a complete mystery. All that can be said is that the ideas of movements are transmitted to the motor centers, and that these send out the appropriate motor impulses.

[Note 9: In this connection it is advisable to point out a difference between the meanings attached to the word "control" in psychology and in Vocal Science. The psychologist classes habitual movements as either automatic or controlled. Automatic movements are purely reflex; the individual does not consciously decide whether they shall be performed or not. Psychologically considered, the control of a movement is simply the conscious volitional decision whether the movement shall be performed. To adopt the language of Psychology, we should speak of voice management, and of breath regulation, instead of vocal control, breath control, etc. In the following chapters the accepted psychological usage of the word "control" will so far as possible be adopted.]

Turning now to the muscular adjustments of the vocal organs, these adjustments are seen to be independent of conscious guidance. When a tone is mentally conceived the vocal organs adjust themselves, in response to some mysterious guidance, for the production of the tone. The vocal cords assume the appropriate degree of tension according to the pitch of the tone to be sung. Both the quality of the tone and the vowel are determined by the combined adjustments of the laryngeal muscles and of the muscles which fix the shape and size of the resonance cavities. The power of the tone is regulated by the force of the breath blast; for each degree of power some special adjustment of the vocal cords is required.

All these adjustments are executed as one concrete and individual act in response to the volitional impulse contained in the mental conception of the tone. The tone is conceived as a concrete whole. It is not normally broken up mentally into its four aspects of pitch, quality, vowel, and power. True, each one of these four characteristics of the tone may be separately considered by the singer. So also, to a certain extent, may the adjustments of the vocal organs be performed with special reference to one or the other characteristic of the tone. But in every case the muscular contractions are performed without direct conscious guidance. Whatever be the character of the tone mentally demanded, the vocal organs instantly adjust themselves to produce the tone.

What is meant by saying that the muscular contractions are performed without conscious guidance? Does this mean that the singer is unconscious of the muscular contractions? Not at all. Muscular sense informs the singer, more or less distinctly, of the state of contraction or relaxation of the various muscles of the vocal organs. The singer always knows fairly well the condition of the various parts of the vocal mechanism. What is meant is this: The singer does not consciously direct the vocal organs to assume certain positions and conditions, and does not instruct the various muscles to contract in certain ways. The singer does not need to know, and in fact cannot know, what muscular contractions are required to produce any desired tone.

Some connection exists between the organs of hearing and the vocal mechanism. That this connection has a physical basis in the nervous structure is fairly well established. "The centers for sight and for arm movements, for instance, or those of hearing and of vocal movements, have connecting pathways between them." (Feeling and Will, Jas. M. Baldwin, 1894.) The psychological law of tone-production is that the vocal organs adjust themselves, without conscious guidance, to produce the tones mentally conceived. In actual singing the practical application of this law is that the voice is guided by the ear.

This guidance of the voice by the ear is incessant. It must not be understood that the mental ear simply conceives a single tone, and that the vocal machinery then operates without further guidance. All the characteristics of the vocal tones,—pitch, quality, and power,—are constantly changing. These changes require corresponding changes in the muscular adjustments. The muscular contractions in turn are guided by the demands of the mental ear. As a psychological process, singing may therefore be analyzed as follows: The singer mentally sings the composition. In response to the ever varying demands of the ear the vocal organs adjust themselves to produce actually the sounds thus mentally conceived. The singer listens to these sounds and at every instant compares them to the mental conception. If the tones actually produced fail to correspond exactly to those mentally conceived, the singer instantly notes this variation and bids the vocal organs to correct it. The ear has therefore a dual function in singing. First, the mental ear directs the voice in its operations. Second, the physical ear acts as a check or corrective on the voice.

To sum up the psychology of tone-production, the singer guides or manages the voice by attentively listening to the tones of the voice. This is the only possible means of vocal guidance. The voice and the ear together form one complete organ.

But we are still apparently as far as ever from the specific meaning of the correct vocal action. That the voice instinctively obeys the commands of the ear may be true theoretically. In actual practice we know that this does not by any means always occur. Singers are often unable to get the desired results from their voices, even when they believe themselves to rely on the sense of hearing. There must therefore be some influence which under certain conditions interferes with the operations of the vocal organs. The problem of tone-production is thus seen to be one of psychology. It narrows down to this: What can interfere with the normal action of the voice and prevent the vocal organs from instinctively responding to the demands of the ear? A satisfactory answer to this problem will be found only by a consideration of all available knowledge of the voice, both empirical and scientific. This forms the material of the final division of the present work.



Part IV

VOCAL SCIENCE AND PRACTICAL VOICE CULTURE



CHAPTER I

THE CORRECT VOCAL ACTION

Two distinct lines of approach were laid down for studying the operations of the voice. First, the manner of investigation usually accepted as scientific. This is, to study the vocal mechanism; to determine, as far as possible, the laws of its operation, in accordance with the principles of anatomy, acoustics, mechanics, and psychology. Second, the manner of investigation generally called empirical. This begins with the observing of the tones of the voice, considered simply as sounds. From the tones we work back to the vocal organs and apply to them the information obtained by attentive listening. Both of these means of investigation have been utilized; we are now in possession of the most salient facts obtainable regarding the vocal action.

Separately considered, neither the scientific nor the empirical study of the voice is alone sufficient to inform us of the exact nature of the correct vocal action. The next step is therefore to combine the information obtained from the two sources, scientific analysis and empirical observation. Let us begin by summing up all the facts so far ascertained.

Tone-production in singing is a conscious and voluntary muscular operation. The vocal organs consist of a number of sets of voluntary muscles, of the bones and cartilages to which these muscles are attached, and of the nerves and nerve centers governing their actions. The precise nature of the muscular contractions of tone-production, whether correct or incorrect, is not known. These contractions occur in accordance with established laws of acoustics and mechanics. Under normal conditions the vocal organs instinctively respond to the demands of the singer, through the guidance of the sense of hearing. The ability of the vocal organs to adjust themselves properly may be upset by some influence apparently outside the singer's voluntary control. Study of the vocal mechanism does not inform us of the meaning of the correct vocal action, nor of the difference between this action and any other mode of operation of the voice.