There is no other one thing involved in singing, immediate or remote, from which the element of harm is so completely eliminated. It is held by some that it is produced by the false vocal chords. This position is untenable for the reason that I have known many singers who could go from the falsetto to a full ringing tone and return with no perceptible break. Now since it will hardly be argued that a ringing, resonant tone could be produced by the false vocal cords, it is evident that the singer must change from the false to the true vocal cords somewhere in the process--a thing which is unthinkable.

It is held by others that the falsetto is a relic of the boy's voice, which has deteriorated from lack of use. This seems not unreasonable, and a considerable amount of evidence is offered in support of it. We may safely a.s.sume however that it is produced by the true vocal cords and the lightest register in the male voice. What is its use? Unless its quality can be changed it has little or no musical value. There are some teachers who claim that the falsetto mechanism is the correct one for the tenor voice and should be used throughout the entire compa.s.s. I am not prepared to subscribe to this. There are others who believe that the falsetto should be developed, resonated, so that it loses its flute quality, and blended with the head voice. This seems in the light of my experience to be reasonable. When this can be done it gives the singer the most perfect mechanism known. But it cannot always be done. The voice is individual, and the entire sum of individual experience leaves its impression on it. I have found many voices where the falsetto was so completely detached from the head voice that it would be a waste of time to attempt to blend them.

But there is one place in voice training where the practice of the falsetto has a distinct value. I have seen many tenors and baritones who forced the heavy chest voice up until they developed an automatic clutch, and could sing the upper tones only with extreme effort. To allow them to continue in that way would never solve their problem. In such a condition half voice is impossible. It must be one thing or the other, either the thick chest voice or falsetto. The falsetto they can produce without effort, and herein lies its value. They become accustomed to hearing their high tones without the a.s.sociation of effort, and after a time the real head voice appears. The thing which prevented the head voice from appearing in the beginning was extreme resistance, and as soon as the resistance disappeared the head voice made its appearance. This was accomplished by the practice of the very light register known as falsetto. When the head voice appears the use of the falsetto may be discontinued.

The thing expected of the teacher is results and he should not be afraid to use anything that will contribute to that end.

It is in the upper part of the voice that mistakes are most likely to be made and ninety nine per cent of the mistakes is forcing the voice, that is, singing with too much resistance. So long as the resistance continues a good full tone is impossible. The plan outlined above for eliminating resistance has been tested with many hundreds of voices and has never failed. The idea held by some that such practice can never produce a large tone shows a complete misunderstanding of the whole matter. That it produces the full power of the voice without sacrificing its musical quality is being proved constantly.

Every day we hear the story of voices ruined by forcing high tones. Who is responsible? Each one must answer for himself. With the hope of diminishing it in some degree, this outline is offered.

III

A GENERAL SURVEY OF THE SITUATION

"I will roar you as gently as any sucking dove: I will roar you an't were any nightingale."

Shakespeare. _A Midsummer Night's Dream_.

The singing world is confronted with a situation unique in its humor. On every side we hear the lachrymose lament that voice training is in a chaotic condition, that _bel canto_ is a lost art, and that the golden age of song has vanished from the earth.

The unanimity of this dolorous admission would seem to be a sad commentary on the fraternity of voice teachers; but here enters the element of humor. There is not recorded a single instance of a voice teacher admitting that his own knowledge of the voice is chaotic. He will admit cheerfully and oftentimes with ill concealed enthusiasm that every other teacher's knowledge is in a chaotic condition, but his own is a model of order and intelligence.

If we accept what voice teachers think of themselves the future looks rosy. If we accept what they think of each other the future is ominous and the need for reform is dire and urgent.

But if a reform be ordered where shall it begin? Obviously among the teachers themselves. But judging from the estimate each one puts upon himself how shall we reform a thing which is already perfect? On the other hand, if we take the pessimistic att.i.tude that all teachers are wrong will it not be a case of the blind leading the blind, in which instance their destination is definitely determined somewhere in the New Testament. Verily the situation is difficult. Nevertheless it is not altogether hopeless. The impulse to sing still remains. More people are studying singing, and more people sing well today than at any other time in the history of the world. The impulse to sing is as old as the human race. When the joy of life first welled up within man and demanded utterance the vocal instrument furnished by nature was ready to respond and the art of singing began, and if we may venture a prophecy it will never end in this world or the next. It cannot be destroyed even by the teachers themselves. It is this natural, inborn desire to sing that is directly responsible for the amazing perseverance of many vocal students. If after a year or two of study they find they are wrong they are not greatly disturbed, but select another teacher, firm in the faith that eventually they will find the right one and be safely led to the realization of their one great ambition--to be an artist. It is this that has kept the art alive through the centuries and will perpetuate it. This impulse to sing is something no amount of bad teaching can destroy.

THE REFORM

Everything in the universe that has come under the scrutiny of mortal man has been subjected to a perpetual reformation. Nothing is too great or too small to engage the attention of the reformer. Religion, politics, medicine and race suicide are objects of his special solicitude, but nothing else has been forgotten. No phase of human activity has been allowed to remain at rest. So far as we know nothing but the multiplication table has escaped the reformer. There is a general feeling that nothing is exactly right. This may be the operation of the law of progress, doubtless it is, but it occasions a mighty unrest, and keeps the world wondering what will happen next. This law of progress is but another name for idealism to which the world owes everything. Idealism is that which sees a better condition than the one which now obtains. The process of realizing this better condition is in itself reformation.

As far back as we have any knowledge of the art of singing the reformers have been at work, and down through the centuries their energies have been unflagging. We owe to them whatever advance has been made toward a perfect system of voice training, but they are also responsible for many things pernicious in their nature which have been incorporated in present day methods of teaching, for it must be admitted that there are false prophets among singing teachers no less than among the members of other professions. There is one interesting thing connected with the work of these vocal reformers. From the beginning they have insisted that the art of _bel canto_ is lost. Tosi (1647-1727), Porpora (1686-1766), Mancini (1716-1800), three of the greatest teachers of the old Italian school, all lamented the decadence of the art of singing.

Others before and since have done the same thing. It seems that in all times any one who could get the public ear has filled it with this sort of pessimistic wail. From this we draw some interesting conclusions: First, that the real art of singing was lost immediately after it was found. Second, that the only time it was perfect was when it began.

Third, that ever since it began we have been searching for it without success. If any of this is true it means that all of the great singers of the past two hundred years have been fakers, because they never really learned how to sing. It is surprising that we did not see through these musical Jeremiahs long ago. In all ages there have been good teachers and bad ones, and it would not be surprising if the bad ones outnumbered the good ones; but the weak link in the chain of argument is in estimating the profession by its failures. This is a cheap and much overworked device and discloses the egotism of the one using it. There are teachers today who thoroughly understand the art of _bel canto_.

They have not lost it, and the others never had it. This condition has obtained for centuries and will continue indefinitely. An art should be measured by its best exponents, not by its worst. To measure it by its failures is illogical and dishonest.

In recent years the process of reformation has been applied to all branches of music teaching with the hope of reducing these failures to a minimum. The profession has suddenly awakened to the fact that it must give a better reason for its existence than any heretofore offered. It has become clear to the professional mind that in order to retain and enlarge its self-respect music must be recognized as a part of the great human uplift. To this end it has been knocking at the doors of the inst.i.tutions of learning asking to be admitted and recognized as a part of public education. The reply has been that music teaching must first develop coherence, system and standards. This has caused music teachers to look about and realize as never before that the profession as a whole has no organization and no fixed educational standards. Every teacher fixes his own standard and is a law unto himself. The standard is individual, and if the individual conscience is sufficiently elastic the standard gives him no serious concern. But as a result of this awakening there is a concerted action throughout the country to standardize, to define the general scope of learning necessary to become a music teacher. The trend of this is in the right direction, and good may be expected from it, although at best it can be but a very imperfect method of determining one's fitness to teach. The determining factors in teaching are things which cannot be discovered in any ten questions. In fact an examination must necessarily confine itself to general information, but in teaching, the real man reveals himself. His high sense of order, logic, patience, his love and appreciation of the beautiful, his personality, his moral sense, the mental atmosphere of his studio, these all enter into his teaching and they are things difficult to discover in an examination. Unconsciously the teacher gives out himself along with the music lesson, and it is equally important with his knowledge of music. Therefore it is as difficult to establish definite standards of teaching as it is of piano or violin making.

In attempting to establish standards of voice teaching the problem becomes positively bewildering. The voice is so completely and persistently individual, and in the very nature of things must always remain so, that an attempt to standardize it or those who train it is dangerous. Yet notwithstanding this, voice teachers are the most industrious of all in their efforts to organize and standardize. The insistence with which this aim is prosecuted is worthy of something better than is likely to be achieved.

That there is no standard among voice teachers save that of the individual will be admitted without argument; and until there is such a thing as a fixed standard of musical taste this condition will remain, for the musical taste of the teacher is by far the most potent factor in the teaching of tone production.

Of late there have been vigorous efforts to establish a standard tone for singers. This, according to the apostles of "Harmony in the ranks,"

is the one way of unifying the profession. As an argument this is nothing short of picturesque, and can be traced to those unique and professedly scientific mentalities that solve all vocal problems by a mathematical formula. As an example of the chimerical, impossible and altogether undesirable, it commands admiration. If it is impossible to establish a standard tone for pianos where the problem is mechanical, what may we expect to do with voice where the problem is psychological?

When we have succeeded in making all people look alike, act alike, think alike; when we have eliminated all racial characteristics and those resulting from environment; when people are all of the same size, weight, proportion, structure; when skulls are all of the same size, thickness and density; when all vocal organs and vocal cavities are of the same form and size; when we have succeeded in equalizing all temperaments; when there is but one climate, one language, one government, one religion; when there is no longer such a thing as individuality--then perhaps a standard tone may be considered. Until that time nothing could be more certain of failure. The great charm of voices is their individuality, which is the result not alone of training, but of ages of varied experience, for man is the sum of all that has preceded him. It is, to say the least, an extraordinary mentality that would destroy this most vital element in singing for the sake of working out a scientific theory.

But there is no immediate danger. Nature, whose chief joy is in variety and contrast, is not likely to sacrifice it suddenly to a mere whim.

When we speak of a standard tone we enter the domain of acoustics and must proceed according to the laws of physics. In this standard tone there must be a fundamental combined with certain overtones. But who shall say which overtones, and why the particular combination? The answer must be "because it sounds best." A tone being something to hear, this is a logical and legitimate answer. But if the listener knows when it sounds right he knows it entirely separate and apart from any knowledge he may have of its scientific construction; hence such knowledge is of no value whatever in determining what is good and what is bad in tone quality. A tone is not a thing to see and the teacher cannot use a camera and a manometric flame in teaching tone production.

Any knowledge he may have gained from the use of such instruments in the laboratory is valueless in teaching.

If it were possible to adopt as a standard tone a certain combination of fundamental and overtones (which it is not), and if it were possible to make all singers use this particular tone (which, thank heaven it is not), then all voices would sound alike and individuality would at once disappear.

The advocates of this kind of standard tone cannot disengage themselves from the belief that all vocal organs are alike. The exact opposite is the truth. Vocal organs are no more alike than are eyes, noses, hands and dispositions. Each of these conforms only to a general type. The variation is infinite.

MENTALITY

The mentality of the individual forms the organ through which it can express itself, and this mentality is the acc.u.mulation of all of the experience which has preceded it. Further, muscles and cartilages are not all of the same texture. Thyroid cartilages vary in size and shape.

The vocal cavities, pharynx, mouth and nasal cavities are never exactly the same in any two people. The contours of the upper and lower jaw and teeth, and of the palatal arch are never found to be exactly alike. All of these variations are a part of the vocal instrument and determine its quality. Every vocal organ when properly directed will produce the best quality of which that particular instrument is capable. An attempt to make it produce something else must necessarily be a failure. The structure of the instrument determines whether the voice is ba.s.s, tenor, alto or soprano with all of the variations of these four cla.s.ses. The individuality of the voice is fixed by nature no less definitely.

The effort to standardize tone quality discloses a misapprehension of what it means to train a voice. Its advocates look upon man as so much matter, and the voice as something which must be made to operate according to fixed mathematical rules and ignore completely its psychology.

But the rich humor of it all appears when the propagandists of standard tone meet to establish the standard. It is soon observed that there are as many standards as there are members present and the only result is a mental fermentation.

GETTING TOGETHER

In recent years many attempts have been made by vocal teachers to "get together." As nearly as can be ascertained this getting together means that all shall teach in the same way, that all shall agree on the disputed points in voice training, or that certain articles of faith to which all can subscribe, shall be formulated; but when it comes to deciding whose way it shall be or whose faith shall be thus exalted, each one is a Gibraltar and the only perceptible result is an enlargement of the individual ego. And so it endeth.

WHY TEACHERS DISAGREE

Voice teachers are divided into two general cla.s.ses--those who make a knowledge of vocal physiology the basis of teaching and those who do not. The members of the first cla.s.s follow the teachings of some one of the scientific investigators. Each one will follow the scientist or physiologist whose ideas most nearly coincide with his own, or which seem most reasonable to him. In as much as the scientists have not yet approached anything resembling an agreement, it follows that their disciples are far from being of one mind.

The members of the second cla.s.s hold that a knowledge of vocal anatomy and physiology beyond the elements has no value in teaching, and that the less the student thinks about mechanism the better. The scientific voice teachers usually believe in direct control of the vocal organs.

The members of the opposite cla.s.s believe in indirect control. This establishes a permanent disagreement between the two general cla.s.ses, but the disagreement between those who believe in indirect control is scarcely less marked. Here it is not so much a matter of how the tone is produced, but rather the tone itself. This is due entirely to the difference in taste among teachers. The diversity of taste regarding tone quality is even greater than that regarding meat and drink. This fact seems to be very generally overlooked. It is this that so mystifies students. After studying with a teacher for one or more years they go to another to find that he at once tries to get a different tone quality from that of the first. When they go to the third teacher he tries for still another quality. If they go to a half dozen teachers each one will try to make them produce a tone differing in some degree from all of the others. The student doubtless thinks this is due to the difference in understanding of the voice among teachers, but this is not so. It is due entirely to their differing tastes in tone quality. The marvelous thing is that the voice will respond in a degree to all of these different demands made upon it; but it forces the student to the conclusion that voice training is an indefinite something without order, system, or principle.

So, in studying the conditions which obtain in voice teaching at the present time it must be admitted that the evidence of unity is slight; and the probability of increasing it by organization or legislative enactment is not such as to make one enthusiastic. What one believes is very real to himself. In fact it is the only thing that seems right to him, therefore he sees no valid reason why he should change his belief or why others should not believe as he does. This positive element in the human ego is advantageous at times, but it is also responsible for all conflicts from mild disagreements to war among nations.

But arguments and battles rarely ever result in anything more than an armed truce. Difference of opinion will continue indefinitely, but of this we may be sure, that the solution of the vocal problem will never come through a study of vocal mechanism however conscientious and thorough it may be, but through a purer musical thought, a deeper musical feeling, a clearer vision of what is cause and what is effect, a firmer conviction of the sanct.i.ty of music, an unerring knowledge of the relationship existing between the singer and his instrument.

IV

HINTS ON TEACHING

"We live in a world of unseen realities, the world of thoughts and feelings. But 'thoughts are things,' and frequently they weigh more and obtain far more in the making of a man than do all the tangible realities which surround him. Thoughts and feelings are the stuff of which life is made. They are the language of the soul. By means of them we follow the development of character, the shaping of the soul which is the one great purpose of life."

_Appreciation of Art_. Loveridge.