The Psychology of Singing Part 1

The Psychology of Singing.

by David C. Taylor.

PREFACE

A peculiar gap exists between the accepted theoretical basis of instruction in singing and the actual methods of vocal teachers. Judging by the number of scientific treatises on the voice, the academic observer would be led to believe that a coherent Science of Voice Culture has been evolved. Modern methods of instruction in singing are presumed to embody a system of exact and infallible rules for the management of the voice. Teachers of singing in all the musical centers of Europe and America claim to follow a definite plan in the training of voices, based on established scientific principles. But a practical acquaintance with the modern art of Voice Culture reveals the fact that the laws of tone-production deduced from the scientific investigation of the voice do not furnish a satisfactory basis for a method of training voices.

Throughout the entire vocal profession, among singers, teachers, and students alike, there is a general feeling of the insufficiency of present knowledge of the voice. The problem of the correct management of the vocal organs has not been finally and definitely solved. Voice Culture has not been reduced to an exact science. Vocal teachers are not in possession of an infallible method of training voices. Students of singing find great difficulty in learning how to use their voices. Voice Culture is generally recognized as ent.i.tled to a position among the exact sciences; but something remains to be done before it can a.s.sume that position.

There must be some definite reason for the failure of theoretical investigation to produce a satisfactory Science of Voice Culture. This cannot be due to any present lack of understanding of the vocal mechanism on the part of scientific students of the subject. The anatomy and physiology of the vocal organs have been exhaustively studied by a vast number of highly trained experts. So far as the muscular operations of tone-production are concerned, and the laws of acoustics bearing on the vocal action, no new discovery can well be expected. But in this very fact, the exhaustive attention paid to the mechanical operations of the voice, is seen the incompleteness of Vocal Science. Attention has been turned exclusively to the mechanical features of tone-production, and in consequence many important facts bearing on the voice have been overlooked.

In spite of the general acceptance of the doctrines of Vocal Science, tone-production has not really been studied from the purely scientific standpoint. The use of the word "science" presupposes the careful observation and study of all facts and phenomena bearing in any way on the subject investigated. Viewed in this light, the scientific study of the voice is at once seen to be incomplete. True, the use of the voice is a muscular operation, and a knowledge of the muscular structure of the vocal organs is necessary to an understanding of the voice. But this knowledge alone is not sufficient. Like every other voluntary muscular operation, tone-production is subject to the psychological laws of control and guidance. Psychology is therefore of equal importance with anatomy and acoustics as an element of Vocal Science.

There is also another line along which all previous investigation of the voice is singularly incomplete. An immense fund of information about the vocal action is obtained by attentive listening to voices, and in no other way. Yet this important element in Vocal Science is almost completely neglected.

In order to arrive at an a.s.sured basis for the art of Voice Culture, it is necessary in the first place to apply the strictest rules of scientific investigation to the study of the voice. A definite plan must be adopted, to include every available source information. First, the insight into the operations of the voice, obtained by listening to voices, must be reviewed and a.n.a.lyzed. Second, the sciences of anatomy, mechanics, acoustics, and psychology must each contribute its share to the general fund of information. Third, from all the facts thus brought together the general laws of vocal control and management must be deduced.

Before undertaking this exhaustive a.n.a.lysis of the vocal action it is advisable to review in detail every method of instruction in singing now in vogue. This may seem a very difficult task. To the casual observer conditions in the vocal world appear truly chaotic. Almost every prominent teacher believes himself to possess a method peculiarly his own; it would not be easy to find two masters who agree on every point, practical as well as theoretical. But this confusion of methods is only on the surface. All teachers draw the materials of their methods from the same sources. An outline of the history of Voice Culture, including the rise of the old Italian school and the development of Vocal Science, will render the present situation in the vocal profession sufficiently clear.

Part I of this work contains a review of modern methods. In Part II a critical a.n.a.lysis is offered of certain theories of the vocal action which receive much attention in practical instruction. Several of the accepted doctrines of Vocal Science, notably those of breath-control, chest and nasal resonance, and forward placing of the tone, are found on examination to contain serious fallacies. More important even than the specific errors involved in these doctrines, the basic principle of modern Voice Culture is also found to be false. All methods are based on the theory that the voice requires to be directly and consciously managed in the performance of its muscular operations. When tested by the psychological laws of muscular guidance, this theory of mechanical tone-production is found to be a complete error.

Part III contains a summary of all present knowledge of the voice.

First, the insight into the singer's vocal operations is considered, which the hearer obtains by attentive listening to the tones produced.

This empirical knowledge, as it is generally called, indicates a state of unnecessary throat tension as the cause, or at any rate the accompaniment, of every faulty tone. Further, an outline is given of all scientific knowledge of the voice. The anatomy of the vocal organs, and the acoustic and mechanical principles of the vocal action, are briefly described. Finally, the psychological laws of tone-production are considered. It is seen that under normal conditions the voice instinctively obeys the commands of the ear.

In Part IV the information about the vocal action obtained from the two sources is combined,--the scientific knowledge of mechanical processes, and the empirical knowledge derived from attentive listening to voices.

Throat stiffness is then seen to be the one influence which can interfere with the instinctively correct action of the voice. The most important cause of throat stiffness is found in the attempt consciously to manage the mechanical operations of the voice. In place of the erroneous principles of mechanical instruction, imitation is seen to be the rational foundation of a method of Voice Culture. The mystery surrounding the old Italian method is dispelled so soon as the possibility is recognized of teaching singing by imitation. Practical rules are outlined for imparting and acquiring the correct use of the voice, through the guidance of the sense of hearing. The singer's education is considered in its broadest sense, and training in tone-production is a.s.signed to its proper place in the complex scheme of Voice Culture.

During the past twenty years the author has found opportunity to hear most of the famous singers who have visited America, as well as a host of artists of somewhat lesser fame. In his early student days the conviction grew that the voice cannot reach its fullest development when mechanically used. Siegfried does not forge his sword, and at the same time think of his diaphragm or soft palate. Lucia cannot attend to the movements of her arytenoid cartilages while pouring out the trills and runs of her Mad Scene. A study of the theoretical works on Vocal Science, dealing always with mechanical action and never with tone, served only to strengthen this conviction. Finally the laws of physiological psychology were found to confirm this early belief.

Every obtainable work on Voice Culture has been included in the author's reading. No desire must be understood to make a display of the results of this study. One citation from a recognized authority, or in some cases two or three, is held sufficient to verify each statement regarding the accepted doctrines of Vocal Science. As for the practical features of modern methods, the facts alleged cannot in every case be substantiated by references to published works. It is, however, believed that the reader's acquaintance with the subject will bear out the author's statements.

This work is of necessity academic in conception and in substance. Its only purpose is to demonstrate the falsity of the idea of mechanical vocal management, and to prove the scientific soundness of instruction by imitation. There is no possibility of a practical manual of instruction in singing being accepted, based on the training of the ear and the musical education of the singer, until the vocal world has been convinced of the error of the mechanical idea. When that has been accomplished this work will have served its purpose. All of the controversial materials, together with much of the theoretical subject matter, will then be superfluous. A concise practical treatise can then be offered, containing all that the vocal teacher and the student of singing need to know about the training and management of the voice.

It is in great measure due to the cooperation of my dear friend, Charles Leonard-Stuart, that my theory of voice production is brought into literary form, and presented in this book. To his thorough musicians.h.i.+p, his skill and experience as a writer of English, and especially to his mastery of the bookman's art, I am deeply indebted. True as I know Leonard-Stuart's love to be for the art of pure singing, I yet prefer to ascribe his unselfish interest in this work to his friends.h.i.+p for the author.

CHAPTER I

TONE-PRODUCTION AND VOICE CULTURE

In no other form of expression do art and nature seem so closely identified as in the art of singing. A perfect voice speaks so directly to the soul of the hearer that all appearance of artfully prepared effect is absent. Every tone sung by a consummate vocal artist seems to be poured forth freely and spontaneously. There is no evidence of calculation, of carefully directed effort, of attention to the workings of the voice, in the tones of a perfect singer. Yet if the accepted idea of Voice Culture is correct, this semblance of spontaneity in the use of the voice can result only from careful and incessant attention to mechanical rules. That the voice must be managed or handled in some way neither spontaneous nor instinctive, is the settled conviction of almost every authority on the subject. All authorities believe also that this manner of handling the voice must be acquired by every student of singing, in the course of carefully directed study.

This training in the use of the voice is the most important feature of education in singing. Voice Culture embraces a peculiar and distinct problem, that of the correct management of the vocal organs. Vocal training has indeed come to be considered synonymous with training in the correct use of the voice. Every method of instruction in singing must contain as its most important element some means for dealing with the problem of tone-production.

No complete and satisfactory solution of this problem has ever been found. Of this fact every one acquainted with the practical side of Voice Culture must be well aware. As the present work is designed solely to suggest a new manner of dealing with this question, it is advisable to define precisely what is meant by the problem of tone-production.

In theory the question may be stated very simply. It is generally believed throughout the vocal profession that the voice has one correct mode of action, different from a wide variety of incorrect actions of which it is capable;--that this mode of action, though ordained by Nature, is not in the usual sense natural or instinctive;--that the correct vocal action must be acquired, through a definite understanding and conscious management of the muscular movements involved. The theoretical problem therefore is: What is the correct vocal action, and how can it be acquired?

On the practical side, the nature of the problem is by no means so simple. In actual instruction in singing, the subject of vocal management cannot readily be dissociated from the wide range of other topics comprised in the singer's education. In much that pertains to the art of music, the singer's training must include the same subjects that form the training of every musician. In addition to this general musical training, about the same for all students of music, each student must acquire technical command of the chosen instrument. This is necessarily acquired by practice on the instrument, whether it be piano, violin, oboe, or whatever else. In the same way, vocal technique is acquired by practice in actual singing. Practice makes perfect, with the voice as with everything else.

But the voice is not invariably subject to the law that practice makes perfect. In this important respect the singer's education presents a problem not encountered by the student of any instrument. Given the necessary talents, industry, and opportunities for study, the student of the violin may count with certainty on acquiring the mastery of this instrument. But for the vocal student this is not necessarily true.

There are many cases in which practice in singing does not bring about technical perfection. The mere singing of technical exercises is not enough; it is of vital importance that the exercises be sung in some particular manner. There is one certain way in which the voice must be handled during the practice of singing. If the vocal organs are exercised in this particular manner, the voice will improve steadily as the result of practice. This progress will continue until perfect technical command of the voice is acquired. But if the vocal student fails to hit upon this particular way of handling the voice in practice the voice will improve little, or not at all. In such a case perfect vocal technique will never be acquired, no matter how many years the practice may continue.

What is this peculiar way in which the voice must be handled during the practice of singing? This is the practical problem of tone-production, as it confronts the student of singing.

It is important that the exact bearing of the problem be clearly understood. It is purely a feature of education in singing, and concerns only teachers and students of the art. Properly speaking, the finished singer should leave the teacher and start on the artistic career, equipped with a voice under perfect control. There should be no problem of tone-production for the trained singer, no thought or worry about the vocal action. True, many authorities on the voice maintain that the artist must, in all singing, consciously and intelligently guide the operations of the vocal organs. But even if this be the case the fact remains that this ability to manage the voice must be acquired during student days. In seeking a solution of the problem, that period in the prospective singer's training must be considered during which the proper use of the voice is learned.

It may be taken for granted that teachers of singing have always been aware of the existence of the problem of tone-production, and have always instructed their pupils in the correct management of the voice.

Yet it is only within the past hundred and fifty years that vocal management has been the subject of special study. A brief review of the history of Voice Culture will serve to bring this fact out clearly.

To begin with, the present art of singing is of comparatively recent origin. It is indeed probable that man had been using the voice in something akin to song for thousands of years before the dawn of history. Song of some kind has always played an important part in human life, savage as well as civilized. To express our emotions and feelings by means of the voice is one of our most deep-seated instincts. For this use of the voice to take on the character of melody, as distinguished from ordinary speech, is also purely instinctive. Singing was one of the most zealously cultivated arts in early Egypt, in ancient Israel, and in cla.s.sic Greece and Rome. Throughout all the centuries of European history singing has always had its recognized place, both in the services of the various churches and in the daily life of the people.

But solo singing, as we know it to-day, is a comparatively modern art.

Not until the closing decades of the sixteenth century did the art of solo singing receive much attention, and it is to that period we must look for the beginnings of Voice Culture. It is true that the voice was cultivated, both for speech and song, among the Greeks and Romans.

Gordon Holmes, in his _Treatise on Vocal Physiology and Hygiene_ (London, 1879), gives an interesting account of these ancient systems of Voice Culture. But practically nothing has come down to us about the means then used for training the voice. Even if any defined methods were developed, it is absolutely certain that these had no influence on the modern art of Voice Culture.

With the birth of Italian opera, in 1600, a new art of singing also came into existence. The two arts, opera and singing, developed side by side, each dependent on the other. And most important to the present inquiry, the art or science of training voices also came into being. In _Le Revoluzioni del Teatro Musicale Italiano_ (Venice, 1785), Arteaga says of the development of opera: "But nothing contributed so much to clarify Italian music at that time as the excellence and the abundance of the singers." A race of singing masters seems almost to have sprung up in Italy. These ill.u.s.trious masters taught the singers to produce effects with their voices such as had never been heard of before. From 1600 to 1750 the progress of the art of singing was uninterrupted. Each great teacher carried the art a little further, discovering new beauties and powers in the voice, and finding means to impart his new knowledge to his pupils.

This race of teachers is known to-day as the Old Italian School, and their system of instruction is called the Old Italian Method. Just what this method consisted of is a much-discussed question. Whatever its system of instruction, the old Italian school seems to have suffered a gradual decline. In 1800 it was distinctly on the wane; it was entirely superseded, during the years from 1840 to 1865, by the modern scientific methods.

Considered as a practical system of Voice Culture, the old Italian method is a highly mysterious subject. Little is now known about the means used for training students of singing in the correct use of the voice. This much is fairly certain: the old masters paid little or no attention to what are now considered scientific principles. They taught in what modern vocal theorists consider a rather haphazard fas.h.i.+on. The term "empirical" is often applied to their method, and to the knowledge of the voice on which it was based.[1] But as to what the old masters actually knew about the voice, and just how they taught their pupils to sing, on these points the modern world is in almost complete ignorance.

Many attempts have been made in recent years to reconstruct the old Italian method in the light of modern scientific knowledge of the voice.

But no such a.n.a.lysis of the empirical system has ever been convincing.

[Note 1: "The old Italian method of instruction, to which vocal music owed its high condition, was purely empirical." (Emma Seiler, _The Voice in Singing_. Phila., 1886.)]

How the practical method of the old masters came to be forgotten is perhaps the most mysterious feature of this puzzling system. There has been a lineal succession of teachers of singing, from the earlier decades of the eighteenth century down to the present. Even to-day it is almost unheard of that any one should presume to call himself a teacher of singing without having studied with at least one recognized master.

Each master of the old school imparted his knowledge and his practical method to his pupils. Those of his pupils who in their turn became teachers pa.s.sed the method on to their students, and so on, in many unbroken successions. Yet, for some mysterious reason, the substance of the old method was lost in transmission.

What little is now known about the old method is derived from two sources, the written record and tradition. To write books in explanation of their system of instruction does not seem to have occurred to the earliest exponents of the art of Voice Culture. The first published work on the subject was that of Pietro Francesco Tosi, _Osservazione sopra il Canto figurato_, brought out in Bologna in 1723. This was translated into English by M. Galliard, and published in London in 1742; a German translation by J. F. Agricola was issued in 1757. The present work will call for several citations from Tosi, all taken from the English edition. Only one other prominent teacher of the old school, G. B.

Mancini, has left an apparently complete record of his method. His _Riflessioni pratiche sul Canto figurato_ was published in Milan in 1776. Mancini's book has never been translated into English. Reference will therefore be made to the third Italian edition, brought out in Milan, 1777.

Tosi and Mancini undoubtedly intended to give complete accounts of the methods of instruction in singing in vogue in their day. But modern vocal theorists generally believe that the most important materials of instruction were for some reason not mentioned. Three registers are mentioned by Tosi, while Mancini speaks of only two. Both touch on the necessity of equalizing the registers, but give no specific directions for this purpose. About all these early writers have left us, in the opinion of most modern students of their works, is the outline of an elaborate system of vocal ornaments and embellishments.

On the side of tradition a slightly more coherent set of rules has come down to us from the old masters. These are generally known as the "traditional precepts." Just when the precepts were first formulated it is impossible to say. Tosi and Mancini do not mention them. Perhaps they were held by the old masters as a sort of esoteric mystery; this idea is occasionally put forward. At any rate, by the time the traditional precepts were given to the world in published works on the voice, their valuable meaning had been completely lost.

Gathered from all available sources, the traditional precepts are as follows:

"Sing on the breath."

"Open the throat."