II
Ancient systems of vocal culture call for only passing mention. In the early civilizations of Egypt, Chaldea and Assyria the art of singing was cultivated assiduously. In the services of the temples this ancient art found its most serious and dignified employment. Each of the countries named possessed, at the time of its highest civilization, a highly elaborate ritual of worship, in which singing played a most important part. Every temple had its corps of trained singers, who were especially educated for this office. The most important feature of the education of the temple singers was the memorizing of the musical settings to which the various poems and chronicles of the ritual were sung and chanted. The course of instruction consisted of the actual singing of the music, under the tuition of a master whose memory was stored with the entire devotional repertoire of the cult. A proper performance of the music was the object sought, and to this the most earnest attention was paid. But incident to this was the production of the quality and type of tones which experience had shown to be best adapted to the use of the voice in the massive temples and in the open-air services. The temple music schools were under the constant supervision of the priests and other officials in charge and the classes met regularly for instruction and practice.
Very much the same system was followed in the Temple at Jerusalem. Of the musical system developed there we have a highly complete and satisfactory record. Here the art of singing was carried to a very high pitch of development. At the time of Solomon there were 4,000 Levites attached to the Temple, whose office it was to sing and intone the various services. The elaborate ritual contained musical settings for the Psalms and certain of the historical and prophetic books, which demanded a high degree of vocal ability for their rendition. Both the priests and the Levites received a lengthy training in the singing of the music allotted to them. The music of the Temple is especially interesting to the student of the history of singing, for the reason that it included a remarkably developed system of vocal ornamentation. It would have been impossible to sing this music without a thorough command of the voice, and the education of the priests and Levites therefore included a comprehensive system of vocal cultivation.
The experience of the early masters of the old Italian school taught them that the best means for training the voice in facility and flexibility is the actual singing of ornamental florid music. This was also the plan followed in the school attached to the Temple. A system of notation was in use, somewhat similar to that of the neumes used in Europe from the ninth to the thirteenth century. Every standard ornament and melodic phrase was represented by a letter, according to a strictly arbitrary system. A most important part of the Temple method of musical instruction was the memorizing of the various phrases, groups, runs, etc., represented by the significant letters. This was purely a matter of convention, that is, the meaning of the letters was recorded only in the memories of the instructors and the graduate students. The instructor taught the phrase for which a letter stood by singing it for his students and having them sing it after him until they had committed it to memory and learned to associate it with the letter. As the musical phrases were all melodious and in most cases ornamental, the voice thus received an effective training. One of the puzzling aspects of the first solo singing in European music is the difficulty found in tracing the origin of the vocal embellishments of which it so largely consisted. A possible explanation of this mystery may be found in the music of the Temple. How the traditions so carefully treasured there could have found their way into Italy after the lapse of nearly 2,000 years will be considered in a later section of this chapter.
In classic Athens the voice was trained for the purposes of both oratory and singing. A specially recognized profession was that of the vocal trainer or phonascus, whose duties embraced the vocal cultivation of both singers and public speakers. A well-developed system of voice culture was followed by these teachers, who superintended classes in the daily practice of systematic exercises. For the training of the speaking voice a pupil began his daily practice by repeating detached sentences at short intervals. From this he passed to the declamation of long phrases, beginning on the lowest notes of the voice, raising the pitch gradually until the highest notes were reached, and then again descending to the lowest range. The exercises in singing were very similar, although greater attention was paid to the sustaining of high notes. Owing to the immense size of the Greek open-air theatres, and to the masks that were always worn by the actors, volume and power of voice were of the utmost importance. The actors might justly be described as singers, as all their speeches were delivered in a style of vocal declamation not unlike our modern recitative.
Very much the same methods of vocal cultivation were followed in ancient Rome, although much more attention was paid to oratory than to singing. There is no reason to believe that voice culture in Europe was influenced in any way by the classic systems of either Greece or Rome.