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 attitude 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.