The Psychology of Singing / A Rational Method of Voice Culture Based on a Scientific Analysis of All Systems, Ancient and Modern

by David C. Taylor

It was remarked, in speaking of the registers, that no mechanical means has ever been found for directly controlling the operations of the vocal cords. To this statement one apparent exception is seen in the method originated by John Howard. This earnest student of the voice sought to carry out, to its logical conclusion, the accepted idea of mechanical vocal control. In this respect he stands practically alone. His is the only method which even pretends to reduce the entire operation of correct tone-production to a set of defined muscular contractions.

Howard's theories, with the details of a practical method based thereon, are fully described in his most important published work, The Physiology of Artistic Singing, New York, 1886. A complete exposition of Howard's theories is not called for here. For the present purpose the following short summary will suffice:

"The difference between correct tone-production and any incorrect vocal action is solely a matter of laryngeal adjustment and vocal cord action. Whether the tone produced be right or wrong, the influence of the resonance cavities is about the same. It is therefore idle to pay any attention to the subject of air resonance. Only one form of resonance is of any value in tone-production (considered as distinct from vowel formation). This is the sounding-board resonance of the bones of the head and chest. To secure this, the most important reinforcement of the tone, the larynx must be firmly held in a fixed position against the backbone, at the fifth cervical vertebra. All theories as to the registers of the voice, derived from laryngoscopic observation, are completely erroneous.

"In the production of tone, the muscular tissue of the vocal cords is thrown into vibration by the air blast, and not merely the membranous covering of the inner edges of the cords. For a soft tone, only a portion of the fleshy mass of the vocal cords vibrates; if this tone is gradually swelled to fortissimo, a constantly increasing portion of the muscular tissue is called into play. For the loudest tone, the entire mass of the vocal cords is bought into vibration. Thus the increased volume of the tone results not alone from the increase in the power of the breath blast. Each addition to the power of the expiration demands also a change in the adjustment of the vocal cords.

"The contractions of the muscles inside the larynx, including the vocal cords, cannot be brought under direct voluntary control. But these contractions can be regulated by the actions of other sets of muscles, viz., those by which the larynx is connected with the skeletal framework of the head, neck, and chest. These latter muscles can all be controlled by direct volition. Each of these sets of muscles has its function in tone-production. One set pulls the larynx backward, into the position already described, against the backbone. Two other opposed sets hold the larynx firmly in this position, one set pulling upward, the other downward. Finally, and most important in their influence on the actions of the vocal cords, a fourth set of muscles comes into play. These tilt the thyroid cartilage forward or backward, and thus bring about a greater or less tension of the vocal cords, independent of the contractions of the muscles of the vocal cords themselves. In this way is regulated the amount of the fleshy mass of the vocal cords exposed to the expiratory blast. Correct tone-production results when exactly the necessary degree of strength is exerted by each one of these four sets of muscles."

For each of these groups of muscles Howard devised a system of exercises and drills by which the singer is supposed to bring all the movements involved under direct voluntary control. The parts thus exercised are the tongue, the soft palate, the jaw, the fauces, and also the muscles by which the larynx is raised and lowered in the throat, and those by which the chest is raised. In teaching a pupil Howard took up each part in turn. A sufficient number of lessons was devoted to each set of muscles for the pupil (presumably) to acquire the necessary control of each group.

Howard also paid much attention to the breath; he worked out the system of high-chest breathing in a really masterly fashion. But his manner of dealing with this subject did not differ from that of a great number of other teachers.

Howard retired from active teaching about 1895. His theories of the vocal action have never been generally accepted by vocal theorists, and the number of teachers who now profess to follow his method is very small. There are, however, many other masters whose methods, in their main features, are patterned after Howard's. These latter teachers may therefore be justly said to follow the Howard system, even though they give him no credit for their doctrines of vocal control.

Howard usually insisted that his pupils should understand the theoretical basis of his method, and the exact purpose of each exercise and muscular contraction. But as a rule his successors do not make this demand on their pupils. They are content to have the students practise the prescribed exercises; this the students do, with very little thought about the theory lying behind the method. For the pupil this system, as at present generally taught, consists solely of a series of muscular drills for the tongue, larynx, palate, etc.

In this review of modern methods, the Howard system is important, mainly because it represents the consistent application of the idea of mechanical tone-production. As was observed, Howard's theories had very little influence on the general trend of Vocal Science. The external features of the Howard system are indeed shared to some extent by the methods of many other teachers. Muscular drills of about the same type are very widely used. Some teachers go so far in this respect that their methods might almost be confounded with the Howard system. But the resemblance is purely external. Even in 1880, at the time when Howard had fairly perfected his method, there was nothing novel about exercises of this type. The first attempts at a practical study of vocal mechanics consisted of observations of those parts of the vocal organs whose movements can be readily seen and felt. These are the lips, tongue, palate, and larynx. Garcia's Mémoire, already cited, is mainly a record of observations of this kind. Nearly every vocal theorist since that time has also paid some attention to this phase of the vocal action.