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

[CHAPTER V]

EMPIRICAL MATERIALS OF MODERN METHODS

A series of topics included in modern methods is now to be considered, different in scope from the strictly mechanical features of tone-production so far described. It must be apparent to the reader that the present understanding of the muscular processes of singing is not sufficient to furnish a complete method of instruction. This fact is thoroughly appreciated by the teachers of singing. Almost without exception they seek to supplement the mechanical doctrines by instruction of an entirely different character. The subjects included in this form of instruction are of several classes. They comprise the manner of emission of the tone, the traditional precepts of the old Italian school, the singer's sensations, and the use of certain vowels and consonants for special purposes.

Emission and Forward Placing

Of all the traditional precepts, the one most frequently cited in theoretical treatises on the voice is, "Place the tone forward." For this precept it is generally believed that a satisfactory explanation has been found in the accepted doctrine of tone emission.

The characteristic effect of perfect singing known as the "forward tone" is thoroughly well known to every lover of singing. In some peculiar way the tone, when perfectly produced, seems to issue directly from the singer's mouth. When we listen to a poorly trained and faulty singer the tones seem to be caught somewhere in the singer's throat. We feel instinctively that if the singer could only lift the voice off the throat, and bring it forward in the mouth, the tones would be greatly improved in character. It is commonly believed that the old masters knew some way in which this can be done. Just what means they used for this purpose is not known. But the accepted scientific interpretation of the "forward tone" precept is held by vocal theorists to render the subject perfectly clear.

Sir Morell Mackenzie states the correct emission of the tone as one of the three cardinal principles of the vocal action. "The regulation of the force of the blast which strikes against the vocal cords, the placing of these in the most favourable position for the effect which it is desired to produce, and the direction of the vibrating column of air which issues from the larynx are the three elements of artistic production." (The Hygiene of the Vocal Organs, London, 1886.) His analysis of the mechanical and acoustic processes involved in emission may be cited as typical of the views of the great majority of vocal scientists. "It (the column of sound) must be projected against the roof of the cavity behind the upper front teeth, from which it rebounds sharply and clearly to the outside." Mme. Seiler expresses the idea somewhat differently, but the meaning is about the same. "A correct disposition of the tones of the voice consists in causing the air, brought into vibration by the vocal ligaments, to rebound from immediately above the front teeth, where it must be concentrated as much as possible, rebounding thence to form in the mouth continuous vibrations." (The Voice in Singing, Phila., 1886.)

To the vocal theorists this is no doubt thoroughly convincing and satisfactory. But as a topic of practical instruction in singing this theory of tone emission is utterly valueless. How can the "column of vocalized breath" be voluntarily directed in its passage through the pharynx and mouth? No muscular process has ever been located, by which the singer can influence the course of the expired breath, and direct it to any specific point in the mouth. Even if the expired breath does, in perfect singing, take the course described, knowledge of this fact cannot enable the singer to bring this about. The accepted doctrine of tone emission is of no benefit whatever to the teacher of singing. He knows what the "forward tone" is, that is, what it sounds like, just as well no doubt as did the old Italian master. But if the latter knew how to enable his pupils to obtain the "forward" character of tone, the modern teacher is to that extent not so well off.

In view of the prevailing ignorance of any means for securing the (supposedly) correct emission of tone, intelligible instruction on this topic is hardly to be expected. But the great majority of teachers lay great stress on the need of acquiring the correct emission. The best they can do is to explain the scientific doctrine to their pupils; the students are generally left to find for themselves some way of applying the explanation. In many cases the master tries to assist the student by describing the singer's sensations, experienced when producing a "forward" tone.

Certain vowels and consonants are usually held to be especially favored by a "forward position," and exercises on these are very widely used for securing a "forward" tone. These exercises are described in a later paragraph. It will be noticed however that this use of vowels is not an application of the theory of "forward emission." The vowel sounds are believed to owe their "forward position" to resonance, while "emission" is purely a matter of direction or focusing of the breath-blast. The whole subject of emission and forward placing is in a very unsatisfactory condition.