The Traditional Precepts in Modern Instruction
So much importance is attached by modern teachers to the traditional precepts of the old school that this subject calls for somewhat lengthy treatment. Before discussing the manner in which the precepts are applied in practical instruction, it will be well to review first the interpretations of the precepts offered by different vocal scientists.
It must be remarked, in the first place, that no single one of the precepts has ever been satisfactorily explained; that is, no direct means of performing the actions indicated by the precepts has ever been found. If ever the precepts had a definite meaning, considered as specific directions for performing certain actions in a special way, that meaning has been lost. Mechanical analysis has not reduced the precepts to a form in which they are of direct value to the modern teacher.
That the "forward tone" is interpreted as a reference to the emission of the voice was noted earlier in this chapter. The explanation of the "open throat" precept as a function of mouth-pharynx resonance has also been mentioned.
"Singing on the breath" is a very perplexing subject for vocal theorists. Many authorities assert that this precept describes an effect obtained by the "opposed muscular action" breath-control. (See citation from Shakespeare in Chapter II.) But this explanation is hardly satisfactory; if the precept had meant no more than breath-control, it would have been forgotten long ago.
The "support of the tone" is mentioned by a large number of theoretical writers on the voice. These writers generally state, in substance, that "the tone must be supported by the breathing muscles of the chest, and not by the throat muscles." (See The Technics of Bel Canto, by G. B. Lamperti, New York, 1905.) But this explanation is hardly to be considered as a scientific doctrine. Every one knows that a tone has no weight, so in the physical sense it can need no support. In short, scientific analysis has thrown no more light on this than any other of the old precepts.
Notwithstanding the modern teacher's complete ignorance of the mechanical operations which they seem to indicate, the old precepts form a very important feature of instruction in singing. The great majority of teachers cite these precepts constantly, and frequently direct their pupils to "open the throat," to "bring the tone forward," etc. Is it to be believed that an intelligent master would use these directions in any occult or cabalistic sense? Such a statement is occasionally made by a consistent upholder of the mechanical system of Voice Culture. Paulo Guetta, for example, in a recent exhaustive work on the subject, ridicules the use of the old precepts. Says this ardent advocate of mechanical instruction in singing:
"Nowadays alchemy and necromancy awaken nothing but curiosity. How then can one who thinks and reasons admit that an art can be cultivated and sustained by theories extravagant, fantastic, enigmatic, explained and condensed in abstruse phrases and sentences, which not only have no meaning whatever, but even lead one to doubt whether the teacher himself knows what result it is desired to obtain? Do you wish a little example? Behold!
"'Press the whole voice against the mask.' 'Place the voice in the head.' 'The voice is directed to the nasal cavities.' 'Place the voice forward.'
"Others, with the most austere gravity, will tell you that your voice is too far back, or that you send the voice to the lower teeth, and promise in a few days to place the voice forward, at the upper teeth, or wherever else it should be." (Il Canto nel suo Mecanismo, Milan, 1902.)