[CHAPTER V]
EMPIRICAL KNOWLEDGE IN MODERN VOICE CULTURE
It was pointed out in Chapter I of Part III that there is no possibility of conflict between empirical and scientific knowledge. Modern Voice Culture seems to present a direct contradiction of this statement. The vocal teacher's empirical understanding of the voice conflicts at every step with his supposedly scientific knowledge. No doubt the reader is already aware of the real meaning of this apparent contradiction. It only bears out the philosophic rule; an accepted science must be abandoned so soon as its deductions are found to be not in accord with observed facts.
Modern methods of instruction in singing can be understood only by following out this idea of conflict between known facts and accepted, though erroneous, scientific doctrines. As we have seen, the only universally accepted theory of supposedly scientific Voice Culture is the idea of direct mechanical guidance of the voice. Every vocal teacher attempts to make his empirical knowledge conform to this mechanical idea. As the empirical knowledge is correct, and the mechanical idea a complete mistake, conflict between the two is inevitable.
Every modern teacher of singing possesses in full measure the empirical understanding of the voice. To this statement hardly an exception need be made. Probably the most startling fact concerning the wide diffusion of this knowledge is that the nature of this knowledge is so thoroughly ignored. Because the psychological process is purely sub-conscious, empirical knowledge is always indirectly and generally unconsciously applied. In the teacher's mind the most prominent idea is that of mechanical vocal guidance. His attention is always directly turned to this idea. Empirical knowledge, consisting merely of a succession of auditory and muscular sensations, lurks in the background of consciousness.
To the intelligent vocal teacher there is something peculiarly fascinating about the study of tone-production. In listening to any faulty singer we feel with the utmost precision what is wrong with the voice. Each imperfect tone informs us clearly and definitely just where the wrong muscular contraction is located. It seems so easy to tell the singer what to do in order to bring the tone out perfectly. Under the influence of the mechanical idea we try to express this feeling in the terms of muscular action. This attempt is never successful; the singer cannot be brought to understand our meaning. Yet it is so clear in our own minds that our inability to express it is extremely tantalizing. We go on, constantly hoping to find a way to define the mechanical processes so clearly indicated to the ear. We always feel that we are just on the verge of the great discovery. The solution of the problem of tone-production is almost within our grasp, yet it always eludes us.
It was stated in Chapter V of Part I that empirical knowledge of the voice, based on the singer's sensations, is used to supplement and interpret the doctrines of mechanical vocal guidance. This is in the main true, so far as the vocal teacher is aware. But here again the result of the sub-conscious character of empirical knowledge of the voice is seen. As a matter of fact the real situation is the direct reverse of that described in the chapter mentioned. The mechanical doctrines are used in the attempt to interpret the empirical knowledge. This fact is well brought out in the following passage from Kofler: "The teacher must imitate the wrong muscle-action and tone of his pupil as an illustration of the negative side." (The Art of Breathing, N. Y., 1889.) Kofler does not touch on the question, how the teacher is able to locate the wrong muscle-action of the pupil. He takes this ability for granted; it is so purely an intuitive process that he does not stop to inquire into the source of this information of the pupil's vocal action. Through his sense of hearing he sub-consciously locates the faults in the pupil's tone-production. His only conscious application of this knowledge is the attempt to explain to the pupil the wrong muscle-action. This he naturally tries to do in the terms of mechanical action and muscular operation. Thus the mechanical doctrine is used in the attempt to explain the empirical knowledge. Yet the teacher is conscious only of citing the mechanical rule, and believes this to cover the entire instruction.
In the preceding chapter it was seen that the perfectly produced vocal tone may be considered in a variety of aspects. Each one of these aspects is characterized by a fairly distinct set of sympathetic sensations. Of faulty modes of throat action, as revealed by sympathetic sensations, there is an almost infinite variety. Of this wide variety of forms of throat tension the most prominent are those indicated by sets of sympathetic sensations, the direct opposites of those characterizing the perfect vocal action. Thus the open throat is indicated by one set of sympathetic sensations, the lack of this characteristic of tone by an opposite set, etc.
Whatever distinct fault of production the pupil's tone indicates, the master immediately notes the character of the faulty throat action. The master feels, simply and directly, what is wrong with the student's tone-production. Whence this knowledge comes he does not stop to inquire. Suppose the pupil to sing an exercise, and to produce tones which stick in the throat, instead of coming out freely. The master simply hears that the pupil's voice is caught in the throat; he does not observe that he is informed of this condition by muscular as well as auditory sensations.