Mancini devotes a few pages to a description of the vocal organs. This fact is cited by several modern theorists in support of their statement that the old masters based their methods on mechanical principles. In the following chapter this topic of Mancini's treatise will be considered.
Probably the best summary of the old Italian method offered by any modern teacher is contained in a little booklet by J. Frank Botume, entitled Modern Singing Methods. (Boston, 1885. The citations are from the fourth edition, 1896.) Speaking of the meaning of the word method, as applied to a system of rules for acquiring the correct vocal action, this writer says: "If a teacher says, 'that tone is harsh, sing more sweetly,' he has given no method to his pupil. He has asked the scholar to change his tone, but has not shown him how to do it. If, on the other hand, he directs the pupil to keep back the pressure of the breath, or to change the location of the tone; if he instructs him in regard to the correct use of his vocal cords, or speaks of the position of his tongue, of his diaphragm, of his mouth, etc., he gives him method. The Italian teachers of the early period of this art had so little method that it can hardly be said to have existed with them. In fact, the word method, as now used, is of comparatively modern origin. The founders of the art of singing aimed at results directly; the manner of using the vocal apparatus for the purpose of reaching these results troubled them comparatively little. The old Italian teacher took the voice as he found it. He began with the simplest and easiest work, and trusted to patient and long-continued exercise to develop the vocal apparatus. In all this there is no method as we understand the term. The result is aimed at directly. The manner of getting it is not shown. There is no conscious control of the vocal apparatus for the purpose of effecting a certain result."
This sums up beautifully the external aspects of the old Italian method, and of modern methods as well. It points out clearly the difference between the old and the modern system. But it is a mistake to say that the old masters followed no systematized plan of instruction. Tosi's advice, already quoted ("Let the master provide himself with examples of Sol-fa, leading insensibly from the easy to the difficult," etc.), shows a thorough grasp of the meaning of methodical instruction. Once the real nature of vocal training is understood, both Tosi and Mancini are seen to describe a well worked out system of Voice Culture. The only important difference between the old and the new system is this: one relied on instinctive and imitative processes for imparting the correct vocal action, the other seeks to accomplish the same result through the mechanical management of the vocal organs. In this regard the advantage is all on the side of the old Italian method.
One question regarding the old method remains to be answered. This has to do with the use of the empirical precepts in practical instruction. So far as the written record goes we have no means of answering this question. Neither Tosi nor Mancini mentions the old precepts in any way. The answer can therefore be only conjectural. We may at once dismiss the idea that the old masters used the precepts in the currently accepted manner as rules for the mechanical management of the voice. This application of the empirical precepts followed upon the acceptance of the idea of mechanical voice culture.
A fine description of perfect singing, considered empirically, was found to be embodied in the traditional precepts. Such a description of correctly produced tone might be of great value in the training of the ear. The sense of hearing is developed by listening; and attentive listening is rendered doubly effective in the singer's education by the attention being consciously directed to particular characteristics of the sounds observed.
A highly important aspect of ear training in Voice Culture is the acquainting the student with the highest standards of singing. The student derives a double advantage from listening to artistic singing when he knows what to listen for. Telling the student that in perfect singing the throat seems to be open makes him keenly attentive in observing this characteristic sound of the correctly produced tone. This seems to be the most effective manner of utilizing the empirical precepts. A student may be helped in imitating correct models of singing by knowing what characteristics of the tones it is most important to reproduce. In pointing out to the student his own faults of production, the judicious use of the precepts might also be of considerable value. Probably the old masters treated the precepts about in this fashion.
[CHAPTER VII]
THE DISAPPEARANCE OF THE OLD ITALIAN METHOD AND THE DEVELOPMENT OF MECHANICAL INSTRUCTION
One of the most mysterious facts in the history of Voice Culture is the utter disappearance of the old Italian method. This has occurred in spite of the earnest efforts of vocal teachers to preserve the old traditions. If the conclusions drawn in the preceding chapter are justified, the old method consisted of a system of teaching singing by imitation. Assuming this to be true, there should now be no difficulty in accounting for the disappearance of the imitative method by tracing the development of the mechanical idea.