The truth is, we know but little of the Old Italian School of Singing. We do know, however, that the old Italians were an emotional and impulsive people. Their style of singing was the flexible, florid, coloratura style. This demanded freedom of action and emotional expression, which more largely than anything else accounts for their success.
The old Italians knew little or nothing of the science of voice as we know it to-day. They did know, however, the great fundamental principles of singing, which are freedom of form and action, spontaneity and naturalness. They studied Nature, and learned of her. Their style of singing, it is true, would be considered superficial at the present day, but it is generally conceded that they did make a few great singers. If the principles of the old school had not been changed or lost, if they had been retained and developed up to the present day, what a wonderful legacy the vocal profession might have inherited in this age, the beginning of the twentieth century. Adversity, however, develops art as well as individuality; hence the vocal art has much to expect in the future.
ARTICLE TWO.
THE DARK AGE OF THE VOCAL ART.
Even in the palmiest days of the Old Italian School, there were forces at work which were destined to influence the entire vocal world. The subtle influence of these forces was felt so gradually, and yet so surely and powerfully, that while the profession, as one might say, peacefully slept, art was changed to artificiality. Thus arose that which may be called the dark ages of the vocal art,—an age when error overshadowed truth and reason; for while real scientists, after great study and research, discovered much of the true science of voice, many who styled themselves scientists discovered much that they imagined was the true science of voice.
Upon the theories advanced by self-styled scientists, many systems of singing were based, without definite proof as to their being true or false. These systems were exploited for the benefit of those who formulated them. This condition of things prevailed, not only through the latter part of the eighteenth century and the first half of the nineteenth, but still manifests itself at the present day, and no doubt will continue to do so for many years to come.
The vocal world undoubtedly owes much to the study and research of the true scientist. All true art is based upon science, and none more than the art of voice and of singing.
Science is knowledge of facts co-ordinated, arranged, and systematized; hence science is truth. The object of science is knowledge; the object of art is works. In art, truth is the means to an end; in science, truth is the end.
The science of voice is a knowledge of certain phenomena or movements which are found under certain conditions to occur regularly. The object of the true art of voice is to study the conditions which allow these phenomena to occur.