How does emotion affect the quality of the voice? Emotion is essentially a muscular condition. This condition is determined by the amount of nervous energy sent to the muscles, and this energy determines the muscular texture. Tender emotions mean tender texture, a relaxed condition of the muscles; while harsh quality is the result not only of throat contraction (change in the shape of the reinforcing cavity) but of constricted muscle, harsh texture. This is all there is to the philosophy of “Quality.”
Dr. Rush, in his Philosophy of the Human Voice, has named many of these qualities. He calls them Normal, Orotund, Guttural, Pectoral, Falsetto, and so on; and mentions the emotional conditions that manifest themselves through these various forms. On the whole, his classification is sound; but there is one gross error, due either to himself or his followers, that must be considered here. The Orotund (the enlarged natural) quality is more than a loud voice. It is a full voice with a quality that cannot better be described than by the term richness. Many students have endeavored to obtain this quality by shouting, or by holding the mouth as if gaping, and have developed only loudness without a trace of soulfulness, or merely a round, hollow hot-potato-in-the-throat kind of voice. There is no objection to the use of the term Orotund to characterize that rich, full tone suggestive of deep, full, enlarged feeling; but we must bear in mind that loudness is not only not necessary for the Orotund, but is often no part of it at all. The Orotund, as we have said, is that quality of which the main characteristics are roundness and richness. One who is restricted is not likely to use this quality. It can come only when there is the utmost freedom of the entire vocal region. When we have removed the tension which may be “the man,” or the result of bad vocal training, we shall get that enlarged quality, which should not, as is so often the case, manifest merely the larger emotional states, but should be the natural voice of the speaker. The Orotund manifests dignity above all else; it manifests the large, grand spirit. Of course, we do not mean an affected Orotund, but an easy, large, unrestricted quality showing the largeness of the soul behind it. To develop this quality, let the student use his imagination. Let him dwell for a long time upon the sublimity and grandeur of such passages as follow. Then let him abandon himself to the emotion aroused through his contemplation, and in time the genuine Orotund will come. And so only can it come. So important is this phase of the subject that we repeat: The tone expressive of elevated feeling “cannot be mechanically produced, or manufactured independently of the general mental and physical conditions.” The imagination must lead, otherwise we shall have big voices without big quality. That peculiar quality expressive of enlarged feeling is not necessarily loud. In fact, the voice may not be strong, but, at the same time, it may suggest grandeur and sublimity far better than a voice that has sheer loudness. But, if the student will practice faithfully, he may be assured that his voice will receive more genuine training through these exercises than through a whole volume of merely technical drills. Develop the imagination, the soul, and the voice will grow through the effort of the soul to go out in expression. But let him avoid mere shouting and vociferating, even if he never gets a voice.
If the student has not the imagination, he must develop it. There are many loud voices, but few with soulful quality. But what avails this loudness? Certainly it enables one to be heard above the din of voices and the roar of the waves, but it never stirs the nobler emotions of an audience; and unless one can do that he is anything but an orator. Mere loudness is rant—nothing less.
Many students, for one reason or another, either have no ability to express elevated feeling in public, or repress it through diffidence or shyness. Let such remember that we are constantly experiencing and expressing this feeling in our everyday life; that it is simply an enlargement of a more or less commonplace feeling; and let him begin with the simple examples that are set down first. Any one can say, What a lovely day this is! Well, that is a mild form of elevated feeling. Let him imagine it is graduation day, and that rain had been threatening to fall all the previous night. It is daylight now; and as he opens his eyes and looks up at the cloudless sky, will he not exclaim with elevated feeling, What a glorious day we’re going to have!
By “elevated feelings” one must not understand those only that are serious and solemn. Whenever the imagination is enkindled by the contemplation of what is large, dignified, grand, sublime, the emotions are stirred, and find expression in enlarged, soulful quality.
Ay, every inch a king.
Think of it! a building that could hold a hundred thousand people!
Here will be their greatest triumph.
Who shall put asunder the best affections of the heart?
We loved the land of our adoption!