Special exercises and drills in the articulation of the various consonants are not widely used. Experience has shown that the same end can be attained, with vastly less of drudgery for the student, by paying attention to clearness of pronunciation in the singing of songs and exercises with words. Students sometimes have difficulty with some one or two vowels or consonants. In cases of this kind the master instructs the pupil in the correct position of the tongue, lips, etc., for the particular sound, and if necessary arranges special exercises for the purpose.
III
How long a time should be allotted to a course in tone production along the lines just described it is not easy to state definitely. Practices in this regard vary greatly among vocal teachers. One reason for this is that tone production is seldom made the exclusive topic of study for any great length of time. Students of singing are generally eager to sing, and teachers are therefore obliged to intersperse their instruction in voice placing with songs and melodious vocalises. Another reason is found in the fact that the musical education of the student frequently devolves in great measure upon the vocal teacher. A knowledge of music, sufficient at least to enable the student to memorize songs and arias and to sing them in time and in tune, is absolutely necessary before the advanced education in the singer’s art can be undertaken. When teachers are called upon to impart instruction of this kind, part of each lesson time must of course be used for the purpose.
While a strict application of the principles of vocal science would demand that the complete course in tone production be covered before even the simplest songs are attempted, this system is almost never carried out logically. The first few lessons are usually devoted to breathing and attack; from then on about half of each lesson time is spent on voice placing and half on songs. In the instruction given on the songs attention is paid to the more strictly musical elements of singing—style, delivery, interpretation, etc., as well as to the formation of the tones. Technical exercises of progressive difficulty are taken up about as soon as the student has acquired sufficient vocal control to perform them. As a rule there is no precise stage at which voice placing work strictly speaking ceases and the technical training of the voice is begun.
It cannot be said that any one teacher or vocal expert has founded an authoritative school of vocal science. There is not even anything in the nature of a distinctively national school. Closely resembling methods are followed in all European countries, as well as in America. Every famous modern master has imparted his principles to many students who in their turn have become teachers. Yet it is rather rare for any one to take up the profession of voice culture without first receiving some instruction from several recognized masters. This custom has resulted in a general levelling of systems, each teacher selecting what he considers best from all the methods which he investigates. Meanwhile the old Italian method is still recognized as possessing elements of great value, even in the department of tone production, in which its principles are so imperfectly understood by the scientifically disposed teacher. The great majority of teachers seek to apply some of the principles of the old method, notably its oral traditions, which were discussed a few pages back, in conjunction with the practices of vocal science.
Modern voice culture cannot be believed to have reached its final development. Even the most conscientious advocates of the scientific doctrines feel that there is a certain lack of completeness in present methods. Investigations are still being carried on in the various topics of vocal science. It is possible that the near future will see important discoveries in the means for control of laryngeal action and resonance. Some authorities, on the other hand, look altogether in the opposite direction. An abandonment of the doctrines of vocal science and a return to the instinctive methods of the old masters is favored by these teachers.
So far as the course of future events can be foretold, it seems probable that a combination of the two methods, now seemingly opposed, will eventually be brought about. The scientific investigation of the voice has brought to light so much of valuable truth that it would be ridiculous to throw its results lightly aside. At the same time the success of the old method proves that it contained a satisfactory solution of all vocal problems. How the two methods will be fused into one it is not now possible to say. But the only marked tendency is in that direction. We are justified in the hope that its accomplishment will not be long postponed.
D. C. T.
CHAPTER IV
THE NATURE AND ORIGIN OF SONG
The origin of song—The practical value of primitive song—The cultural value of primitive song—Biography of primitive song—The lyric impulse—Folk-song and art-song—Characteristics of the art-song; style, the singer and the song.