FOREWORD

This book had hardly been completed when the sudden death of Enrico Caruso, the greatest singer of our time, and perhaps of all time, plunged the entire world into grief, and silenced forever the most beautiful and phenomenal voice that the world has known.

This work, dedicated to him in the last days of his life, was conceived as the faithful interpretation of his perfect and rare singing.

For over a decade and a half, I had the privilege of associating with the great artist, not only in the capacity of medical adviser but in the intimacy of a wonderful friendship, and his singing was to me a constant guide and inspiration in my investigations of the many problems of the human voice and vocal art.

By closely observing his method of singing, I saw the correct application by the master himself of the natural laws governing the mechanism of voice production, and I had the opportunity, by testing his ideas and principles, of ascertaining that they conformed with those I have developed in the scientific part of this book.

As a modest wreath of admiration and friendship I lay this work on the grave of the great artist.

P. Mario Marafioti

xi339 West 70th Street, New York City

March 3d, 1922.

D. Appleton and Company,

New York City.

Gentlemen:

I have just received the proofs of the book, The Scientific Culture of the Voice,” by Dr. P. Mario Marafioti, which you are about to publish, and I thank you for the courtesy you have shown me in submitting the advance sheets.

Though there is little time left for me to read and analyze in all its details a work of such importance, I shall, however, not deprive myself of the pleasure of sending you my impressions and opinion on the practical value of this treatise.

As a matter of fact, for the last few years, on several occasions, I have encouraged Dr. Marafioti to pursue his conscientious and patient researches in the particular branch of vocal education which is exclusively identified with science. Indeed, I sincerely believe that it belongs to those men of science who have devoted themselves to the study of the natural functions of the vocal organs, trained xiifor an artistic purpose, to solve the so-called mysterious vocal problem, obscured by the ignorance and the charlatanism of incompetent teachers.

As a matter of fact, from my long practice in singing, and from the experiences accumulated during my career of more than forty years, one point has come to my attention (which has been unanimously endorsed by singers of merited fame), namely, that dramatic singing (that is to say, artistic singing) is the result of two distinct categories of studies:

1. The study of the physiological causes of the natural function of the vocal organs, which in certain cases make the function difficult or even impossible. This part of vocal culture constitutes the Science of the Voice” (La Science de la Voix), and rightly belongs to the scientists and physiologists who have specialized in this branch of medical research, and are equipped to remedy the shortcomings of so delicate a function as that of the vocal organ.

2. The pursuance of the vocal effects, that is, their proper distribution in the musical phrase, the manner of coloring the tones, the art of expressing with musical tones the varied dramatic sentiments: all these studies constitute the Science of Singing” (La Science du Chant), and rightly belong to the artist singers who, during their long practice in the art, have acquired a sufficient amount of experience to guide the young aspirants to a career which they themselves have honored before.

xiiiThis is the thesis treated by Dr. Marafioti and which I have so often discussed with him; a thesis that, in my opinion, constitutes a real progress in the development of this art, so human and universal: The Art of Singing.

Believe me, gentlemen,

Yours faithfully,

xv