Chapter XX

REVIEW AND REVISION.

All the most important truths of any subject may be stated in a brief space. The Author proposes to make this final chapter one of a restatement of the essentials of the subject in the light of our present-day knowledge, and with a distinct relation to practice.

The object of the speaker or singer is to produce certain sounds which shall as easily as possible convey to the listener his own state of mind. It follows that he must have a clear idea of these sounds, that he must hear them mentally prior to their utterance; in other words, the psychological must precede the physiological. Voice production for the purpose of speaking and singing implies a coöperation of the psychic and the physiological, a co-ordination of processes that are psychic, and physical, somatic or physiological.

It is well to regard the subject from as many points of view as possible, and to consider the various ways in which the same truth may be stated.

Stress must be laid on the idea of co-ordination, for processes may be independently satisfactory yet fail to lead to the desired result if they are not connected, harmonised or co-ordinated. The latter is the better term because it suggests a certain order of progress. As a matter of fact, first the psychic, then the physiological. The idea may be clear, yet from a physical defect, as in stammering, the result does not follow, though this physiological imperfection in movement may itself be the result of a psychic condition and generally is so. A clearer case is that of paralysis of the vocal organs. The ideas to be expressed may be perfectly clear in the mind yet impossible of expression. The defect is at the distal end of the combination—i.e., in the physical, somatic or bodily part of the process to express the same idea by the use of different terms. The consideration of conditions of defect or pathological states may make normal psychological and physiological ones clearer, as has been shown by the above illustrations. The practical importance of the co-ordination of processes is very great. It is not possible for one born deaf to speak because the necessary mental or psychic conditions for co-ordination do not exist—i.e., there is no sound in the mind to be expressed—not because there is any serious anatomical defect. In like manner the student of singing will produce no better tone than he has in mind no matter how much he practices vocalization. It follows, therefore, that the psychic state of the student should be kept in advance of his actual powers of execution. This he will most successfully do by listening to the best artists either directly or if this be impossible by hearing their gramophone records—all this in addition to the best the teacher can do for him by the correction of faults, giving him illustrations of better tone by his own efforts, etc. If the student has the opportunity of hearing himself by means of a phonographic record, he should not fail to do so. No one ever hears himself as others hear him.

As the mind and the brain are always associated in thought and feeling; in other words, in psychic processes, and these latter find expression chiefly through movements, in one sense a study of vocalization may be considered a study of movements. These are always brought about by the use of several muscles which act together for a definite end—i.e., they are co-ordinated. As such movements generally involve many muscles and to be effective must be exact and under perfect control, much practice is necessary, though "much" should have reference rather to the clearness of the mind in reference to what is to be attained and the means of accomplishing it, rather than to the amount of time spent over the actual performance. We may confidently assert that technique or the physical side of putting the ideas into execution, which is simply making certain movements, is successful largely in proportion to the perfection of the psychic processes involved. A clear head should precede the moving hand, or functioning vocal organs. The student should think technique before and after its actual execution. This is even yet, in spite of a great advance in recent years, the weakest part of the student's method of work. All that we know of science as well as the results of all rightly directed practice emphasizes the importance of this central truth.

Assuming that the psychic condition is satisfactory for the production of a definite tone—i.e., that it is heard mentally, what follows before it is actually produced, before it becomes a tone from the physicist's point of view? What is the chain of physical, somatic, bodily or anatomical (to use several words that express similar but slightly different aspects of the same main idea) connections involved, and what is the nature of the physiological processes; in other words, what are the parts of the body involved and how do they act? This will be clearer if we first consider the mechanism concerned and its functions in a general way.

The instrument which is played upon, which finally gives rise to the tone, may be spoken of as that connected series of cavities for which we have no single term but which are generally named the resonance chambers when regarded from the physicist's point of view. To the musician they are the instrument, to the physiologist and anatomist a set of chambers communicating with each other. Plainly all the rest of the vocal mechanism exists for them, and too much stress cannot be laid on this fact. However excellent the state of training of the part below them this is of no avail except in so far as it can affect these resonance cavities.

How is this instrument played upon and how are these cavities made actually into resounding chambers? In the answer to this, in the recognition of the relationship of the three distinct parts of the vocal apparatus lies the one great fundamental conception of the manner in which tone is produced. To understand this clearly is to comprehend in its main outlines the whole subject of voice production in a scientific way.

Before a tone is heard vibrations of the atmospheric air must reach the ear. These are set up by the vibration of the air within the resonance chambers, and this again is effected by the mechanism below them—i.e., by the movements of the vocal bands of the larynx which are due to the blast of air emanating from the lungs, this itself being brought into being by the movements of the chest, using the term in the widest sense, thus including the diaphragm, etc.

Breathing has for its object so far as phonation is concerned no other purpose than to so affect the vocal bands, that the resonance chambers really do resound. The question is how is this breathing best accomplished so that the instrument shall be most efficiently played upon? We cannot alter the anatomical structure of the instrument appreciably, but we can improve the functioning of the several parts of the whole apparatus. Breathing can be improved as regards power and control. More can be done with less expenditure of energy than originally if there be judicious training. How shall we train? As the outgoing stream of air alone affects the vocal bands, it is clear that we must aim to so apply and regulate this outflow that the desired result shall follow from the least possible expenditure of energy. How the air is got in is important only in relation to its expenditure. But the easier the supply is furnished the better. This law of the conservation of energy is one of the greatest importance, for all beings have but a limited supply of energy and our problem must ever be how best to husband this as a wise man should study how best to spend his limited income. One must not only consider what is called for in ordinary conversational speaking, or in singing in a small room, but also when the greatest possible efforts are demanded. In all cases when movements are concerned, indeed whenever activity of any kind psychic or physiological is involved the law of habit should be borne in mind—i.e., one should so think and do that a habit may be established, for a habit implies, when a good one, that there is economy of both mental and bodily energy.

The aim of all training is to establish good habits—ways of doing things which will leave the subject with more capital to invest so to speak, as he wastes less. It follows that the same methods should always be used in trying to attain the same end. There are few subjects of equal importance so little considered by students of music in a conscious intelligent way. A clear conviction as to the foundation for close adherence to certain methods of doing things is an invaluable mental asset for any student.

The whole subject of breathing has been so fully considered in previous chapters—indeed more or less in all parts of this work—that it is not necessary to go into much detail now. The investigations of physiologists in the internal have only emphasised the author's teaching on this subject. The present position of the subject may be stated thus: (1) In inspiration the whole chest is enlarged, this involving the descent of the diaphragm. (2) The amount of mobility is much greater in the lower half of the chest. (3) This lower half of the chest and the diaphragm act together, constituting a special mechanism of great importance. (4) The abdominal muscles discharge a coöperative function. It follows that the advice of a present day famous tenor to "breathe low" is sound. Nevertheless, it must not be forgotten that inspiration begins above and that the upper chest has its functions also. It is not merely a region of support for the lower mechanism, important as this function is. The terms "abdominal" and "diaphragmatic" respiration have led to misunderstanding. Neither the abdominal muscles nor the diaphragm ever act alone in normal respiration, though they are important coöperative factors.

Breathing exercises should be based on broad views of the subject, and no part of the respiratory mechanism should be neglected.

Small an organ as is the larynx it is through it the energy of the expiratory act is transmitted effectively or the reverse to the all-important resonance chambers. This should be so done that there is no waste; in other words, that there be perfect co-ordination between the breathing and the laryngeal mechanism. The vocal bands must be so related in function to the expiratory mechanism that the outgoing blast of air shall be as effective as possible. There must be no waste of power—i.e., of the expiratory blast through escape of air that accomplishes no purpose. The blast must be so applied to the vocal bands, or, in other words, they must be so adapted to the blast that there is no waste of energy. If the bands approximate a little too late there is waste of breath power. The bands must further so beat the air of the resonance chambers as to get the greatest possible result with the least possible expenditure of energy. As all these co-ordinations imply the action of many muscles in a related way, it is plain that intelligent and prolonged training is necessary; and if our scientific knowledge had no other result than to establish such a conviction on a sure basis it would be well worth while; but it is a light unto the feet of the student and teacher at every step, only it must be a clear light, not one seen through a mental haze. If there be failure the fault must not be set down to science but to ourselves.

It is ever to be borne in mind that when anything is done in the right way not only is there no pain, unpleasant feeling or evil after-effects, but when real skill has been attained through training, the result is accomplished with a sense of ease and all the accompanying feelings are agreeable. The singer need not know that he has a throat by any disagreeable reminder. At the same time a function may be correctly discharged but continued too long, so that weariness or positive fatigue with some evil consequences may follow. Fatigue always implies more or less poisoning of the system.

Of the resonance chambers, the mouth cavity, the pharyngeal cavity and the naso-pharynx, which may both be regarded as a part of the mouth cavity, and the nasal chambers, the latter may be considered the least variable in shape; nevertheless they can, by means of the soft palate, be to a large extent shut off from the other parts of this series of chambers.

The means by which the size and shape of the resonance chambers can be varied are chiefly the soft palate and the tongue, the latter being of the greatest importance. The changes in the shape of the mouth cavity necessary for the formation of vowels are due chiefly to the movements of the tongue, and the tongue is more largely concerned in the utterance of consonants than any other moveable part of the upper voice mechanism.

For practical ends it is important to realize that one speaks with the tongue; and if one believed that everything depended on this organ, other parts—including the outer mouth or lips merely to be kept out of the way—the result would on the whole likely be gain.

In the formation of vowels the result may be good when the lips take but the slightest active part, and the student is advised to practice vowel formation without the use of the lips. He is likely to use them enough in any case provided he ensures the formation of pure vowel sounds, and people seem to have an extraordinary facility for over-doing the use of lip movements, for getting the teeth in the way and thus spoiling tone, that was begun well, before it has escaped from the mouth. It may be observed that those who get their living on the streets by the use of the voice, and who use the voice much and often speak rapidly, and in spite of this are heard well, so construct their words that the lips are not seen to move to any appreciable extent except as the lower jaw moves. The lips seem to be always apart. It is not the amount of movement that is important but the kind of movement, especially its rapidity.

Muscular efforts for the production of consonants should be neat, decisive, sharp, rather than held ones, which tend to spoil the word as a whole. As a rule, one is safe in holding the vowel as long as possible and in making the time dwelt on the consonant as short as possible—i.e., consistent with distinct and musical utterance.

The same applies to singing with even greater force. In speaking especially short pauses not printed in the text may be made to great advantage, and this is often better than dwelling on consonants. The mouth of the speaker and still more that of the singer should not attract the attention of the listener, so the less movement of the lips of a kind readily open to observation, the better. Besides such movements being unnecessary are a waste of muscular and nervous energy.

Singers are not warranted in departing to any appreciable extent from the pronunciation of words laid down as standard for speakers—e.g., "shall" should not be sung as "sholl," and in such a word as "motion," the final syllable should not be made equally important with the first one. Singers should observe the laws of a good elocution; in other words, such treatment of the language of the song as an approved reader would employ. The author would go so far as to say that no singer should appear in public till he can utter every syllable as he sings so that it is readily recognised by the listener. At present such is rarely the case even with the best vocalists. All prospective vocalists should study utterance by the speaking voice first and continue it when the study of singing has been begun. The words of every song, etc., should be mastered in all respects before they are sung.

As the degree of success in singing or speaking depends so far as technique is concerned on a series of co-ordinations the condition of both the psychic and bodily mechanism as determined by training and the general health of the individual is of great importance; and it is not to be forgotten that the mind as well as the body is to be considered in all questions of hygiene.