CHAPTER II

THE AIM OF THIS BOOK

To the making of books there is no end, but the flooding of the musical world with countless publications on the phenomenon of _Voice_ makes it imperative for the author to justify this addition to the already voluminous literature on this subject.

The vast majority of the books written in various languages in the last thirty years have, in truth, added practically nothing new, nor influenced to any great degree the development and progress of the art of singing. On the contrary, some of them, by displaying absurd theories based on misinterpreted physiological laws, have caused much damage; and others by simply repeating, in more or less varied forms the principles laid down by such authorities as Tosi, Mancini, Porpora, Garcia, Guillemin, Mandl and Mackenzie have not taken into consideration that those principles can hardly be of benefit to the critical conditions of the singing of to-day, for the art of song has deteriorated very much in recent years, while operatic music has undergone a radical evolution toward interpretation.

An old motto says: “For extreme evils, extreme remedies.” The author, therefore, much concerned about the present situation, feels that the time has come to urge a radical reform in voice education. This reform must be founded on scientific laws, and must direct the art of singing toward a fundamental reconstruction better suited to the exigencies of our times, freeing the field of singing from both the unprogressive and empirical, though correct, method of the old Italian school, on the one hand, and the devastating influence of the _arbitrary methods_ of voice culture created by incompetent teachers, on the other. This constitutes the _aim_ of this book.

No criticism, however, is leveled at the glorious old Italian school of the _bel canto_; but the operatic music of to-day differs widely from that written generations ago. The operas of Wagner, for instance, cannot be rejected for not following the same structure and style as those of Pergolesi, Glück, Mozart, Donizetti, Bellini, etc.; nor should they be limited to few interpreters only because they are more strenuous and difficult to sing. Voices should be trained to such easy production and correct technic, that the length and the intense style of Wagner’s or any other modern composer’s operas will not expose the vocal organs to any dangerous strain.

We live in an epoch in which, in _every branch_ of human knowledge, there has been _progress_ and _evolution_ from _empiricism_ to _scientific principles_ and _definite rules_. Music itself, in its different branches, from composition to the technic of instrumental executions, has changed much and improved. Only the art of singing is still striving in its empiric form, ruled either by doubtful traditions or by arbitrary methods of singing, the number of which is as large as their practical value is small. Certainly, if one substantial and correct method existed, there should be room for no other.

Whose fault, however, if the art of singing is not only stagnant, but steadily deteriorating?

Some people lay the responsibility on modern opera. It is true that modern composers write more elaborate and complex music for singing than their predecessors; but nobody, in truth, can blame them for having, under the inspiration of their genius, directed their works toward new forms of art, which require more efficient vocal means.

It is our impression that teachers and singers alone are to blame, if they are not able to face at ease the new exigencies, and follow the creative power of these geniuses in their evolution and progress.

Now, what can be done to change the present conditions? The author believes that by laying down a few new scientific principles on the mechanism of voice production and some suggestions for a thorough reconstruction of voice culture, he has brought out some original views which should incite the interest of the singing field in the promotion of a radical reform in the art of singing.

The mechanism of voice production and voice culture cannot be properly used unless properly taught; and the teaching must be founded on physiological truths.

The author is not sanguine regarding the immediate effect of this basic reform which he suggests. It takes a long time for truth to win its way in any field of endeavor; but if the advancement of his views has the effect of stimulating discussion and of creating a mental attitude which will lead to the revision of our preconceived notions and to the discarding of worn-out theories, prejudices and superstitions, his efforts will have served some purpose.

Frequently one hears the much abused remark from teachers, “What do scientists know about voice? It is purely an artistic development, and they have no right to interfere with voice culture and the art of singing. This is the domain of the singing teachers alone.” The majority of the public accept this statement without discussion.

Yet it is necessary to remind these people that every art has its origin, to a greater or less degree, in some science. They must know that even behind the creation of a musical composition stands the science of harmony and counterpoint, and the structure of its frame and proportions is purely a scientific construction. Any one who knows a little about Beethoven can see in his creations the most vivid example of what science is to music.

The art of painting is based on the science of drawing; and the imaginative power of a painter in creating a beautiful landscape, or in reproducing the character of a person in a portrait, has its origin in the skill of a hand directed by the functional power of the brain. It is, however, obvious that the functioning power of the brain is better known to the psychologist than to the painter himself, and any disorder related to that function can be detected more readily by the former than by the latter. Therefore, science is always of great assistance to art.

There can be no voice without a functioning vocal apparatus, the physiological activity of which gives origin not only to the voice, but to the correct mechanism of its production, which establishes the scientific foundation of the art of singing.

Now, as no one would dispute that the specialist of heart or brain diseases must be well acquainted with the functions of these organs and the treatment of their disorders, no one should doubt that the laryngologist must have a thorough knowledge of the functions of the vocal organs and their physiological product—the voice—and a firmer grasp on the subject than the untaught layman. So, too, he surely must be more able than anybody else to suggest the proper use of the vocal organs for producing a correct mechanism of singing; and whenever a disorder or deformity in voice production develops, he can find the radical means for restoring them to normal.

Therefore, how ludicrous is the statement that the teaching of voice production belongs only to one whose best asset often is limited to the knowledge of how to run a few scales on the piano, or how to read a score; or to those singers who, having sung in defiance of the laws of nature during a brief career, are forced to give it up for the more lucrative profession of vocal instructor.

The public must begin to discriminate between _voice culture_ and _artistic vocal education_. The correct training and developing of the physiological functions of the vocal organs during the process of voice production constitutes voice culture. It comprises a knowledge of the normal function of the lungs, as moving power; of the larynx with the vocal cords, as producing power; and of the mouth, which includes the tongue, palate, lips, and the resonance chambers, as resonating power of the voice. To know the defective, as well as the correct, function of all these organs which control the mechanism of voice production constitutes such an important factor in voice culture, that it must be intrusted to the care of responsible experts of the voice, well acquainted with the physiological rules of the vocal apparatus.

The _vocal education_ as related to music, that is, operas, songs, etc., is purely a technical study and an acquisition of vocal musical knowledge, which is alike for all musical instruments. That alone should be intrusted to music instructors, coaches, accompanists and conductors.

In face of the alarming condition of the art of singing at present, the author feels fully justified in expressing his ideas on the important subject of voice and voice culture, regardless of any prejudiced or unfavorable criticism. All earnest music lovers should take this stand, and encourage such efforts.

The problem of the responsibilities for the actually harmful condition of voice culture must be solved, and the responsible elements must be denounced without fear. The reaction which may arise from professionals, who are slaves to prejudice, ignorance, or material interests, is to be expected; but if it is true that good singing is fatally deteriorating, all efforts must be combined to discover the real cause, and what must be done to restore the disappearing art of singing.