CHAPTER III

WHO WILL READ THIS BOOK?

In the preparation of this work the author had constantly before him the question, _who will read this book?_

As a general proposition it may be stated that books on voice do not appeal to the general reader. They are usually of interest only to the so-called musical world and to the few scientific men known as laryngologists. Those who should be particularly interested in a book of this nature are singers, singing teachers and students of singing.

In regard to singers, it is lamentable, but nevertheless true, that the vast majority do not read books on voice. Having made their “success,” and having “arrived” (in some cases, of course, in their own belief only), they consider it superfluous to read anything about voice culture. A robust _ego_, often an essential part of the makeup of these individuals, makes them look with disdain on other people’s ideas about singing, and they ignore any new viewpoint regarding the phenomenon of the voice, however important it may be.

Most of these singers strive for the applause of the audience, and only for this. It cannot be denied, though, that the average audience, lacking discrimination, is easily satisfied, most easily enthused and aroused to vociferous applause by artificialities, fireworks, and tricks. Therefore part of the responsibility lies with the audience, as for the vast majority of singers its applause is the verdict of the greatness of their achievement and talent, and satisfies all their ambitions. This class of singers, naturally, representing the purely commercial element of the singing field, will not read this book.

It must be acknowledged, however, that there are exceptions. These are the real artists, individuals with ideals, who must not be confused with the mass, and who are always anxious to learn in spite of their real success.

The real artists, having a higher conception of their art, sing for art’s sake and do not prostitute art merely for the sake of applause. Conscious of their mission, they hold the applause of the multitude at its proper value, and constantly strive for finer and better expression in their singing.

To them a new viewpoint about voice is deserving of consideration, and they may find some interest in the author’s views.

The Singing Teacher

Bernard Shaw has said: “He who can, does; he who cannot, teaches.” This may be aptly applied to a condition of affairs now existing in the vocal world.

Teaching is an art requiring great attainments, and not every one can teach. The teacher must have a fundamental basic knowledge of the physiology of the voice, not from mere hearsay, but from actual study and work. He must know physical principles of acoustics, and must have an elementary anatomical and physiological knowledge of the vocal organs. Then, too, he must be a musician, endowed with an exceptionally fine ear, and keen powers of communication in order to reach the average intelligence of pupils.

Considering all these things, I contend that the teaching of singing is a difficult profession, which few are competent to follow. To those few I submit my thesis, and request their constructive criticism.

There is a large class of singing teachers, however, made up of unscrupulous intruders, whose pernicious influence is of inestimable harm both to the competent teachers and to the inexperienced students. The field of teaching is kept in a degraded and unwholesome condition by the malpractices of these individuals who, disregarding, without investigation, any ideas which might throw light on the difficult problems of voice culture, retard its progress and evolution. Their origin is usually traced to studios where as accompanists they have laid the only foundation for their careers. Some of them do not even belong to the musical field. Daring outsiders of any social strata secure admittance to the musical world through connections with singers or teachers, and with no other title or support than their boldness and audacity, gain a foothold in the free land of voice teaching unmolested, taking advantage of the public ignorance and indifference. In this way they succeed in making themselves conspicuous in the domain of voice culture. The unfortunate result is that they find the road to their misdeeds wide open, while it remains closed to the really earnest and competent professionals, who disdain to lower themselves to undignified competition. From this class of unscrupulous intruders the author expects no recognition.

The Pupils of Singing

Enthusiastic, confident, zealous, anxious to learn, and frequently gifted, these credulous young men and women pay the penalty for the ignorance which generally exists regarding voice culture.

A student of any other branch of art or science is requested, nay, ordered, by those who have his tuition in charge, to read all the available literature on the particular subject taught, in order to become familiar with the viewpoints of the various authorities. It is the function of the teacher then to indicate where the truth lies and where the fallacy.

The average singing teacher, however, is not interested in having his pupils read anything except his own literature, from which it is only possible to deduce what a great personage the teacher is. Students often place implicit faith in the ability of masters who, by flattery and falsehood, maintain a hold on their inexperienced victims, until, disgusted and disheartened, the pupils find out too late that their voices have been ruined.

It is lamentably true, however, that pupils expect everything from their teachers, relying very slightly upon their own efforts and responsibility for their future; but if these conditions prevail, it is precisely because they are ill advised.

Of these young men and women, interested in the _truth_, I ask a respectful hearing.

The art of singing is in a very critical condition. Millions have been spent, and are still being spent, for the education of thousands of beautiful voices, for voices of exceptional material exist to-day as heretofore; but where are the good singers?

Yes, there are still a few of the old school who really shine as rare stars in the firmament of song. But when these artists have passed away, shall we have to be dependent upon the phonographic records for beautiful singing as memories of a glorious past?

This pessimistic view is still, however, tinged with hope. That precious gift, the human voice, which more than any other medium reaches the deeper corners of the human heart, will not be hushed. The renaissance of the art of singing must and will come, as surely as the dawn of tomorrow, if we succeed in forcing open the door for a radical reform in the singing world.

By enforcing the laws of Nature, and applying rules based on scientific principles, thus preventing natural voices from being deformed at the beginning of their training, pupils may be taught to sing correctly, beautifully, and easily. Ease is the _sine qua non_ of correct singing, as singing means nothing but expressing in musical form sentiments, such as happiness, sorrow, love, which do not require any physical effort to be expressed. A few words spoken in musical rhythm, with grace, color, and artistic expression, are more effective and convincing than the most vociferous, senseless noises, or rasping gutturals, forcibly and acrobatically produced.

Therefore, singers must sing words for their _meaning_, not for their _tones_. It is more important for them to remember this principle than to rely on the top notes of their voices as their strongest artistic resource. Holding a B-flat finale for an exaggerated length of time, to produce a sensational effect for the sake of the audience’s applause, is neither beautiful nor artistic. Art is truth, and truth disdains such vulgar display.