CHAPTER V

THE VOICE IN ITS NATURAL PRODUCTION: NEW PRINCIPLES ON THE MECHANISM OF VOICE PRODUCTION

The following principles regarding the mechanism of voice production, as conceived by the author, were examined by Enrico Caruso during the year preceding his death, and while of much interest to the great singer, were not accepted by him without discrimination. On the contrary, Caruso, attracted by the complex problems concerning the human voice, merely because of his constant craving to investigate and to learn, would not pass over any point without satisfactory discussion, thus becoming the author’s most valuable assistant and collaborator in the preparation of this work, both by personal supervision and through correspondence.

During the Summer of 1920, a series of letters were exchanged between the great artist and the author in reference to the contents of this book. It was the author’s aim to have Caruso as an adviser and a judge of his work, and while the great tenor showed a decided enthusiasm for it, he was both reserved and inquisitive at the beginning. He accepted, in general, the Principles on the Vocal Mechanism and the suggestions for a radical reform in voice culture as conceived by the author, but for his own conviction he wanted to test them thoroughly.

This desire is plainly expressed in the following quotation from one of his letters, written in a friendly form, and which were not originally intended for publication.

The author now feels that these should be presented in order to justify the title of this book, offering for the reader’s examination the actual proof, in Caruso’s own handwriting, of how closely the basic principles of the Scientific Culture of Voice advocated in this book were molded on Caruso’s own ideas, and how scrupulous the great artist was before giving them his unconditional approval.

During the month of July, 1920, the author sent to the artist a brief summary of his principles and suggestions for a radical reform in voice culture, which are illustrated in this book. Caruso answered with the following note, the original of which (written in Italian) is reproduced herewith, and which, literally translated, reads as follows:

_East Hampton, L. I. July 22, 1920_

DEAR MARAFIOTI:

I am still running after you on Fifth Avenue ... with the object of discussing what you wrote me yesterday about your vocal principles. What you tell me in your letter is beautiful and convincing, but you understand very well that if Saint Thomas was allowed to _put his finger_ you must permit me also to see with my own eyes and thus ascertain for myself your convincing theories. Therefore I will be in New York soon and will come to see you and discuss all this....

Affectionately, ENRICO CARUSO

Evidently Caruso felt that certain new ideas needed practical demonstration, and only after having made personal observation of some apparatus which the author invented for actual evidence of his principles did he feel reassured in his impressions by this final and decisive proof.

A month later the author sent to Caruso the introduction and part of the scientific section of this book. The following was Caruso’s answer (the original, in Italian, of this letter is also shown herewith):

_East Hampton, L. I. August 23, 1920_

DEAR MARAFIOTI:

I am answering immediately your letter of yesterday, as I see I have neglected to inform you that I have read the introduction to your book and find it most interesting. Such an introduction will cause a commotion in the field of vocal teaching, and especially among those who are the merchants of teaching. Among the real professionals I am sure your book will create a deep impression, and will be of major use to them, because, as I see, you add to the teaching of singing also the physical and scientific issues....

On October 5th the author received the following official endorsement from Caruso for his method of singing—_The Scientific Culture of Voice_ which, translated, reads as follows:[2]

_October, 1920_

If the experts of the art of singing knew the basis on which Dr. P. M. Marafioti’s method of voice culture is founded, I am sure they would not resort to any other method.

The principles it sets forth are scientific but simple, and revert to the real source of the voice, Nature; therefore they are the most correct.

Students and schools of singing ought to experiment with this new form of scientific culture of the voice, because it is based on the natural laws which rule its mechanism, known to Dr. Marafioti as a specialist of the throat; and it has a modern tendency, better fitted to the new exigencies of the singing music of to-day.

I am glad to express this personal conviction of mine, for it harmonizes with my own conception of singing; and the recognition of the value of Dr. Marafioti’s method is but just, because it can be of great service to those starting out in the study of singing as well as to those who have already entered into an artistic career.

ENRICO CARUSO

During the month of May, 1921, the author read to Caruso a great part of this book, and stated his desire to dedicate it to him.

Three days before Caruso sailed for Italy, he wrote to the author the letter published at the beginning of this book, in which he accepted the dedication and emphasized the point that, since he shared the author’s impressions, he wished him the full attainment of his aims.

On the strength of these personal testimonials of Caruso, the author feels justified in his claim that, though the method he is presenting as Caruso’s Method of Singing has not been written by the great singer personally, nevertheless it is the most faithful reproduction of his own ideas, and above all, of his “feelings” about his own singing. No singer, especially a great singer who is born such can explain exactly how he sings, though he may express his “feelings” about his singing.

The following principles outline the scientific contents of this book, on which the author bases his _Radical Reform of Voice Education_. Some suggestions will be developed later, indicating how this reform of voice culture can be carried out practically. The principles are:

1. _Voice_ is _Speech_, and is produced by the _mouth_, not by the vocal cords. The _vocal cords_ produce only _sounds_, which are transformed into _vowels_ and _consonants_ by a phonetic process taking place in the _mouth_, and giving origin to the _voice_.

2. (_a_) The full extension of the natural range of the voice is produced only by using the _minimum tension_ of the vocal cords and the _minimum breath_ required for each tone. This establishes a correct mechanism of voice production.

(_b_) The laryngeal sounds must be transmitted to the mouth _free_ of any interference; _freedom_ is the fundamental pillar of voice production.

3. Breath is an indispensable factor in voice production, but _it is not the essential power_ which develops the voice as it is taught to-day. On the contrary, the function of _singing_ develops the _breathing apparatus_ and its power, just as any physiological function develops the organ from which it takes origin. Therefore _singing_ develops _breathing_, not _breathing_, singing.

4. _Resonance_ is the _most important factor_ in voice production. It furnishes to the voice volume and quality, and emphasizes its loudness. To rely on resonance rather than on force is essential for producing a big and pleasing voice.

5. _Speaking_ and _singing_ are _similar functions_, produced by the same physiological mechanism; therefore they are the same vocal phenomenon.

The speaking voice is the substantial factor of the singing voice and singing, in its very essence, is merely speaking in musical rhythm; hence no correct singing can exist without a correctly produced speaking voice.

6. The _pitch_ and the _dimensions_ of the singing voice—the volume, the quality and loudness—are determined by the _speaking voice_. Speaking high or low, resonant, loud or soft, in any gradation of sentiment and shade of color, lays the ground for singing in high or low pitch, loud, resonant or soft, in any musical color or expression.

7. There are _no registers_ in the singing voice, when it is correctly produced. According to natural laws the voice is made up of only _one_ register, which constitutes its entire range.