CHAPTER I

THE CORRECT VOCAL ACTION

Two distinct lines of approach were laid down for studying the operations of the voice. First, the manner of investigation usually accepted as scientific. This is, to study the vocal mechanism; to determine, as far as possible, the laws of its operation, in accordance with the principles of anatomy, acoustics, mechanics, and psychology. Second, the manner of investigation generally called empirical. This begins with the observing of the tones of the voice, considered simply as sounds. From the tones we work back to the vocal organs and apply to them the information obtained by attentive listening. Both of these means of investigation have been utilized; we are now in possession of the most salient facts obtainable regarding the vocal action.

Separately considered, neither the scientific nor the empirical study of the voice is alone sufficient to inform us of the exact nature of the correct vocal action. The next step is therefore to combine the information obtained from the two sources, scientific analysis and empirical observation. Let us begin by summing up all the facts so far ascertained.

Tone-production in singing is a conscious and voluntary muscular operation. The vocal organs consist of a number of sets of voluntary muscles, of the bones and cartilages to which these muscles are attached, and of the nerves and nerve centers governing their actions. The precise nature of the muscular contractions of tone-production, whether correct or incorrect, is not known. These contractions occur in accordance with established laws of acoustics and mechanics. Under normal conditions the vocal organs instinctively respond to the demands of the singer, through the guidance of the sense of hearing. The ability of the vocal organs to adjust themselves properly may be upset by some influence apparently outside the singer's voluntary control. Study of the vocal mechanism does not inform us of the meaning of the correct vocal action, nor of the difference between this action and any other mode of operation of the voice.

Empirically considered, there is a striking difference between the correct vocal action and any other manner of tone-production. A perfect vocal tone awakens in the hearer a distinct set of auditory and muscular sensations. Attentively observed, the muscular sensations of the hearer indicate that the perfect vocal tone is produced by the balanced and harmonious action of all the muscles of the singer's vocal mechanism. In listening to perfect singing the hearer feels that every muscle of the singer's vocal organs is contracted with exactly the appropriate degree of strength. Any vocal tone of unsatisfactory sound awakens in the hearer a set of muscular sensations, the direct opposite of those indicating the correct vocal action. An incorrectly produced tone imparts to the hearer a sensation of stiffness and undue muscular tension, located more or less definitely in the throat. This sensation indicates that the singer's throat is stiffened by excessive muscular contraction. Further, this feeling of throat stiffness indicates to the hearer that the singer's vocal action would become correct if the undue muscular tension were relaxed.

Combining now the results of empirical and scientific investigation of the voice, throat stiffness is seen to be the interfering influence which disturbs the instinctive connection between voice and ear. Let us now consider the meaning of throat stiffness as a feature of incorrect tone-production. First, what is muscular stiffness?

All the voluntary muscles of the body are arranged in opposed pairs, sets, or groups. A typical pair of opposed muscles are the biceps and triceps of the upper arm. Contraction of the biceps flexes the forearm at the elbow; the contrary movement, extending the forearm, results from the contraction of the triceps. This principle of opposition applies to the entire muscular system. One set of muscles raises the ribs in inspiration, another set lowers them in expiration; one group flexes the fingers and clenches the fist, an opposed set extends the fingers and opens the hand. Muscular opposition does not imply that the entire structure is made up of parallel pairs of muscles, like the biceps and triceps, located on opposite sides of the same bone. It means only that the opposed sets pull in contrary directions.

Each opposed set consists of muscles of about equal strength. Under normal conditions of relaxation the entire muscular system exerts a slight degree of contraction. To this normal state of oppositional contraction the name "muscular tonicity" is given. The present purpose does not call for a discussion of the subject of muscular tonicity. This form of contraction has no direct bearing on the performance of voluntary movements.

What effect has the voluntary contraction of all the muscles of any member, each opposed set exerting the same degree of strength? No motion of the member results, but the member is brought on tension and stiffened. This is well illustrated in the case of the arm. Extend the arm and clench the fist; then contract all the muscles of the arm, about as the athlete does to display his muscular development. You will notice that the arm becomes stiff and tense.

This state of tension is commonly called "muscular stiffness," but the term is open to objection. It is really the joints which are stiffened, not the muscles. We are, however, so accustomed to speak of muscular stiffness, and particularly of throat stiffness, that little is to be gained by substituting a more accurate expression.

A condition of muscular stiffness results from the contraction of all the muscles of a member, whether this contraction be voluntary or involuntary. This condition does not prevent the normal movements of the member; it only renders the movements more difficult and fatiguing and less effective. It is readily seen why this is the case. More than the necessary strength is exerted by the muscles. Suppose the biceps and triceps, for example, each to be contracted with five units of strength; then let some work be performed by the flexing of the forearm, requiring the exertion of two units of strength. In this case the biceps must exert two units of strength more than the triceps, that is, seven units. In all, the two muscles together exert twelve units of strength to accomplish the effective result of two units. Six times the needed strength is exerted. Activity of this kind is naturally fatiguing.

Muscular stiffness increases the difficulty of complex movements. Not only is unnecessary strength exerted; the stiffness of the joints also interferes with the freedom and facility of motion. But this unfavorable condition does not upset the power of coördination. The instinctive connection between the nerve centers of consciousness and the motor centers is not broken. Although hampered in their efforts, the muscles are still able to execute the demands of consciousness.

As an illustration of this analysis of muscular stiffness let us consider the actions of writing, when performed under the conditions just described. It is possible to write with the hand and arm in a state of muscular stiffness. But one does not write so easily, so rapidly, nor so well with the arm stiff as with the arm normally relaxed. Closer attention must be paid to the forming of the letters, and more effort must be put forth to write with the muscles stiffened; yet the result is not equal to that obtained with less care and labor under normal muscular conditions.

All that has been said of muscular stiffness applies with especial force to the vocal organs. Like the rest of the muscular system, the muscles of the vocal organs are arranged in opposed pairs and sets. The contraction of all the muscles of the throat, each opposed set or pair exerting about the same degree of strength, causes a condition of throat stiffness. Singing is possible in this condition. But the singer's command of the voice is not so complete and satisfactory as under normal conditions.

Throat stiffness does not altogether deprive the vocal organs of their faculty of instinctive adjustment in obedience to the demands of the ear. To a fair extent the voice is under the command of the singer. The vocal cords adjust themselves readily enough for the desired pitch; tones of the various degrees of loudness and softness can be sung in a fairly satisfactory manner. But the muscles are somewhat hampered in their contractions, and the response to the demands of the ear is not quite perfect. This lack of perfect command is evidenced specially in the quality of the tones. Some form of throaty quality always mars the voice when the throat is in a stiffened condition. In this regard the voice refuses to fulfill the demands of the ear. Even though the singer hears, and indeed feels, the effects of the muscular tension, and strives to remedy the fault of production, the voice still refuses to respond.

This incomplete command of the voice is frequently observed, even among singers of very high standing. At first sight the condition here described seems to disprove the statement that the voice normally obeys the ear. But there is no real contradiction of the psychological law of vocal command in the case of a stiff-throated singer. For one thing, whatever degree of command the singer possesses is obtained in accordance with the law of guidance by the ear. Moreover, the failure to secure perfect response is due solely to the interference with the normal workings of the voice, occasioned by the state of throat stiffness. Far from this form of muscular contraction being a contradiction of psychological principles, it will be found on examination to be in perfect accord with well-established laws of physiological psychology.

It is hardly to be supposed that the singer consciously and voluntarily contracts the muscles of the entire vocal mechanism and so deliberately brings about the stiffening of the throat. True, this can readily be done. We can at will sing throaty and nasal tones. But this form of voluntary throat tension is not, properly speaking, an incorrect vocal action. So long as the vocal organs respond to the demands of the ear, the vocal action is correct. Only when the voice refuses to obey can the action be described as incorrect.

A satisfactory definition of the various modes of vocal action can now be given. The correct vocal action is the natural operation of the vocal organs; the voice normally obeys the commands of the ear. An incorrect vocal action occurs when the throat is stiffened by the involuntary contraction of the muscles of the vocal mechanism.

This definition of the vocal action does not solve the problem of tone-production. It is still to be determined how the involuntary contraction of the throat muscles is caused.