Read Ebook: The Renaissance of the Vocal Art A Practical Study of Vitality Vitalized Energy of the Physical Mental and Emotional Powers of the Singer through Flexible Elastic Bodily Movements by Myer Edmund J Edmund John

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PREFACE EXORDIUM

PART FIRST.

ARTICLE 1. THE OLD ITALIAN SCHOOL OF SINGING " 2. THE DARK AGES OF THE VOCAL ART " 3. THE TWO PREVAILING SYSTEMS " 4. THE RENAISSANCE OF THE VOCAL ART " 5. THE COMING SCHOOL OR SYSTEM " 6. CONDITIONS " 7. THE INFLUENCE OF RIGHT BODILY ACTION

RAISON D'?TRE

PART SECOND.

ARTICLE 1. THE FIRST PRINCIPLE OF ARTISTIC TONE-PRODUCTION " 2. THE SECOND PRINCIPLE OF ARTISTIC TONE-PRODUCTION " 3. THE THIRD PRINCIPLE OF ARTISTIC TONE-PRODUCTION

PART THIRD.

EXORDIUM.

Man, to see far and clearly, must rise above his surroundings. To win great possessions, to master great truths, we must climb all the hills, all the mountains, which confront us. Unfortunately the vocal profession dwells too much upon the lowlands of tradition, or is buried too deep in the valleys of prejudice. Better things, however, will come. They must come. The current of the advanced thought, the higher thought, of this, the opening year of the twentieth century, will slowly but surely increase in power and influence, will slowly but surely broaden and deepen, until the light of reason breaks upon the vocal world. We may confidently look, in the near future, for the Renaissance of the Vocal Art.

PART FIRST.

ARTICLE ONE.

THE OLD ITALIAN SCHOOL OF SINGING.

The Shibboleth, or trade cry, of the average modern vocal teacher is "The Old Italian School of Singing." How much of value there is in this may be surmised when we stop to consider that of the many who claim to teach the true Old Italian method no two of them teach at all alike, unless they happen to be pupils of the same master.

A system, a method, or a theory is not true simply because it is old. It may be old and true; it may be old and false. It may be new and false; or, what is more important, it may be new and yet true; age alone cannot stamp it with the mark of truthfulness.

The truth is, we know but little of the Old Italian School of Singing. We do know, however, that the old Italians were an emotional and impulsive people. Their style of singing was the flexible, florid, coloratura style. This demanded freedom of action and emotional expression, which more largely than anything else accounts for their success.

The old Italians knew little or nothing of the science of voice as we know it to-day. They did know, however, the great fundamental principles of singing, which are freedom of form and action, spontaneity and naturalness. They studied Nature, and learned of her. Their style of singing, it is true, would be considered superficial at the present day, but it is generally conceded that they did make a few great singers. If the principles of the old school had not been changed or lost, if they had been retained and developed up to the present day, what a wonderful legacy the vocal profession might have inherited in this age, the beginning of the twentieth century. Adversity, however, develops art as well as individuality; hence the vocal art has much to expect in the future.

ARTICLE TWO.

THE DARK AGE OF THE VOCAL ART.

Even in the palmiest days of the Old Italian School, there were forces at work which were destined to influence the entire vocal world. The subtle influence of these forces was felt so gradually, and yet so surely and powerfully, that while the profession, as one might say, peacefully slept, art was changed to artificiality. Thus arose that which may be called the dark ages of the vocal art,--an age when error overshadowed truth and reason; for while real scientists, after great study and research, discovered much of the true science of voice, many who styled themselves scientists discovered much that they imagined was the true science of voice.

Upon the theories advanced by self-styled scientists, many systems of singing were based, without definite proof as to their being true or false. These systems were exploited for the benefit of those who formulated them. This condition of things prevailed, not only through the latter part of the eighteenth century and the first half of the nineteenth, but still manifests itself at the present day, and no doubt will continue to do so for many years to come.

The vocal world undoubtedly owes much to the study and research of the true scientist. All true art is based upon science, and none more than the art of voice and of singing.

Science is knowledge of facts co-ordinated, arranged, and systematized; hence science is truth. The object of science is knowledge; the object of art is works. In art, truth is the means to an end; in science, truth is the end.

The science of voice is a knowledge of certain phenomena or movements which are found under certain conditions to occur regularly. The object of the true art of voice is to study the conditions which allow these phenomena to occur.

The greatest mistake of the many systems of singing, formulated upon the theories of the scientists, and of the so-called scientists, was not so much in their being based upon theories which oftentimes were wrong, as in the misunderstanding and misapplication of true theories. The general mistake of these systems was and is that they attempt by direct local effort, by direct manipulation of muscle, to compel the phenomena of voice, instead of studying the conditions which allow them to occur. In this way they attempt to do by direct control, that which Nature alone can do correctly.

While it is true that the vocal world owes much to science and the scientists, yet "the highest science can never fully explain the true phenomena of the voice, which are truly the phenomena of Nature." The phenomena of the voice no doubt interest the scientists from an anatomical standpoint, but these things are of little practical value to the singer. As someone has said, "To examine into the anatomical construction of the larynx, to watch it physiologically, and learn to understand the motions of the vocal cords in their relation to vocal sounds, is not much more than looking at the dial of a clock; the movements of the hands will give you no idea of the construction of the intricate works hidden behind the face of the clock."

We should never lose sight of the fact that there is a true science of voice, and that the art of song is based upon this science. The true art of song, however, is not so much a direct study of the physical or mechanical action of the parts, as it is a study of the spirituelle side; a study of the forces which move the parts automatically, in accordance with the laws of nature. In other words, voice, true voice, is more psychological than physiological; is more an expression of mind and soul than a physical expression or a physical force. It is true, the body is the medium through which the soul, the real man, gives expression to thought and feeling; and yet voice that is simply mechanical or physical is always common and meaningless and as a rule unmusical. The normal condition of true artistic voice is emotional and soulful.

ARTICLE THREE.

THE TWO PREVAILING SYSTEMS.

The misunderstanding or the misapplication of any principle, theory or device, always leads to error. This was eminently true of the misunderstanding and misapplication on the part of many writers and teachers who based their systems upon the theories of the scientists and the self-styled scientists. The result is evident; it is that which is known as the local-effort, muscular school of the nineteenth century; the school which to this day so largely prevails; the school which makes of man a mere vocal machine, instead of a living, emotional, thinking soul.

The local-effort school attempts, by direct control and manipulation of muscle and of the vocal parts, to compel the phenomena of voice. In this respect it is unique; in this respect it stands alone. The truth of this statement becomes evident when we stop to consider that in nothing known which requires muscular development, as does the art of singing, is this development or training secured by direct manipulation and control of muscle. There is nothing in the arts or sciences, nothing in the broad field of athletics or physical culture, nothing in the wide world that requires physical development, in which the attempt is made to develop by direct effort as does the local-effort school. Hence we say the mistake they make is in attempting to compel the phenomena of voice, instead of studying the conditions which allow them to occur. It might be interesting, it certainly would be very amusing, to enumerate and illustrate the many things done under the name of science, to compel the phenomena of voice; but space will not permit. Many of them are well known; many more are too ridiculous to consider except that they should be exposed for the good of the profession.

The result of all this direct manipulation of muscle is ugliness--everywhere hard, unmusical, unsympathetic voices. The public is so used to hearing hard, muscular voices that the demand for beautiful tone is not what it should be. In fact, it is not generally known that it is possible to make almost any voice more or less beautiful that is at all worth training. The hard, unmusical voice of the day is a hybrid, unnatural and altogether unnecessary voice. Physical effort in singing develops physical tone and physical effect. Common tone makes common singing. A great artist must be great in tone as well as in interpretation.

The disciples of the local-effort school lose sight of the fact that when a muscle is set and rigid, either in attempting to hold the breath or to force the tone, it is virtually out of action; that instead of actually helping the voice it is really preventing a free, natural production, and that other parts are then compelled to do its work; this accounts for many ruined voices. "To make a part rigid is equal to the extirpation of such part. While it is in a state of rigidity it ceases to take part in any action whatsoever: it is inert and the same as if it had ceased to exist."

The local-effort school is accountable for many errors of the day. The incubus of this school is fastened upon the vocal profession with octopus-like tentacles which reach out in every direction, and which strive to strangle the truth in every possible way; but, while "life is short, art is long;" the truth must prevail.

As an outgrowth of the local-effort school, and as an attempt to counteract its evil tendencies, there is to-day in existence another school or system known as the limp or relaxed school, or the system of complete relaxation. The object of this relaxation is to overcome muscular tension and rigidity. This is the other extreme. The followers of this school forget that there can be no tonicity without tension. Flexible firmness without rigidity, the result of flexible, vitalized position and action, is the only true condition. The tone of the school of relaxation is nearly always depressed and breathy; it always lacks vitality.

ARTICLE FOUR.

THE RENAISSANCE OF THE VOCAL ART.

We are in the habit of measuring time by days, weeks, months, years, decades and centuries. The world at large measures time by epochs and eras. While this is true in the physical world, it is equally true of the arts and sciences, and it is especially true of the art of song. Thus we have had the period known as "The Old Italian School of Singing." This was followed by the modern school, or "The Local-Effort School" of the nineteenth century, the period which may be called The Dark Ages of the Vocal Art.

There is a constant evolution in all things progressive, and this evolution is felt very perceptibly to-day in the vocal world. Great principles, great truths, are of slow growth, slow development. Times change, however, and we change with them. While the changes may be slow and almost imperceptible to the observer, they are sure, and finally become evident by the accumulation of event after event.

The prevailing systems of the nineteenth century tried to develop voice by direct local muscular effort. These systems have proved themselves failures. The vocal world is looking for and demanding something better. We may say that we are now on the eve of great events in the vocal art. When the morn comes, and the light breaks, we may confidently expect that awakening or reawakening which may properly be called The Renaissance of the Vocal Art.

This is the age of physical culture in all its forms. There is a tendency from the artificial habits of life, back, or rather one should say forward, to Nature and Nature's laws. "Athletes appreciate the value of physical training: brain-workers appreciate the value of mental training, of thinking before acting, and if you would become either you must follow the methods of both."

Many of our foremost educators in all branches of development, physical, mental and musical, are now making a bold stand for natural methods of education. However, all vocal training and development in the past, we are glad to say, has not been on the wrong side of the question.

There have been, at all ages and under all circumstances and conditions, men who have been at the root or the bottom of things,--men who have preserved the truth in spite of their surroundings. So in the vocal art, there have been at every decade a few men who have known the truth, and who have handed it down through the dark ages of the vocal art. The work of these men has not been lost. Its influence has been felt, and is today more powerful than ever. Hence the trend of the best thought of the profession is away from the ideas of the local-effort school, away from rigidity and artificiality, and more in the direction of naturalness and common sense. I believe we are now, as a profession, slowly but surely awakening to truths which will grow, and which will in time bring to pass that which must come sooner or later, the new school of the twentieth century.

There is to-day that which is known as "The New Movement in the Vocal Art"--a movement based upon natural laws and common sense and opposed to the ideas of the local-effort school;--movement in the direction of freedom of action, spontaneity and flexible strength as opposed to rigidity and direct effort;--a movement which advocates vitalized energy instead of muscular effort;--a movement which had its origin in the belief that no man ever learned to sing because he locally fixed or puckered his lips; because he held down his tongue with a spatulum or a spoon; because he locally lowered or raised his soft palate; because he consciously moved or locally fixed his larynx; because he consciously, rigidly set or firmly pulled in one direction or another, his breathing muscles; because he carried an unnaturally high chest at the sacrifice of form, position and strength in every other way; because he sang with a stick or a pencil or a cork in his mouth; or because he did a hundred other unnatural things too foolish to mention. No man ever learned or ever will learn to sing because of these things. It is true he may have learned to sing in spite of them, which shows that Nature is kind; but as compared to the whole, he is one in a thousand.

"The New Movement" has come to stay. It will, of course, meet with bitter opposition. Why not? The custom of many has been, and is, to condemn without investigation; to condemn because it does not happen to be in the line of their teaching and study. Someone has said, "He who condemns without knowledge or investigation is dishonest."

"The New Movement" is simply a study of the conditions which allow the phenomena of voice to occur naturally and automatically. The day will come, when a right training of the voice will be recognized as a flexible, artistic, physical training of the human body, and a consequent right use of the voice, as a soulful expression of the emotional nature. Matter or muscle will be taught to obey mind or will spontaneously. The thought before the effort, or rather before the action, will be the controlling influence, and vitalized emotional energy will be the true motor power of the voice. The elocutionists and the physical culturists understand this far better, as a rule, than the vocalists.

Abuse brings reform in art as well as in all other things. So the abuse of Nature's laws and the lack of common sense in the training of the singing voice has led, through a gradual evolution, to "The New Movement." This movement is the outgrowth of the best or advanced thought of the profession rebelling against unnatural methods.

In the fundamental principles of "The New Movement," there is nothing new claimed by its advocates. All is founded upon the science of voice, as are all true systems of teaching. The claims are made with regard to the devices used to study natural laws, to develop the God-given powers of the singer. Remember that Nature incarnates or reflects God's thoughts and desires and not man's ideas or inventions. Someone has said that there was nothing new, nor could there be anything new, in the art of singing. There are many, alas! who talk and write as did this man. Is not this simply proof of the fact that ignorance cheapens and belittles that which wisdom views with awe and admiration? And this is true of nothing so much as it is of the arts and sciences.

Is, then, ours in all the world, the only profession based upon science and art that must stand still, that must accept blindly the traditions handed down to us, without investigation? Are we to feel and believe that with us progress is impossible, that we may not and cannot keep up with the spirit of the age? God forbid. Is it not true that "each age refutes much which a previous age believed, and all things human wax old and vanish away to make room for new developments, new ideals, new possibilities"? Is it possible this is true of all professions but ours? The signs of the times indicate differently. Hence we may confidently expect the Renaissance of the Vocal Art in this, the first half of the new century.

ARTICLE FIVE.

THE COMING SCHOOL, OR SYSTEM.

This is an age of progress; and, as we have said, many educators are making a bold stand for natural, common-sense methods. The trend of the higher thought of the vocal profession is away from artificiality, and in the direction of naturalness.

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