NOTES:[1]"The old Italian method of instruction, to which vocal music owed its high condition, was purely empirical." (Emma Seiler,The Voice in Singing. Phila., 1886.)[2]Die grosse italienische Gesangschule.Dresden, 1834.[3]This statement of the doctrine of breath-control must not be construed as an endorsement of the theory of the vocal action embodied in this doctrine. On the contrary, both the theory of "opposed action" breath-control and the "breath-band" theory are held to be utterly erroneous. For a further discussion of this subject see Chapter II of Part II.[4]One of the strongest arguments of the "breath-band" advocates is based on this action,—the resistance of the closed glottis to a powerful expiratory pressure. The theory of breath-control by "opposed muscular action" takes no cognizance of this operation. It will however be shown in Chapter II of Part II that the "breath-band" theorists are mistaken in asserting that the action of holding the breath is not performed by the glottis-closing muscles.[5]The expression "placing the voice" is more fully treated in Chap. VI. It is assumed, however, that the reader is familiar with the ordinary usage of this expression.[6]An exception to this statement is seen in the recently published book of Mme. Lilli Lehmann,Meine Gesangskunst, Berlin, 1902. This famous artist and teacher devotes by far the greater part of her book to a minute analysis and description of the singer's sensations.[7]The evolutionary development of this instinct is not altogether mysterious. Science can fairly well trace the successive steps in the development of the central nervous mechanism, from the amœba to the highest type of vertebrate. "Nerve channels" are worn by the repeated transmission of impulses over the same tracts. Coördinations become in successive generations more complex and more perfect. As consciousness develops further, in each succeeding type, actions originally reflex tend to take on a more consciously purposeful character. But all we are concerned with now is the problem of tone-production. Our purpose is best served by accepting the faculty of muscular adaptation as an instinct, pure and simple.[8]This exposition of the mechanical principle of tone-production is intended to be graphic, rather than strictly technical. For the sake of simplicity, that portion of the expiratory energy expended in friction against the throat walls, tongue, cheeks, etc., is disregarded, as well as that expended in propelling the air out of the mouth, in displacing the same quantity of external air, etc.[9]In this connection it is advisable to point out a difference between the meanings attached to the word "control" in psychology and in Vocal Science. The psychologist classes habitual movements as either automatic or controlled. Automatic movements are purely reflex; the individual does not consciously decide whether they shall be performed or not. Psychologically considered, thecontrolof a movement is simply the conscious volitional decision whether the movement shall be performed. To adopt the language of Psychology, we should speak ofvoice management, and ofbreath regulation, instead of vocal control, breath control, etc. In the following chapters the accepted psychological usage of the word "control" will so far as possible be adopted.[10]Mancini of course uses theSol-Fanames of these notes.
[1]"The old Italian method of instruction, to which vocal music owed its high condition, was purely empirical." (Emma Seiler,The Voice in Singing. Phila., 1886.)
[1]"The old Italian method of instruction, to which vocal music owed its high condition, was purely empirical." (Emma Seiler,The Voice in Singing. Phila., 1886.)
[2]Die grosse italienische Gesangschule.Dresden, 1834.
[2]Die grosse italienische Gesangschule.Dresden, 1834.
[3]This statement of the doctrine of breath-control must not be construed as an endorsement of the theory of the vocal action embodied in this doctrine. On the contrary, both the theory of "opposed action" breath-control and the "breath-band" theory are held to be utterly erroneous. For a further discussion of this subject see Chapter II of Part II.
[3]This statement of the doctrine of breath-control must not be construed as an endorsement of the theory of the vocal action embodied in this doctrine. On the contrary, both the theory of "opposed action" breath-control and the "breath-band" theory are held to be utterly erroneous. For a further discussion of this subject see Chapter II of Part II.
[4]One of the strongest arguments of the "breath-band" advocates is based on this action,—the resistance of the closed glottis to a powerful expiratory pressure. The theory of breath-control by "opposed muscular action" takes no cognizance of this operation. It will however be shown in Chapter II of Part II that the "breath-band" theorists are mistaken in asserting that the action of holding the breath is not performed by the glottis-closing muscles.
[4]One of the strongest arguments of the "breath-band" advocates is based on this action,—the resistance of the closed glottis to a powerful expiratory pressure. The theory of breath-control by "opposed muscular action" takes no cognizance of this operation. It will however be shown in Chapter II of Part II that the "breath-band" theorists are mistaken in asserting that the action of holding the breath is not performed by the glottis-closing muscles.
[5]The expression "placing the voice" is more fully treated in Chap. VI. It is assumed, however, that the reader is familiar with the ordinary usage of this expression.
[5]The expression "placing the voice" is more fully treated in Chap. VI. It is assumed, however, that the reader is familiar with the ordinary usage of this expression.
[6]An exception to this statement is seen in the recently published book of Mme. Lilli Lehmann,Meine Gesangskunst, Berlin, 1902. This famous artist and teacher devotes by far the greater part of her book to a minute analysis and description of the singer's sensations.
[6]An exception to this statement is seen in the recently published book of Mme. Lilli Lehmann,Meine Gesangskunst, Berlin, 1902. This famous artist and teacher devotes by far the greater part of her book to a minute analysis and description of the singer's sensations.
[7]The evolutionary development of this instinct is not altogether mysterious. Science can fairly well trace the successive steps in the development of the central nervous mechanism, from the amœba to the highest type of vertebrate. "Nerve channels" are worn by the repeated transmission of impulses over the same tracts. Coördinations become in successive generations more complex and more perfect. As consciousness develops further, in each succeeding type, actions originally reflex tend to take on a more consciously purposeful character. But all we are concerned with now is the problem of tone-production. Our purpose is best served by accepting the faculty of muscular adaptation as an instinct, pure and simple.
[7]The evolutionary development of this instinct is not altogether mysterious. Science can fairly well trace the successive steps in the development of the central nervous mechanism, from the amœba to the highest type of vertebrate. "Nerve channels" are worn by the repeated transmission of impulses over the same tracts. Coördinations become in successive generations more complex and more perfect. As consciousness develops further, in each succeeding type, actions originally reflex tend to take on a more consciously purposeful character. But all we are concerned with now is the problem of tone-production. Our purpose is best served by accepting the faculty of muscular adaptation as an instinct, pure and simple.
[8]This exposition of the mechanical principle of tone-production is intended to be graphic, rather than strictly technical. For the sake of simplicity, that portion of the expiratory energy expended in friction against the throat walls, tongue, cheeks, etc., is disregarded, as well as that expended in propelling the air out of the mouth, in displacing the same quantity of external air, etc.
[8]This exposition of the mechanical principle of tone-production is intended to be graphic, rather than strictly technical. For the sake of simplicity, that portion of the expiratory energy expended in friction against the throat walls, tongue, cheeks, etc., is disregarded, as well as that expended in propelling the air out of the mouth, in displacing the same quantity of external air, etc.
[9]In this connection it is advisable to point out a difference between the meanings attached to the word "control" in psychology and in Vocal Science. The psychologist classes habitual movements as either automatic or controlled. Automatic movements are purely reflex; the individual does not consciously decide whether they shall be performed or not. Psychologically considered, thecontrolof a movement is simply the conscious volitional decision whether the movement shall be performed. To adopt the language of Psychology, we should speak ofvoice management, and ofbreath regulation, instead of vocal control, breath control, etc. In the following chapters the accepted psychological usage of the word "control" will so far as possible be adopted.
[9]In this connection it is advisable to point out a difference between the meanings attached to the word "control" in psychology and in Vocal Science. The psychologist classes habitual movements as either automatic or controlled. Automatic movements are purely reflex; the individual does not consciously decide whether they shall be performed or not. Psychologically considered, thecontrolof a movement is simply the conscious volitional decision whether the movement shall be performed. To adopt the language of Psychology, we should speak ofvoice management, and ofbreath regulation, instead of vocal control, breath control, etc. In the following chapters the accepted psychological usage of the word "control" will so far as possible be adopted.
[10]Mancini of course uses theSol-Fanames of these notes.
[10]Mancini of course uses theSol-Fanames of these notes.