Edmund J. Myer

“ How can one sing, let us say, a German song, imbued with German romanticism and melancholy, unless he knows something of the German art, the German spirit, the German language, the German national characteristics? A knowledge of literature, art in general, and the "Humanities," to use an old-fashioned word, is absolutely necessary to interpretation of a high order. Too often, alas, the singer imagines that the study of tone production, or acquaintance with musical literature, or a polished diction, will make him sing with the combination of qualities called style. ”

“ Thus, when we say, lift, expand, and let go, we mean lift from the hips, the center of gravity, in an easy, flexible manner; expand the body with a free movement without conscious thought of any part of it; have the sensation of letting go all contraction or rigidity, and absolutely release the muscles of the throat and face. The let go is in reality more a negative than a positive condition, and virtually means, when you lift and expand, do not locally grip, harden, or set any muscle of the body, throat, or face. ”

“ 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. ”

“ The speaking voice, as well as the voice in song, reveals thought and feeling to the hearer; those subtler shades of meaning which distinguish man, made in the image of God, from his humble companions, are made clear to those about him by this instrument—this wonderful, persuasive, cajoling, beseeching, enthralling, exciting, thrilling, terrifying instrument! ”

“ Not an elocutionist from the standpoint of many who are called elocutionists, who are stagey, full of mannerisms, and who exaggerate everything pertaining to elocution. Of course the better class of elocutionists are not guilty of these things; but they do idealize everything, whether they read, recite, or declaim, and this in their profession is a mark of true art. So must the teacher and singer learn to idealize not only the tone or the voice, but everything pertaining to the singing of a song. ”

“ In art, as in all things else, man must be under the law until he becomes a law unto himself. In other words, he must study his technique, his method, his art, until all becomes a part of himself, becomes, as it were, second nature. There is a wide difference between art and artificiality. True art is based upon Nature's laws. Artificiality, in almost every instance, is a violation of Nature's laws, and at best is but a poor imitation. ”

“ No one who has heard the majority of the average opera and concert singers of the day, would be justified in holding that articulation is not a lost art. A free, distinct articulation and use of words in song, is the exception and not the rule. This is due largely to the following fact—with most singers there is direct or local effort on face, jaw, tongue and throat, during the act of singing; in other words, they grip the parts to hold the tone, and the higher or louder they sing, the firmer the grip or contraction. This virtually paralyzes action, and makes flexible articulation impossible. ”

“ Everything which man says or does under normal, free conditions, is self-expression, an expression of his inner nature; but this expression must be under the law. If not, the expression is unnatural and therefore artificial. This principle, which holds true in all of man's expression, in all art, is in nothing more evident than in the use of the singing voice.
"Nature does nothing for man except what she enables him to do for himself." Nature gives him much, but never compels him to use what she gives. ”

“ The impression prevails that art is something far off, something that is within the grasp of the favored few only. We say of a man, he is a genius, and we bow down to him accordingly. The genius is an artist by the grace of God and his own efforts. ”

“ 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." ”

“ Articulation, to be artistic, must be spontaneous,—the thought before the action. Think and feel the effect desired, and give no thought to the action of articulation. The action, under right conditions, if there is no restraint, will respond to thought and feeling; it will be automatic and spontaneous. Just as the singer, after a certain stage of study, should never produce a tone that does not mean something, that has not character, so in the use of words, he should always sing them in a persuasive, impressive manner, and with free, flexible action. ”

“ 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. ”

“ We find that thought and will control all physical action in singing. If the thought is right, the action will be right; if wrong, the action will surely be wrong. When right thought and action have developed absolute freedom, then the emotional energy, the singer's sensation, the true power of the voice, should dominate everything. The mind or will controls the body through thought, but the thought must be aroused through feeling or emotion; and the feeling or emotion is inspired by the sentiment to be expressed. ”

“ Nature's laws are God's laws. All nature, the universe itself, is an expression of God's thoughts or desires in accordance with His laws. This one controlling force, this principle of law, is at the bottom of everything in nature and art. ”

“ 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. ”

“ There is a stage of study, as we have said, in the experience of all students of the voice, when, in order to become artists, Nature demands of them more than mere sound. There comes a time when every tone of the voice must mean something, must express something, through the character of the tone, the idealized tone. In this way the personal magnetism of the singer is imparted, heard, and felt. This means the expression of thought and feeling through the color and character of the tone, the highest known form of expression. ”

“ Speech is the normal method through which we make clear our ordinary thoughts, feelings, desires, repulsions, and attractions to those about us. Song is the finer flower of artistic expression, one of the means through which imagination and the creative and interpretative faculties find an adequate medium and outlet. But the words of the poem, whether spoken or sung, must first be thoroughly understood before the reader or singer attempts to make anyone else comprehend or feel them. ”

“ All artistic tone is reinforced sound. There are two ways of reinforcing tone. First, by direct muscular effort, the wrong way; second, by expansion and inflation, the added resonance of air in the cavities, the right way. This condition of expansion and inflation is the distinguishing feature of many great voices, and is possible only through right bodily position and action. These movements are used by many great artists, who develop them as they themselves develop, through giving expression to thought, feeling, and emotion, through using the impressive, persuasive tone, the fervent voice. ”

“ A great truth cannot always be suppressed, and some day someone will present these truths in a way that will compel their recognition. They are never doubted now by those who understand them, and they are appreciated by such to a degree of enthusiasm. I am well aware that when these movements are spoken of in the presence of the followers of the prevailing rigid or limp schools, they exclaim, "Why, we do the same thing. We use the body too." Of course they use the body, but it is by no means the same. Their use of the body is often abuse, and not only of the body, but of the voice as well. ”

“ 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. ”

“ 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. ”

“ Beyond a doubt, the singer who takes a simple but effective course of physical training in connection with vocal training will accomplish twice as much in a given time, in regard to tone, power and control, as he could possibly do with the vocal training alone. This is the day of physical training, of physical culture in all things; and the average vocal teacher will have to awake to the fact that his pupils need it as much as, or more than, they need the constant practice of tone. ”

“ The other voice may be bright, free, and clear, yet may use the same quality or color of tone constantly on all styles of singing, and on all degrees of power, it matters not what the thought or sentiment may be; and this style of voice is by no means uncommon, even among many of our public singers. Now consider the difference in the commercial value of these two voices, which should bear at least some relation to their artistic value. No artist can be truly great or fully developed without the power of vitalized, emotional energy, and variety of tone color and character. ”

“ When you have found the level of the tone, all of which is done rhythmically and in a moment, let the voice sing,—sing spontaneously. Make no effort to hold or control the breath. Maintain correct position the level of the tone, in a free, flexible manner, and sing with perfect freedom, with abandon. As the movement or action gave you the breath, so will the position hold it. The more you let go all contraction of body and throat muscles, the more freedom you give the voice, the more will the breath be controlled,—controlled through automatic form and adjustment. ”

“ The conscious, full, muscular breath compels conscious, local muscular effort to hold it and control it. Result: a stiff, set, condition of the face muscles, the jaw, the tongue and the larynx. This makes automatic vowel form, placing, and even freedom of expression, impossible. The conscious, artificial breath is a handicap in every way. It compels the singer to directly and locally control the parts. In this way it is not possible to easily and freely use all the forces which Nature has given to man for the production of beautiful tone. ”

“ It is almost impossible to make them idealize the words through the elocution of singing; and yet in the artistic rendition of a song, a ballad, or a dramatic aria, the words are often of more importance than the music. The singer should study the story of a song by reading it aloud upon the highest plane or level of emotional or dramatic expression. ”

“ Let us see what special qualifications assist in the actual performance of song, in the attempt to give pleasure or artistic gratification by singing songs for others to hear. In the first place let us consider the limitations as well as the advantages of the human voice. I must ask you to remember that considered as an instrument it is smaller in power than some instruments, shorter in range than many others, often less beautiful than the tones of the violin. But in one respect it transcends all others. ”