Wesley Mills

“ It is highly important for the speaker or singer to realize early in his career that all forms of artistic expression can be carried out only through movements—muscular movements; in other words, technique or execution implies the use of neuro-muscular mechanisms. However beautiful the conception in the mind of the painter, it can only become an artistic thing when it assumes material form—when it is put on canvas. The most beautiful melody is no possession of the world while it is in the mind of the composer alone ”

“ It is just as rational to follow in medicine methods that seem to lead to good results, without any reference to the reason why, as to train for results in speaking and singing by methods which have for the student and teacher no conscious basis in scientific knowledge. The physician to-day who treats disease without reference to anatomy and physiology is, at best, but a sort of respectable charlatan. Why should students and teachers of voice-production be content to remain, in the advanced present, where they were hundreds of years ago? ”

“ Whatever difference of opinion there may be as to choral singing, singing in schools, etc., there can be no question that time spent in developing the appreciation of musical art is well spent, and makes for the development and provides for the innocent and elevating sources of enjoyment of a people. If some of the time spent in bad piano-playing were devoted to the development of the power to appreciate and delight in really good music, including the sweet sounds of speech and song, the world would thereby be greatly the gainer. ”

“ From all that has been hitherto said it will be inferred that one of the best tests of a good attack, or any other feature in voice-production, is the absence of escape of breath, as such, from the mouth. Many persons begin wrongly; they attempt to produce tones by forcing the breath out in such a way that all their resources in breathing are at once spent, instead of being husbanded with the care of a miser. As time is the most precious possession of man, as man, so is breath for the singer or speaker. ”

“ When words are to be used, the question as to which language should be employed is for the singer, at least, a very important one. The ideal vocalist who will bring before the ideal public the best in vocal music must sing in Italian, French, German, and English, at least. Each of these languages produces its own effects through the voice, and each presents its own advantages and difficulties; but all competent to judge are agreed that Italian, because of the abundance of vowels in its words, is the best language in which to sing, or, at all events, to begin with as a training. ”

“ For art there must be more than technique, but there is no art without good methods of execution, which constitute technique. The latter is nothing more than method—manner of performance. Behind these methods of performance, or the simplest part of them, there must be some idea. The more intelligent the student, speaker or singer, as to his art and generally, the better for the teacher who instructs scientifically, though such intelligence is largely lost to the teacher who depends on tradition and pure imitation. ”

“ Why should the same not occur in the vocal teacher's profession? It is considered scandalous in the medical profession to "steal" another physician's patient, and why should not a similar etiquette prevail in the profession now under consideration? The teacher in doubt about a voice might thus obtain the views of another member of his profession, of longer experience, on such a vital point as the classification of a voice, and with satisfaction alike to himself and to his pupil. ”

“ Unfortunately, there is not in the minds of students or teachers generally a sufficiently deep conviction of the importance of forming the voice by long-continued practice with vowels only, for which lack the spirit of the times is largely responsible. Until a student of either speaking or singing can form every vowel perfectly, which implies the recognition of these sounds as pure and perfect, and the ability to sing them as the tones of a musical scale, he should not take a single step in any other direction. ”

“ In actual speaking and singing such breathing is not usually either possible or desirable.
Nature herself always works with the least possible expenditure of energy and with power in reserve. These must be the voice-user's principles, to be deliberately and persistently applied. To fill the chest to the fullest on all occasions is to use up energy to no purpose and to induce fatigue. Art is ever economical. Effort, obvious effort, detracts from the listener's enjoyment. ”

“ The singer should be a good speaker, even a good elocutionist, and the speaker should be able to produce tones equal in beauty, power, and expressiveness to those of the singer, but, of course, within a more limited range, and less prolonged, as a rule. To each alike is voice-training essential, if artistic results are to follow; neither rhetorical training on the one hand nor musical training on the other will alone suffice. ”

“ In complexity of action the resonance-chambers are wonderful beyond any instrument devised by man, and the more one studies the subject, the greater the wonder becomes at the amount and complexity of the work done in a single day's speaking. It is also easy to understand how difficult it is to attain to absolutely perfect results. To enable one's fellow-creatures to understand him in even his mother-tongue involves an amount of effort and energy, a complexity and facility in function, that can only be reached after months of practice in infancy ”

“ It is but fair to point out that, in the present case, the student was an unusually intelligent and thoughtful person. Had it been otherwise, more consultations would have been necessary, with probably many detailed instructions and much practice before the teacher. But the case sufficed to convince me afresh that only physiological teaching meets the needs of pupil and teacher. I do not claim, of course, that it is a panacea. It will not supply the lack of a musical ear or an artistic temperament. Vocalization does not make an artist, but there can be no artist without sound vocalization. ”

“ For myself music is indispensable. The one instrument we all possess is a voice-mechanism. I am one of those who regret that so little attention is paid, especially in America, to pleasing and expressive use of the voice in ordinary conversation. Yet how much pleasure cannot a beautiful speaking voice convey! The college undergraduate rarely finds vocal study among the requirements, in spite of the fact that the voice is an instrument that he will use much more than the pen. ”

“ The author would impress on all students of music, and of the voice as used in both singing and speaking, the paramount importance of learning early to listen most attentively to others when executing music; and, above all, to listen with the greatest care to themselves, and never to accept any musical tone that does not fully satisfy the ear. When one considers how much harshness is passed as singing or speaking, by the student, even by those who pose as public singers and speakers, one must often wonder where they keep their ears. ”

“ In these two words, effective vibrations, lies the whole secret of voice production, the whole purpose of training, the key to the highest technical results, the cause of success or failure for those who speak or sing. ”

“ His object should be to use them adequately to form vowels and consonants—in other words, in the formation, not the spoiling, of words, as is so often the case.
We cannot too much insist on both speaker and singer attending to forming a connection between his ear and his mouth cavity. He is to hear, that he may produce good tones, and the tones cannot be correctly formed if they be not well observed. To listen to one's self carefully and constantly is a most valuable but little practised art. The student should listen as an inexorable critic, accepting only the best from himself. ”

“ Art implies proportion, and it was one of the ambitions of all the best actors in the golden age of histrionic art to have an "even voice"—i.e., one equally good through the whole range required. The tragic actor, elocutionist, and public speaker, and the singer, whether soprano or bass, should neglect no muscle, though they may be justified in developing some in excess of others, but ever with a watchful eye on the weakest part. ”

“ To believe, on the one hand, that the highest art can be attained with a very mediocre technique, and, on the other, that a perfect technique is the main object of musical training, are alike great and mischievous errors. ”

“ Before the larynx, the apparatus that produces sound-vibrations, can be effectively employed, the source of power, the bellows, must be developed. To some Nature has been generous—they have large chests; to others she has given a smaller wind-chest, but has perhaps compensated by providing an especially fine voice-box. Happy are they who have both, and thrice happy those who have all three requirements: a fine chest, a well-constructed larynx, and beautifully formed resonance-chambers. ”

“ To most it must be—if greatness at all—greatness thrust upon them, greatness the result of long and patient effort to attain perfect development. Indeed, even those with the most complete natural outfit can only reach the highest results of which they are capable by long and patient application. Those who do not believe in attainment only through labor would do well to abandon an art career, as there is already a great deal too much poor speaking and bad singing. ”

“ One must not only consider what is called for in ordinary conversational speaking, or in singing in a small room, but also when the greatest possible efforts are demanded. In all cases when movements are concerned, indeed whenever activity of any kind psychic or physiological is involved the law of habit should be borne in mind—i.e., one should so think and do that a habit may be established, for a habit implies, when a good one, that there is economy of both mental and bodily energy. ”

“ No doubt, in the most vigorous singing and speaking the lower part of the chest, with the diaphragm, is of the greatest importance, but often both the speaker and the singer, as in a short, rapid passage, require to take breath, and the only way in which they can really meet the case is by a short, more or less superficial action of the respiratory apparatus, in which the upper chest must play the chief part. There is no opportunity to fill the whole chest, so that any admonition in regard to abdominal breathing is then quite out of place. ”

“ There was probably never a time when so much attention was paid to the interpretation of music, yet the results are often unsatisfactory because of inadequate technique. People seem to hope to impress us, on the stage, with voices that from a technical point of view are crude and undeveloped, and accordingly lack beauty and expressiveness. Speakers to-day have often every qualification except voice—a voice that can arrest attention, charm with its music, or carry conviction by the adequate expression of the idea or emotion intended. ”

“ The one faculty may exist altogether apart from the capacity for the highest art. It is a matter of history that several vocalists now before the public, and who rank in the highest class of musical artists, displayed at one period of their career a lack of perception as to pitch or rhythm that was, to say the least, very discouraging, and which, but for their force of character, would have kept them from ever being eminent. ”

“ About one half the usual quantity, at most, and of very simple but nourishing food, is enough for any one who would do himself justice before the public. If blood and energy be drawn off to the stomach by a large meal, it cannot be available for the uses of the artist. Moreover, a full stomach pressing up under the diaphragm greatly hampers the movements of this, the most important of all the muscles of breathing. Of course, the public singer or speaker should eat after his work is done, of what and how much he can best learn by experience. ”

“ Everyone who purposes to follow the arduous career of the vocal or dramatic artist would do well to realize early the importance of learning the art of conserving energy, or making the most of all that Nature has given him. When a man or woman is small, and has less breath power than some others, it becomes more important that they observe the laws of contrast, rest, etc., in their public efforts. A forte has much the same effect, if it be preceded by darker, quieter tones, as if it were really louder. ”

“ What is really the truth is found to be, on analysis, that certain guiding sensations, chiefly those from the hearing apparatus (ear, nerves, brain) , are insufficient, owing either to natural defect or lack of training; but that this is not the only explanation is plain from the fact that many composers with the most vivid musical imagination, the most perfect auditory memory, and the most acute ear, cannot sing in any but the most imperfect manner. As we have said before, the speaker of great power to affect his fellows through tones, or the artistic singer, must be a sort of vocal athlete. ”

“ Even if we make large deductions from the above, the performances of those who have reached the highest laryngeal control must remain marvellous, all the more when it is remembered that this control over the larynx, to be efficient for musical purposes, must be accompanied by a corresponding mastery of the art of breathing. Is it necessary to point out that such wonderful development and control can only be attained after years of steady work by the best methods? ”

“ None have ever sung with more ease than those taught by the correct methods of the old Italian masters; as none run so easily as the wisely trained athlete, and none endure so well. People in singing and speaking will, as in other cases, get what they work for, but have no right to expect to sing or speak effectively by inspiration, any more than the athlete to win a race because he is born naturally fleet of foot or with a quick intelligence. In each case the ideas are converted into performance, the results attained, by the exercise of neuro-muscular mechanisms. ”

“ Whatever the public may think of the goodly form, the singer must remember that fat is practically of no use to any one in voice-production, and may prove a great hindrance, possibly in some cases being a coöperative cause of that tremolo so fatal to good singing.
The voice-user should eschew ease and take plenty of exercise, but most of all must he use those forms of exercise which develop the breathing apparatus and tend to keep it in the best condition. Walking, running, and hill climbing are all excellent, but do not in themselves suffice to develop the chest to the utmost. ”

“ It cannot be too well borne in mind, obvious though it is, that all speaking and singing, whatever else they be, are tone-production; hence the first thing for every one to ascertain regarding himself is the extent to which he can form and hold tones of good quality—in other words, the success with which he can establish the essential co-ordinations or harmonious actions of the breathing and laryngeal mechanisms, and maintain them for a considerable length of time. ”