Art of singing

“ CHAPTER I TONE-PRODUCTION AND VOICE CULTURE
In no other form of expression do art and nature seem so closely identified as in the art of singing. A perfect voice speaks so directly to the soul of the hearer that all appearance of artfully prepared effect is absent. Every tone sung by a consummate vocal artist seems to be poured forth freely and spontaneously. There is no evidence of calculation, of carefully directed effort, of attention to the workings of the voice, in the tones of a perfect singer. ”

“ To me it appears as the natural consequence of the whole manner and way in which the art of singing has been historically developed since its earlier high state of perfection.
The human voice is, of all instruments, the most natural, the most perfect, the most intimate in its relation to us, as, for the use of it, we have a talent or faculty innate, which, in the case of other instruments, can only be laboriously acquired, to say nothing of the fact that these instruments are first to be invented and put together. ”

“ Thus is there not only an æsthetical side to the art of singing, but a physiological and a physical side also, without an exact knowledge, appreciation, observance, and study of which, what is hurtful cannot be discerned and avoided; and no true culture of art, and consequently no progress in singing, is possible. ”

“ The fine tact and the correct feeling with which in those old vocal compositions what nature directs was observed, show that they are the works of singers of the golden age of the art of singing, of artists who with an exact knowledge of the beauties and capabilities of the voice possessed, and in those days were compelled to possess, the most thorough culture in the theory of music. ”

“ The elocution of singing depends upon a knowledge and control of all the principles considered up to this point of study,—a knowledge and control of physical, mental, and emotional power, of freedom of form and action, of artistic vowel form and automatic articulation, of the removal of all restraint, in fact, of all true conditions of tone. To interpret well, the singer must have mastered the elocution of singing, must be able to bring out every vowel and consonantal element of the words, must know how to use and apply tone color and tone character, the impressive, persuasive, fervent voice. ”

“ Again I ask, why did this world-famous singer perform this passage always in the same way? Unreflecting people may reply vaguely that it was because the artist “sang with expression.” But what constitutes “expression” in singing? No great artist—no matter what the vehicle or medium through which his art finds manifestation—does anything at random. ”

“ But together with its purely internal character, music has yet another and formal side, for if our art consisted only in the æsthetic feeling, and in representing this feeling, every person of culture, possessing the right feeling, would be able to sing, just as he understands how to read intelligibly. ”

“ Gradually, two essentials of good singing—tone-quality and truth of intonation—began to be neglected. But why should either of these two factors be less essential to a singer than to an instrumentalist?
Of late it has been tacitly assumed, if not boldly claimed, that sentiment, passion, temperament, atoned for—even if they did not entirely replace—voice and lack of skill in the artist. But what constitutes an artist? Art has been defined by an English lexicographer as “Doing something, the power for which is acquired by experience, study or observation;” ”

“ 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. ”

“ Singing should be restful, should be the result of power in repose or under control. These movements, and these movements alone, make such conditions possible.
All singing should be idealized, should be the result of self-expression, of an expression of the emotions. This is impossible except through correct bodily action. "By nature the expression of man is his voice, and the whole body through the agency of that invisible force, sound, expresses the nobility, dignity, and intellectual emotions, from the foot to the head, when properly produced and balanced. ”

“ Every year adds to the number of those who recognize singing as an art, whose vision is clear enough to see that the work of the scientific investigator should be confined to the laboratory and that it has no place in the studio. We are beginning to see that the basic principle of singing is freedom in the expression of the beautiful, and that the less there is of the mechanical in the process the better. ”

“ The simple style of singing best suits private performers, and often appears in the highest degree charming, when flowing from the lips of taste and beauty; but no one would compare art, in these its early stages, to what it appears in the hands of Grisi or Mademoiselle Lind. ”

“ There must be flexible firmness, firmness without rigidity. The movements as given in my book, "Position and Action in Singing," and as here given, develop these conditions. They give the singer physical vitality, freedom of voice, spontaneity, absolute automatic breath control, and make self-expression, emotional expression, and tone-color, not only possible but comparatively easy. Singing is self-expression, an expression of thought and feeling. There must be a medium, however, for the expression of feeling aroused through thought; that medium is the body and the body alone. ”

“ They learn to make melodic lines, to add a tone which changes the whole character of a chord; they learn how themes are disposed in relation to one another; they come into intimate contact with the actual materials of the art by handling them. This, we do not need to say, is the key to the knowledge and understanding of anything. You cannot understand life, or love, or hate, or objects, or ideas, until you have dealt in them yourself. [Pg 135] Singing has the profound psychological advantage of giving active issue to that love of beauty which is usually entirely passive. ”

“ The thought that half a century hence the voices of our great singers of to-day may be heard in the homes of all countries of the globe gives a sense of satisfaction to the singer, since it gives a permanence to his art which was inconceivable twenty-five years ago. ”

“ To-day songs of great beauty are being constantly produced, and appreciated at their true worth. The art, too, of ballad-singing has immensely improved, as those whose memories can carry them back thirty years gratefully recognise, when they hear such past-masters of their craft as Madame Clara Butt and Mr. ”

“ The numerous vocal music Unions and Männerchöre, as such, contribute as little as school singing to the elevation and improvement of the vocal art, the sole object of which is to cultivate the individual voice for artistic singing. Considered as a means of moral culture, the rise and increasing prevalence of chorus singing among all orders of the people merit commendation and aid, but not in the interest of the art of song. ”

“ The true art of song has always been possessed and will always be possessed by such individuals as are dowered by nature with all that is needful for it—that is, healthy vocal organs, uninjured by vicious habits of speech; a good ear, a talent for singing, intelligence, industry, and energy. ”

“ The later operatic rôles make far greater demands upon the mentality of the singer than those of other days. The singer is no longer a parrot with little or nothing to do but come before the footlights and sing a few beautiful tones to a few gesticulations. She is expected to act and to understand what she is acting. ”

“ CAUSATION
"The causation of beautiful singing can only be found through a pure and velvety production of the voice, and this is acquired in no other way than by a thorough understanding of what constitutes a perfect beginning—that is the attack or start of the tone. If the tone has a perfect beginning it must surely have a perfect ending."
Thus Mr. Yeatman Griffith began a conference on the subject of vocal technic and the art of song. ”

“ The songs of all the really great lyrical poets are obviously and radiantly singable, and meant to be sung, and in their authors' lifetime they were sung. So far then from the finest lyrical poetry being impaired by association with music, it is only the maimed poetry of decadence that does not admit of such association, one unfailing mark of a lyric of the highest order being that it rises to the true singing quality. ”

“ The singing that haunts us, which becomes part of our life, which fills the memory with tender and happy images of other days and scenes, is not necessarily that of the finest voices, but of that mingling in music of voice and skill and feeling which weave an enchanted spell. ”

“ In singing the former she exhibits a most winning naïveté, enters wholly into the spirit of the song, and with a full, pleasing voice, impresses deeply its melody and meaning upon the hearts of her hearers, thus exhibiting the highest kind of lyric eloquence. As a singer, then, of ballads alone, she would take high rank in the musical profession, even if she did not excel—it has been seen that she does—in the rendering of songs of a more technical character. ”

“ If she is trained she will make a great singer."
I shall never forget the words—it was like having a door opened into heaven. Music had always set me quivering with a sense of beauty that was almost too great to bear. After that all my dreams, all my talks to myself were of singing—in a wonderful, great hall, filled with rows on rows of people, a glittering crowd, with princes and princesses among them, and in that final intoxication of joy, when my voice should soar and soar far up above, carrying the souls of all that crowd with it, I would feel the meeting with something that was Divine. ”

“ The education of the singer of to-day requires to be conducted on broader and more comprehensive lines than in the past, on account of the different conditions which have presented themselves. Singing—that is, the alliance and utterance of Music and Poetry—is one of the highest manifestations of the Beautiful, and is man’s supreme and greatest creation. ”

“ Some of us must wait for the best human gifts until we come to heavenly places. Our natural desire for musical utterance is perhaps a prophecy that in a perfect world we shall all know how to sing. But it is something to feel music, if we cannot make it. That, in itself, is a kind of unconscious singing.
As I think back to my childhood, it seems to me as if the air was full of hymns, as it was of the fragrance of clover-blossoms, and the songs of bluebirds and robins, and the deep undertone of the sea. ”

“ Great singing may be founded on mere understanding, on knowing the souls of men and women. But it is rooted in human experience. You must have human experience, my child, before you can become a great artist.”
Dorothy rose. ”

“ When they rose to sing, the tune must needs be one which they had often sung together, out of the same book, at the singing-school,—one of those wild, pleading tunes, dear to the heart of New England,—born, if we may credit the report, in the rocky hollows of its mountains, and whose notes have a kind of grand and mournful triumph in their warbling wail, and in which different parts of the harmony, set contrary to all the canons of musical Pharisaism, had still a singular and romantic effect, which a true musical genius would not have failed to recognize. ”

“ Here is no prima donna, but an artist who sings. Her voice is a brimming-over of loveliness; her emotional power becomes inevitable, for she sings in phrases of beauty—a living beauty that moves to tears. Hers is an art that pervades and satisfies ... ”

“ This native growth of song, in which the chorus or refrain, the dance of a festal multitude, and the spontaneous nature of the words, were vital conditions, gradually faded away before the advance of cultivated verse and the vigor of production in what one may call poetry of the schools. Very early in the history of the ballad, a demand for more art must have called out or at least emphasized the artist, the poet, who chanted new verses while the throng kept up the refrain or burden. ”

“ It should be treated as a means of expressing the feelings, not as an introduction for developing musical capacities, though for that matter singing can give a lead to the discovery of musical talent. ”

“ Shall we now begin the singing,
Sing the songs of old tradition?
Singers can but sing their wisdom,
And the cuckoo call the spring-time,
And the goddess of the heavens
Only dyes the earth in beauty ”

“ A fine singing voice has, perhaps, the most beautiful of all tone colors, but the sensibility of many people seems to be limited to that alone. In fact the love of singing is, in many cases, merely a sentimental thrill unconnected with any intellectual process and entirely devoid of imagination. In the orchestra the tone of the instrument is to the theme itself what the color is to the rose. ”

“ A Ballad History is welcome to childhood, from its rhymes, its high colouring, and its aptness to memory. As we grow into boyhood, the violent passions, the vague hopes, the romantic sorrow of patriot ballads are in tune with our fitful and luxuriant feelings. In manhood we prize the condensed narrative, the grave firmness, the critical art, and the political sway of ballads. And in old age they are doubly dear; the companions and reminders of our life, the toys and teachers of our children and grand-children. Every generation finds its account in them. ”