FURTHER TREATMENT OF PHYSICAL AND MENTAL HYGIENE.
_Stammering_ and _stuttering_ are allied but not identical defects.
They require special treatment, the earlier the better. Much can be done by the exercise of a little patience and kind consideration, to make the subject of these infirmities feel at ease, and so manifest the defects as little as possible. It is, of course, as a general rule, very unwise to take any notice whatever of such imperfections, as they are thereby made worse. As a rule, they are best treated practically by those who have made this branch a specialty.
Those who have been badly taught, or who have overworked the vocal organs and, in consequence, may have broken down, are among the most discouraging if they be not the very worst cases that come under the treatment of the physician or vocal teacher. If the throat be out of order, a specialist should be consulted. He will likely enjoin complete rest of the vocal organs, and his advice should be implicitly followed. But usually the time comes when some sort of vocal exercises may be resumed. When this is the case, the choice of a teacher becomes of the utmost importance, more so than in ordinary cases, for further injudicious treatment may lead to the utter ruin of the voice.
a.s.suming that medical treatment is no longer or not at all required, we recommend: (1) That all practices be only _piano_, or, at most, _moderato_, for some time; (2) that they be of very brief duration at any one period, so as to avoid fatigue; (3) that they be well within the range of the singer. The same principles apply to speakers who have broken down, whether owing to bad methods or to over-use of the voice. It is most important that strength and facility be gradually gained, and that weariness, not to say fatigue, be strictly avoided.
If the general health be good, time, patience, and the utmost care in the application of the above principles, under the direction of an enlightened teacher, will in a large proportion of cases restore the voice for efficient use in at least moderate efforts. Of course, much depends on the age, general health, intelligence, etc., of the subject.
On the question of the extent to which a singer"s range can be safely increased, the greatest difference of opinion exists, and very extreme views have been held. On the one hand are those who almost ridicule the idea of "making" tones, and on the other, those who maintain that the range of all young singers can be increased by proper training.
As a matter of fact, there are many singers before the public to-day whose range, either upward or downward, has been increased by many tones, in some cases almost an octave, and these singers are successful artists and sound vocalists; while others have sought to add but two or three tones to their range, and in vain. This is quite intelligible. As a rule, those of the former cla.s.s have fallen into the hands of very good teachers, while yet young, have had excellent health and well-formed vocal organs, and been patient and attentive students. The acquisition has been gradual, and never forced. We have before said that if a pupil felt his throat the worse for a lesson in vocal culture, there was something wrong: either the method was incorrect in itself, or the practice was continued too long or carried out too vigorously. Of course, it is always a.s.sumed that the vocal organs are in a normal condition, and the student"s health good not only generally but on the day of the practice.
It is in every case for the student himself to determine, from his own feelings, whether the attempt to reach a certain tone produces straining, and for the teacher to judge whether this be so, from the appearance of the face of the pupil, the character of the tone, etc.
One thing is certain: harm, and harm only, is done by any form of forcing or straining. At the same time, as the athlete increases the height to which he can jump, or the speed with which he can run, even during a single season, it seems illogical to conclude that in no case can a singer safely reach tones that are not originally in his voice--meaning thereby that he is unable to sing them at the outset of his career. This is one of those subjects on which common sense and science unite in admonishing us to test cautiously and to progress gradually, if the purpose is to be achieved with good results for the individual and for art.
It is also unwise for a singer to attempt those selections in public the range of which taxes him to the very utmost. They lead to undue anxiety as to success, violate the principle of reserve force, to which reference has several times been made, and may lead to vocal failure, if not to injury to the throat. Though it is true that occasionally a song suffers by transposition to a lower key, if the vocalist is determined to sing a composition even slightly beyond his easy range, it is better to resort to it than to risk the possibilities mentioned above and other undesirable ones.
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. In like manner, a pause may often serve a very good purpose in preparing the ear of the listener for an effect that should be telling, yet a difficult one for a person of limited physical powers.
In reality, all the best art recognizes, mostly unconsciously, the peculiarities of our physical and mental nature. A continuous _forte_, for example, ceases to be a _forte_, in reality, since the ear and the mind weary under it, and all the effect of contrast is lost. As we have more than once said, good art is physiological--in harmony with the laws of the body, as well as of the mind. It follows that each one should study especially how to make the wisest, the most effective, use of his powers, for what is best for one may not be so for another.
A singer or speaker, by reason of a voice somewhat small in volume, may seem to be shut out from certain buildings. This need rarely be the case. The artist must simply the more carefully consider how he shall vary his effects, how so use his powers that they shall suffice.
A loud voice may be a very bad one for the hearer, and may annoy and weary rather than please. When a building is large, nearly all effects should be increased--_e.g._, all pauses lengthened, the _tempo_ taken a little slower, the contrasts made stronger, etc.,--rather than the volume of tone increased. The method of attack becomes of the utmost importance; all low or soft pa.s.sages should be sung or uttered with the greatest distinctness, all final letters most perfectly finished.
It is especially important for a speaker to be aware of his favorite--_i.e._, most easy and natural--pitch, and also that pitch which best adapts his voice to a certain building. Many forget that sound does not, in reality, travel very rapidly, and that allowance must be made for this, so that one tone shall not break on the ear before another has had time to be attended to--one idea to be grasped before another is presented.
Of all things pauses are of the greatest importance, to the listener, that he may apprehend the ideas presented, and to the speaker, that he may have time to take breath and a brief rest, and also seize the opportunity to readdress himself, so to speak, to his auditors, by the use of another accent, pitch of tone, or whatever he deems most apt to his purpose. Speakers who make suitable pauses with intention (not from lack of ideas), or from an artistic instinct, give pleasure, as well as effect their intellectual purpose, for the listener also gets his moments for rest, perceives readily what is meant, and enjoys the purely sensuous in the art far more than when the speaker"s utterance rushes on like a torrent. All this applies to a certain extent to the singer, though it is but very inadequately observed--we must say, however, much better than at a former period, when "ranting," on the stage especially, was a very common fault.
In an earlier chapter attention was given to the precautions to be taken before a public appearance, especially by those who are inexperienced; and we would again emphasize the fact that those who have the best training, and have made the most perfect special preparation for the coming event, are least likely to suffer from that great disturber, nervousness; and when they are somewhat tense, the well-disciplined often recover rapidly, and frequently astonish their friends by the success of their first appearance. We strongly recommend all who can to take rest on the day preceding and following a hard evening"s work, and preferably, in summer, in the open air. A quiet walk in a park, where one may think or observe or not, as he feels inclined, is an excellent thing to do, either before or after a strenuous artistic effort. If the battery is to be well charged, it must not be discharged even partially before the right moment.
Amateurs and the inexperienced are particularly apt to neglect such precaution for success, and to fritter away their energies by attention to details, possibly trivial ones, up to the last moment.
Happy is he who, well prepared for his task, free from worries, unmoved by envy, jealousy, or undue ambition, can step before the public resolved to do his best for art, and who, having done it, can rest in the satisfaction that he has contributed something to the innocent and enn.o.bling enjoyment of his fellows, and so has helped to advance those of his own generation; caring little for either the flatteries of admirers or a criticism that may be ignorant, unjust, or malignant, but feeling that the best reward is the approval of his own conscience, knowing that "Art is long, and life short."
CHAPTER XX.
REVIEW AND REVISION.
All the most important truths of any subject may be stated in a brief s.p.a.ce. The Author proposes to make this final chapter one of a restatement of the essentials of the subject in the light of our present-day knowledge, and with a distinct relation to practice.
The object of the speaker or singer is to produce certain sounds which shall as easily as possible convey to the listener his own state of mind. It follows that he must have a clear idea of these sounds, that he must hear them mentally prior to their utterance; in other words, the psychological must precede the physiological. Voice production for the purpose of speaking and singing implies a cooperation of the psychic and the physiological, a co-ordination of processes that are psychic, and physical, somatic or physiological.
It is well to regard the subject from as many points of view as possible, and to consider the various ways in which the same truth may be stated.
Stress must be laid on the idea of co-ordination, for processes may be independently satisfactory yet fail to lead to the desired result if they are not connected, harmonised or co-ordinated. The latter is the better term because it suggests a certain order of progress. As a matter of fact, first the psychic, then the physiological. The idea may be clear, yet from a physical defect, as in stammering, the result does not follow, though this physiological imperfection in movement may itself be the result of a psychic condition and generally is so. A clearer case is that of paralysis of the vocal organs. The ideas to be expressed may be perfectly clear in the mind yet impossible of expression. The defect is at the distal end of the combination--_i.e._, in the physical, somatic or bodily part of the process to express the same idea by the use of different terms. The consideration of conditions of defect or pathological states may make normal psychological and physiological ones clearer, as has been shown by the above ill.u.s.trations. The practical importance of the co-ordination of processes is very great. It is not possible for one born deaf to speak because the necessary mental or psychic conditions for co-ordination do not exist--_i.e._, there is no sound in the mind to be expressed--not because there is any serious anatomical defect. In like manner the student of singing will produce no better tone than he has in mind no matter how much he practices vocalization. It follows, therefore, that the psychic state of the student should be kept in advance of his actual powers of execution. This he will most successfully do by listening to the best artists either directly or if this be impossible by hearing their gramophone records--all this in addition to the best the teacher can do for him by the correction of faults, giving him ill.u.s.trations of better tone by his own efforts, etc. If the student has the opportunity of hearing himself by means of a phonographic record, he should not fail to do so. No one ever hears himself as others hear him.
As the mind and the brain are always a.s.sociated in thought and feeling; in other words, in psychic processes, and these latter find expression chiefly through movements, in one sense a study of vocalization may be considered a study of movements. These are always brought about by the use of several muscles which act together for a definite end--_i.e._, they are co-ordinated. As such movements generally involve many muscles and to be effective must be exact and under perfect control, much practice is necessary, though "much"
should have reference rather to the clearness of the mind in reference to what is to be attained and the means of accomplishing it, rather than to the amount of time spent over the actual performance. We may confidently a.s.sert that technique or the physical side of putting the ideas into execution, which is simply making certain movements, is successful largely in proportion to the perfection of the psychic processes involved. A clear head should precede the moving hand, or functioning vocal organs. The student should think technique before and after its actual execution. This is even yet, in spite of a great advance in recent years, the weakest part of the student"s method of work. All that we know of science as well as the results of all rightly directed practice emphasizes the importance of this central truth.
a.s.suming that the psychic condition is satisfactory for the production of a definite tone--_i.e._, that it is heard mentally, what follows before it is actually produced, before it becomes a tone from the physicist"s point of view? What is the chain of physical, somatic, bodily or anatomical (to use several words that express similar but slightly different aspects of the same main idea) connections involved, and what is the nature of the physiological processes; in other words, what are the parts of the body involved and how do they act? This will be clearer if we first consider the mechanism concerned and its functions in a general way.
The instrument which is played upon, which finally gives rise to the tone, may be spoken of as that connected series of cavities for which we have no single term but which are generally named the resonance chambers when regarded from the physicist"s point of view. To the musician they are the instrument, to the physiologist and anatomist a set of chambers communicating with each other. Plainly all the rest of the vocal mechanism exists for them, and too much stress cannot be laid on this fact. However excellent the state of training of the part below them this is of no avail except in so far as it can affect these resonance cavities.
How is this instrument played upon and how are these cavities made actually into resounding chambers? In the answer to this, in the recognition of the relationship of the three distinct parts of the vocal apparatus lies the one great fundamental conception of the manner in which tone is produced. To understand this clearly is to comprehend in its main outlines the whole subject of voice production in a scientific way.
Before a tone is heard vibrations of the atmospheric air must reach the ear. These are set up by the vibration of the air within the resonance chambers, and this again is effected by the mechanism below them--_i.e._, by the movements of the vocal bands of the larynx which are due to the blast of air emanating from the lungs, this itself being brought into being by the movements of the chest, using the term in the widest sense, thus including the diaphragm, etc.
Breathing has for its object so far as phonation is concerned no other purpose than to so affect the vocal bands, that the resonance chambers really do resound. The question is how is this breathing best accomplished so that the instrument shall be most efficiently played upon? We cannot alter the anatomical structure of the instrument appreciably, but we can improve the functioning of the several parts of the whole apparatus. Breathing can be improved as regards power and control. More can be done with less expenditure of energy than originally if there be judicious training. How shall we train? As the outgoing stream of air alone affects the vocal bands, it is clear that we must aim to so apply and regulate this outflow that the desired result shall follow from the least possible expenditure of energy. How the air is got in is important only in relation to its expenditure.
But the easier the supply is furnished the better. This law of the conservation of energy is one of the greatest importance, for all beings have but a limited supply of energy and our problem must ever be how best to husband this as a wise man should study how best to spend his limited income. 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.
The aim of all training is to establish good habits--ways of doing things which will leave the subject with more capital to invest so to speak, as he wastes less. It follows that the same methods should always be used in trying to attain the same end. There are few subjects of equal importance so little considered by students of music in a conscious intelligent way. A clear conviction as to the foundation for close adherence to certain methods of doing things is an invaluable mental a.s.set for any student.
The whole subject of breathing has been so fully considered in previous chapters--indeed more or less in all parts of this work--that it is not necessary to go into much detail now. The investigations of physiologists in the internal have only emphasised the author"s teaching on this subject. The present position of the subject may be stated thus: (1) In inspiration the whole chest is enlarged, this involving the descent of the diaphragm. (2) The amount of mobility is much greater in the lower half of the chest. (3) This lower half of the chest and the diaphragm act together, const.i.tuting a special mechanism of great importance. (4) The abdominal muscles discharge a cooperative function. It follows that the advice of a present day famous tenor to "breathe low" is sound. Nevertheless, it must not be forgotten that inspiration begins above and that the upper chest has its functions also. It is not merely a region of support for the lower mechanism, important as this function is. The terms "abdominal"
and "diaphragmatic" respiration have led to misunderstanding. Neither the abdominal muscles nor the diaphragm ever act alone in normal respiration, though they are important cooperative factors.
Breathing exercises should be based on broad views of the subject, and no part of the respiratory mechanism should be neglected.
Small an organ as is the larynx it is through it the energy of the expiratory act is transmitted effectively or the reverse to the all-important resonance chambers. This should be so done that there is no waste; in other words, that there be perfect co-ordination between the breathing and the laryngeal mechanism. The vocal bands must be so related in function to the expiratory mechanism that the outgoing blast of air shall be as effective as possible. There must be no waste of power--_i.e._, of the expiratory blast through escape of air that accomplishes no purpose. The blast must be so applied to the vocal bands, or, in other words, they must be so adapted to the blast that there is no waste of energy. If the bands approximate a little too late there is waste of breath power. The bands must further so beat the air of the resonance chambers as to get the greatest possible result with the least possible expenditure of energy. As all these co-ordinations imply the action of many muscles in a related way, it is plain that intelligent and prolonged training is necessary; and if our scientific knowledge had no other result than to establish such a conviction on a sure basis it would be well worth while; but it is a light unto the feet of the student and teacher at every step, only it must be a clear light, not one seen through a mental haze. If there be failure the fault must not be set down to science but to ourselves.
It is ever to be borne in mind that when anything is done in the right way not only is there no pain, unpleasant feeling or evil after-effects, but when real skill has been attained through training, the result is accomplished with a sense of ease and all the accompanying feelings are agreeable. The singer need not know that he has a throat by any disagreeable reminder. At the same time a function may be correctly discharged but continued too long, so that weariness or positive fatigue with some evil consequences may follow. Fatigue always implies more or less poisoning of the system.
Of the resonance chambers, the mouth cavity, the pharyngeal cavity and the naso-pharynx, which may both be regarded as a part of the mouth cavity, and the nasal chambers, the latter may be considered the least variable in shape; nevertheless they can, by means of the soft palate, be to a large extent shut off from the other parts of this series of chambers.
The means by which the size and shape of the resonance chambers can be varied are chiefly the soft palate and the tongue, the latter being of the greatest importance. The changes in the shape of the mouth cavity necessary for the formation of vowels are due chiefly to the movements of the tongue, and the tongue is more largely concerned in the utterance of consonants than any other moveable part of the upper voice mechanism.
For practical ends it is important to realize that one speaks with the tongue; and if one believed that everything depended on this organ, other parts--including the outer mouth or lips merely to be kept out of the way--the result would on the whole likely be gain.
In the formation of vowels the result may be good when the lips take but the slightest active part, and the student is advised to practice vowel formation without the use of the lips. He is likely to use them enough in any case provided he ensures the formation of pure vowel sounds, and people seem to have an extraordinary facility for over-doing the use of lip movements, for getting the teeth in the way and thus spoiling tone, that was begun well, before it has escaped from the mouth. It may be observed that those who get their living on the streets by the use of the voice, and who use the voice much and often speak rapidly, and in spite of this are heard well, so construct their words that the lips are not seen to move to any appreciable extent except as the lower jaw moves. The lips seem to be always apart. It is not the amount of movement that is important but the kind of movement, especially its rapidity.
Muscular efforts for the production of consonants should be neat, decisive, sharp, rather than held ones, which tend to spoil the word as a whole. As a rule, one is safe in holding the vowel as long as possible and in making the time dwelt on the consonant as short as possible--_i.e._, consistent with distinct and musical utterance.
The same applies to singing with even greater force. In speaking especially short pauses not printed in the text may be made to great advantage, and this is often better than dwelling on consonants. The mouth of the speaker and still more that of the singer should not attract the attention of the listener, so the less movement of the lips of a kind readily open to observation, the better. Besides such movements being unnecessary are a waste of muscular and nervous energy.
Singers are not warranted in departing to any appreciable extent from the p.r.o.nunciation of words laid down as standard for speakers--_e.g._, "shall" should not be sung as "sholl," and in such a word as "motion,"
the final syllable should not be made equally important with the first one. Singers should observe the laws of a good elocution; in other words, such treatment of the language of the song as an approved reader would employ. The author would go so far as to say that no singer should appear in public till he can utter every syllable as he sings so that it is readily recognised by the listener. At present such is rarely the case even with the best vocalists. All prospective vocalists should study utterance by the speaking voice first and continue it when the study of singing has been begun. The words of every song, etc., should be mastered in all respects before they are sung.
As the degree of success in singing or speaking depends so far as technique is concerned on a series of co-ordinations the condition of both the psychic and bodily mechanism as determined by training and the general health of the individual is of great importance; and it is not to be forgotten that the mind as well as the body is to be considered in all questions of hygiene.