Ch. 5/5
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Chapter 5 of 5

INDEX

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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, the control of
a movement is simply the conscious volitional decision whether the
movement shall be performed. To adopt the language of Psychology, we
should speak of voice management, and of breath 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 the Sol-Fa names of these notes.

 

 

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