The Kenosha telegraph. [volume] (Kenosha, Wis.) 1860-1888, 1885-01-02
MUSICTOCAL AND IN
STlRUMENTAL.
Continued from last aneek. !

y
the effect that l would give my
readers in this issue a synopsis of the
art of singing. l have heretofore stated ,
that the singing master should have very
little to do with the voice. In fact, some
of them 60 too far in that direction. The
art of singing, however, or the knowl-
edge of and the perfect management of
the voice is not so generally understood
and is not easily acquired without the
assistance of a competent master. For
it should be remembered that to sing
we'll is not wholly accomplished by being
able to please or charm the ear. The
musical sounds should be appreciated by
the understanding, so that we can intro
duce into our performances a feeling that
will cause the auditors to feel as we feel
In order to become an adept in the art, we
should understand perfectly the nature
Of and the capabilities of our instrument.
Let us, then, examine the human voice.
I will not give you my own imperfect
theories simply, but the instructions of
the very best teachers that l have been
able to find in this country. You will,
however, be compelled to accept the
subject IN my form or presenting it,
The voice, considered as an instrument
consists of four parts bellows, current
tube, reed and an acoustic bell. The
bellows, or lungs, provide us breath and
the power to send it (the breath) up
wards with sufficient force, the chest
acting as a sounding-boald. The cur
rent tube, or wind-pipe, is elastic, and
can be made shorter or longer, and is
also capable of being increased or de-
creased in diameter. The reed, or
larynx, is found at the termination or
above the wind-pipe. The larynx is con-
sidered by anatomists the organ of the
voice. 1t is composed of five principal
cartridges that move by means of GER
tain muscles. They act upon the two
cords or elastic tissues that pass to the
back of the tube. These cords are
known as the vocal ligaments. This
portion of the larynx generates the voice.
The opening, or aperture, between these
cords is called the CLOTHS. Opening into
a small cavity, it gives the ligaments
room to vibrate. There is another pair
of cords at the termination of the cavity
known as the false vocal they, how
ever, take very little part in the produc-
ton of the voice. When we breathe
simply, the true vocal cords recede and
do not come in contact with the current
Of air, or breath, so violently as they do
when we speak. In singing, however,
these cords are brought together, so as to
narrow the CLOTHS into slit, as it were,
and the vocal cords are frightened by the
action Of the surrounding muscles the
air breathed from the lungs is obstruct-
ed by this narrow slit, which throws the
edges of it into vibration, and this vibra-
ton is recognized as the human voice.
The mouth may be considered as the
acoustic bell, which, to say the least, is
a cavity that modifes and varies the
character of the sounds. Add to this
description the following considerations,
and we have good idea OF the voice
and its capabilities. The acuteness> of
the voice is regulated by the size of the
larynx, being larger and wider in deep
voices. The strength Of the voice is de-
pendent on the muscular activity of
the larynx The best quality of tone
comes from symmetrical construction
of organs.
The compass of the voice is said to be
fifteen notes, but in different parts of the
scale in different persons. In the aver
age voices of men there are eight notes,
called the middle compass, that are
clear the higher notes require more
effort to produce them. Below the mid
die voice the tones are deep and of less
volume. With certain voices and at
certain height notes of a peculiar char
acter are produced. These are called
the falsetto, and are produced quite
easy with some people. The different
stages of the compass of the voice are
called registers-chest, middle and fal-
setto, respectively. The voices of boys
are very much like those of worlen.
The voice is said to crack, or change,
about the 10th Or 18th year, at which
tune vocal exercises should be discon-
tinued for, at least, one year.
The art of singing consists First, in
thorough knowledge of music; Sec
ond, in being able to realize or appreciate
all the different intervals third, in
knowing how to expand or diminish the
voice; fourth, in perfect pronunciation );
fifth, in being able to keep good time,
and, sixth, in cultivating refined taste.
Now, it is impossible for me to enlighten
you, to any great extent, in the above
six principles, except by personal in
structions, but | will note few faults
to be avoided, and at the same time in
struct, as much as possible, on the man.
agement of the voice. To sing with
power we must have copious supply of
breath. The chest should be expanded.
You should guard against all weakening
influences. Draw your breath quick and
with some violence, breathing it forth
slow and with resolution, The throat
should be free and not mufded. You
cannot sing well while sitting, and it al
so injuries the voice. A dull tone NAV
be avoided by judicious management Of
the breath. Gutteral tones arise from
the tongue being drawn upwards or
backwards. Nasal sounds arise from the
closing of the nostrils we do not sing
through the nose, but the nasal exit for
the voice is closed up. The mouth
should be opened widely, but not too
much so, and the corners we'll drawn
A progression of two notes must be
taken in such manner that one can be
distinguished from the other. A pro-
erosion Of several notes will demand a
proportionate supply of breath. In tax
ing an interval, the bad habit of gliding
to a note, or, as it were, feeling for it,
should be avoided. Let it be your study
to avoid carelessness and rapid enuncia-
ton of sobilants" in singing English
words, and to utter such sounds slowly |
and carefully, with the endeavor to pro-
duce soft and agreeable effect. A
singer is objectionable, indeed, if he or
she does not render the words of their
native country's songs and ballads per-
fectly. Correctness of emphasis is also
to be considered. A good way to bring
about this result is to place book on a
level with your eyes, and read aloud, in
a standing position, being careful to
speak out deliberately, and with full
one of voice. Shakespeare would be
he best author for this practice. In
1roducino sustained tones with tba