The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1896-05-14
VOICE.

"There is much music. excellent
voice in this little organ: cannot you
make II speak?'In accepting your invi-
tation to express my views on voice I
beg to say there Is nothing so difficult
to write about as the voice in practical
use and the actual results we obtain In
practice, hence we never hear of per-
son who has learned to sing beautifully
by reading, talking or thinking about
the voice.
The study Of the voice in oil its as
poets offers the most varied, profitable
and delightful field for the earnest stu
dent to engage in. An instrument so
superior to every other In it's grandeur
Of expression and marvellous resources
1t is practically inexhaustible.
Its power-what is there that exerts
q greater influence in the tide Of human
affairs; its construction-what strong
er exponent Of charac er. Let any PER-
former make the most sympathetic tone
possible on his instrument and its
beauty impels us to eXclaim, 1T sounds
like human voice."
A good voice Is a great gift for which
the possessor has reason to be devoutly
thankful and for the proper develop
ment and use Of which he Is to con-
slider himself responsible.
II We can keep our voices from be.
ing unduly forced. we shall always be
ready to improve the quality and pro-
duce resonant tones. 1t Is a great mis-
fortune. to put 1t mildly. to have once
strained the eXpressiveness out Of the
voice. The voice, of course, responds
for q long time to q great strain and
springs back into repose but there
comes a time when the freshness and
expressiveness Of it Is gone.
The voice Is certain to express some-
thing to a careful listener, but Is 1t not
too often q high nerve tention that we
hear instead of an expressive note, and
many times the embarrassment Of not
knowing how to control the breath?
Many speaking voices are unquestion-
ably tense and hard from unnecessary
strain and truly we con say the same
of the singing voice. The cause Is
probably the same. a desire for
power Teachers are driven to every
eXpedient to lead pupils to look for
higher ideal and to teach them a higher
sense of tone.
This comes perhaps as much from
friends who have little or no sense OF
expressiveness of the voice or the time
required to perfect 1t, and who only
applaud the power. They want to end
at the beginning of Art. The process of
developing the voice Is one Of slow and
natural growth and cannot be hurried,
but II we carefully adjust our forces
our possibilities widen gradually and
we come to O better understanding OF
quality and resonance OF the voice,
which are akin. Resonance may
best be defined as the reinforcing or
strengthening Of sound. Resonance
Of the voice would mean then the REIN
forcing of the tones produced by the
vibrations Of the vocal chords. Notice
the word reinforcing not forcing, the
voice cannot have quality without re-
sonance (not tremolo) or resonance
without quality. The one with proper
cultivation will bring out the other in
voices capable Of both. The diaphrag gm
on account Of its relation with respira-
ton is Of the utmost importance in
vocal training.
The use Of the vocal organs depends
upon the use Of breathing; and voice
culture based upon anything except
breathing Ia Of little value to the stu
dent
BREATHING.
We hear much on breathing but the
one thing most essential is the con-
troll Of the out going breath. hith-
erto almost entirely neglected In sing
ing. Forcing the voice Is fruitful only
Of harm; reinforcing In O proper way Is
essential; In fact IL the secret Of obtain-
ing the best results from the voice.
Teachers Of voice culture are Of course
glad to have the attention Of men and
women turned to this subject, because
we now there are but few who cannot
derive much good from the proper
study Of singing. Every one should
follow regular course Of deep and sys-
tematio breathing. Nature has but
one way and when We find that way
1t should unhesitatingly be followed.
Students must receive Q definite and
pure conception Of the end they are
striving to reach. There Is hardly
power Of the mind or q muscle of the
body that Is not more or less called into
action In artistic singing. hence the
greatest attention to even the minutest
detail is certainly indispensable in this
as In every other field Of research. The
mere going through a given vocal exer-
else without intelligent thought as to
why and how, Is mere drudgery, and
not likely to be productive Of the best
results. The study however can be SO
directed as to be a source Of enjoyment
as well % profit to the student whether
Of small average or unusual intelli-
gence. The relation of teacher and
pupil Is Of such that he who under
stands the influence of mind over mind
the power to transfer thought, can ac-
complish more work in given number
OF lessons than can anyone else, and
will reach results quicker and the re-
suits will abundantly reward his pa
tience and perseverance,. Time spent in
the study of voice culture is not wasted.
There is both mental and soul devel-
opment, therefore urge more general
study of this beautiful art in order that
song with its JOY and helpfulness may
enter more fully into lives Of our people.
people.
It may be noticed that no attempt
Is made to present anything new espec-
tally, but only in meager way to ask
singers to reflect carefully on the mat
ter of repose In singing and forget en-
tirely that 1t is not forced power but
perfect adjustment that is needed, and
it Is not possible to learn this careful
adjustment Of all forces used in sing
ing except under the guidance Of an ex-
perienced teacher. The more we study
the more We feel the need of study.
KATHARINE ELIZABETH WILCOX.
HAWAIIAN MIISIC