Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1903-02-27
ACQUIRING A MELoDIous VOICE.
The American Woman's Ignorance of
Her Vocal Instrument.


For the woman who suffers from a
harsh, unmelodous voice there is hope.
Miss Emma Thursby. who has made a
special study of this defect says there
is no excuse for anyone enduring such
an affection. II is not necessary to
learn to sing in order to have a meIodi-
Gus Voice in speech. Indeed, she thinks
that 10 learn to speak correctly should
be the first step toward mastering the
vocal art.
"The American woman has become
noted among foreigners not more for
her beauty ana fascination than she
has for her shrill, unlovely voice." said
Miss Thnrshy Indeed, ii has become
accepted not only among foreigners,
but by many of our OWN people. thar
the voices of our countrywomen are
naturally harsh. an imputation than
which none could he more unjust. The
most beautiful voices in the world are
TO be found in America.
But intonations which should be
musical are rendered discordant by the
American wonan's ignorance Of her
vocal instrument and how to produce
her melodies upon it. The proper use
0f the voice does not come naturally to
nations. The reason for this is not
clear. Some attribute the strident
tones to the life she is forced to lead
to talking III crowded rooms and upon
noisy thoroughfares. This however,
does not explain it. a voice we'll used
is clearer and carries further than does
one badly managed. Moreover Il pro-
per use of the voice enables one to
speak for almost any length of time
without firing. and, therefore, should
be invaluable 10 the business woman
The improper use of the voice is evil
IDENTIFY Il characteristic formed gener-
atoms back. Children unconsciously
learn to use their voices as do those
around them. The American 'bwang
is a matter of habit, and one which Is
RAPIDLY being overcome
The woman who suffers from "A So
called harsh voice should understand
that the term is a, misnoncr. No voice
is harsh in itself All depends upon the
management of it. one of Nine. Bern
hardts greatest charms is her voice.
Persons say that to hear her speak is
TO listen TO music. This charm lies not
50 much in her voice as in her wonder
ful power to control it. Every woman
may make her conversation as-tuneful
ana pleasure SlNlflS IT she VIII.
Miss Thursby said that it was long
after she became famous as a singer
that she learned the art of using her
voice III conversation Her teachers
would warn her not to use her voice in
talking upon days preceding evening on
which sine WAS to sing.
And" continued Miss Thursby II
would go about the house afraid to
speak Il word. carrying on any neces-
sary conversation in whispers. If in
stead of being forbidden to speak, ] had
been shown how to do so properly.
4ni.ht have talked half the day without
firing myself. :,
MANY will tell you that the use of
The voice in singing is entirely different
from that in talking. This is a mistake.
When | wish to place the voice of a
pupil for singing. | teach her to speak
correctly After she has learned this,
it is easy to advance with the vocal art,
for to sing is merely TO talk upon sus-
tanned musical tones
The first essential for a sweet. must
cal voice for speaking or singing IS cor
rect breathing. 10 learn 10 breathe
correctly it is only necessary to carry
the body perfectly poised. The work
With a pupils voice begins with her
feet. Nature does nothing without
purpose The arch beneath the lnstep
of the foot is not there for beauty only.
1t is 30 placed in order that it may sup
port The weight of the body, just as the
arch beneath bridge supports the
weight of its eXpanse. When we stand
as the majority of persons do. with our
weight on our heels. we produce the
disioeation of our anatomy that would
I,,.,.J oa W,4iO
rested on one side of its arch only.
Many persons stand with their weight
on their heels. lean back from the waist
ana raise their shoulders, feeling that
they are standing very straight indeed.
Instead they are au"lnentinS the trout
Die by weakening the SPINE and dis
tending the abdomen With bodies so
distorted one cannot breathe naturally.
In order TO gain correct poise. the spine
should be perfectly straight. ana one
should lean Forward from the hips until
the ear shoulder hip and instep form
a-stsaisht line. and the weight OF the
hoay rests upon the arch of the instep.
.Als1rS singing teachers spend time III
reaching their pupils to breathe cor
rectlv and to raise theft chests. II they
simply taught them to poise the body
propeily. the chest would rise of itself
and good breathing would come hatur-
ally.
The correct poise. once acquired
never should be lost When We walk
The straight line from the ear to the IN
step shonld not be broken The hocy
should move forward with the FOOT not
after it, When we sit. the poise OF the
body should remain perfect, our weish'
resting upon the thighs. not on the
spine. After little practice III l"is',l
the body correctly our breathing VIII NC
deep and diaphragmatie as it should.
."rhe vocal instrument Is IKE an organ ,l
the diaphragm while inhaiins anu eSn ma
inc acting as the bellows the throat do,'.s
service as the pipes through IN w nl1;,
The air is carried tq the resop,ato'Si NH !,
the lin of the tongue ana ths hps u
en,neiation may be lilsened to the Key.
with which the tones are pfous'ceu. VII
her RESPIRATION natural and noiseiess
Very wnn,an has /, perfect and tunefl
instrument al her commiinu..