Richmond times-dispatch. [volume] (Richmond, Va.) 1914-current, 1916-02-27
ction---F Any One of These
Fail You Cannot Be a
Caruso or a Farrar

be absolutely true. II it is not, the note
that has been seen, accurately perceived,
and accurately transmitted to the sound
centre, will not be at all the same note
when it issues from the throat. 1t is
here that so many singers fail.
AL the same time the other factors in
voice production-the lips, tongue, and so
on. No. Z. are brought into play The
note is then emitted.
But still three more links remain The
singer must know that he or she has
emitted exactly the right note in it's &C.
curate pitch. The sound travels back to
the ear, is carried by the ear to the
auditory centres Of the brain. This is tie
checking up
The ninth link Is the perception Of
rhythm or what musicians call time"
Time is the harmonious intervals be-
.ween notes. This faculty is controlled
by the semi-circuar canals in the ear
which also control equilibrium. When
musical notes are read and the image
transmitted by the process just described
into sound, an impulse also goes from the
nerves OF the semicrcular canal I'D to
the sound centre, where it arrives stimuli
taneously with the image OF the note from
the sight centre. Both tonal and time H.
pulses then go along the nerves 10 the
vocal chords. 1t is. indeed, just like send
ing two messages at once over the same
telegraph wire.
This is, in a nutshell, the actual me-
chanism OF what makes the voice" of a
grand opera singer.
An authority on this subject whose
work and writings have gained world
wide notice is Professor Carl f. Sea-
shore, Of the University of Iowa
At that institution a music abora-
atory is being developed for the pur-
pose OF measuring musical talent in a
professional way. Writing in the latest
issue OF The Musical Quarterly, Profess
sor Seashore says:
This system Of measurements. il it
may be called system, is unfortunately
not adapted for general use by musicians
themselves. 1t prcsupposes a technique
an equipment. and a skill in psychologist
cal analysis which the musician does not
possess. 1t requires specialist trained
In music and psychology and will tend to
open new professionalism OF con-
sulting psychologist in music. Since the
elaborate measurements will be made
only on those who have serious aspira-
lions for professional career in music,
many will not be needed; but laboratories
might we'll be maintained in a few Of the
principal music centres.
Such tests may eliminate the help
lessly unmusioal and save them from an
lntolerate imposition OF musical require
ments; but their real value is in finding
the gold in the dross. One gifted child
found early, investigated and encour-
aged, is a great reward"
In tho laboratory process of finding
gold of this kind, Professor Seashore
charts the results of tests made to estab.
lish the following:
Tonal hearing-or pitch discrimination.
Tonal imagery
the ability to hear
in Imagination.
Tonal memory
the span Of immedi- -----
ate memory for
tones.
Consonance = the
ability to distinguish q
consonances from
dissonances. F. ~
Time sense - the -
ability to hear with -----
accuracy the dura. t------
ton Of short time.in.
tervals a s..'.1,r<s.'s.ru
Free rhythm - the
rbntS,' ~ i"'' " a i'oe A Is the Idea
Regulation rhythm ne,Jes -
the ability to fol- a>' 10