The broad ax., 1920-06-19
THE MUSIC CABINET.
By Martha B. Anderson
64sO champlain Ave.
SINGING.

In this article 1 shall not attemp'
TO give a complete treatise on that
most wonderful of al human perfor
manees nor shan 1 be able to discuss
in detail that peer Of instruments, the
human voice for time and space viii
not permit. 50 / shall simply give a
few facts as laid down by a noted
vocal teacher and an authority on
things pertaining to singing.
Singing is a natural impulse in man
kind and has become an adjunct of all
that is best in modern life religion,
patriotism, education, social intercourse
and the home circle.
Spontaneous, untanght singing, eSpe-
eiaIly by companies Of people moved
by some common sentiment, is often a
JOY and an inspiration. But a fair
flower of civilization is the cultured
singing of an intelligent gifted indi-
viduaL A good song given forth in
correct style, with pure tone and
kindled imagination is a mirror of the
worthiest attributes of humanity, ele-
waited thought, refined sentiment, a
harmony of physical action, Poise.
grace, yigor and control.
Universal appreeiatica of these val
ues in song is shown by the high
esteem in which good singers are held
by the public and also by the wide
spread desire to Learn TO sing.
A good speaking voice is attractive
snd useful; and when a fine organism
is associated with a musical mentality
resulting in a singing voice. the pos
SCISSOR has a gift of great value.
But why cultivate this giftl IL
singing be natural why not sing as
the birds sing, without thought of the
proeessf theoretically, that would be
the best way to do it; and if mankind
ever reaches a state of perfection, sing
ing will be thus entirely free from
SER
But under the present conditions, If
one sings without guidance, unless he
be the exceptional one in a thousand,
he will either be very limited in powr.
compass, and other requirements of
current song, or he will have trouble
with his throat, or he will just sing
badly, in a manner offensive to good
taste. Some Of the more commonly
observed items Of bad singing are:
Singing out of tune, which may not be
the fault Of the ear, but Of method;
shortness of breath, giving the i'm
preston Of effort or struggle; forcing
Of some notes and q straining for 9th
ers; an unnatural or indistinet utter
anee of words; distortions of the face,
forehead, nostrils, lips, etc, a slipping
or sliding Of the voice in the attack
Of tones or the progression from note
10 n0te; and in addition to all this,
poor quality Of tone and an entire lack
Of the expressive element-by which is
meant not slow and fast, soft and
loud, as is often supposed, but the
freedom and sincerity Of utteranee
which makes the hearer forget the
Of singing and feel the
spirit or mood of the song.
To sing a tone is not a single act
but a combination of several acts; and
II the different bodily parts do not
perform their functions correctly, or if
here is action of some bodily parts
which should nor enter into the pro
less, the tone thus produced is said
o be impure. Impurity of tone, in
with natural or expressive
Itteranee Of song, may take many
,haseS. The most frequently observed
ire Nasal tone, pinehed (throatyl |
one, hollow tone, breathy tone, shrill
,twangy) tone, strained tone (as the
peaking voice sounds uttered while ]
lifting a heavy weight), hard tone
uttered with the tongue drawn back |
n the mouth), etc.
p To guard against, or correct such !