Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
May 20th, 1SS1.
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THE MUSICAL CRITIC AND TRADE REVIEW.
possible to produce the required note. Oftentimes, during an attempt to
bring forth one of these higher notes, a peculiar hissing noise is produced.
This denotes either one of two things—that the amount of air which is
forced up against the vocal cords is not sufficient, or that its velocity is not
great enough. Those who make use of forced singing are either played out
as regards their voice-producing apparatus, or totally ignorant of the manner
X.
in which this instrument should be treated, or they are performing when
How THE VOICE I S DESTROYED.
there is some portion of its mechanism out of gear.
There is no place on the face of the earth that would tolerate such
Facial expression is just as natural to the vocalist as bodily expression
•chicanery or empiricism as is daily practiced in this country with regard to to the pianist. They both denote a sort of feeling or appreciation of the
"voice training. All that seems to be required of the average professor in work being performed. If, however, the face is contorted by the efforts at
the way of testimonial is that he shall sing a few pleasing songs, and shall vocalization, or the body twisted out of shape while wrestling with some in-
liave in his possession recommendations from this or that master, which set strumental piece, a certain portion of the pleasure of the listener is de-
forth in glowing language the wonderful ability possessed by the bearer. stroyed, for do we not watch most earnestly every change of expression or
How many of these letters may have been gotten up by, or may have been every movement of those who please us? But what I hold is this—that
purchased, or possibly inherited by the ones who present them, I shall incorrect acts, whether they be in singing or playing, engender faulty and
not venture to assert, but this I will say, that the truly capable teacher therefore unpleasant muscular action (for all expression is due to muscular
seldom, if ever, has occasion to make use of credentials such as the above. action.) I t is positively painful to see the faulty singer endeavoring to put
A favorite habit of this class of irrepressible quacks is to travel about with on a pleasing expression when p-a-i-n is delineated in every feature of the
books full of letters purporting to have been written by their pupils, and face, brought on by undue muscular efforts, and then when he braces him-
which state that this person's voice has been thoroughly restored, or the self for that final note which no doubt he intends to be irrepressible, his
•other person's vocal organs have been speedily developed by a " most won- countenance assumes a sort of fiendish expression that is fearful to be-
derful method." Another trick which they make use of for the purpose of hold. The manner of breathing of these performers forms an excellent
gathering in victims is to advertise for singers to take part in some grand indication of their style of singing. It is generally constrained, laborious,
concert which, on account of its vastness, the originator will be compelled and difficult because a much greater volume of air has to be inhaled with
to collect from each individual participant, a certain stipend, in return for each inspiratory act than would be required were the tones natural. I t is
"which a certain number of lessons will be given. How many of these likewise spasmodic because their supply of air is apt to become exhausted at
•entertainments really take place I leave for the many who have been thus any time, which frequently compels them to refill the lungs with great
swindled to answer. This variety of swindling is a gold mine which the celerity. They cannot, like the properly trained artiste, tell to a nicety the
musical quack works with astonishing results, and it will always continue exact quantity of air requisite for the rendition of a certain passage. A
t o be such as long as people with "more money than brains " have so great peculiar blowing noise is also frequently heard during their respiratory acts.
an infatuation for appearing in the guise of public performers. I t may This sound is produced by the great amount of strain imposed upon the
seem strange that I, as a physician, should descend from the wonted lungs by muscles which ordinarily have nothing to do with breathing.
dignity of my profession to call attention to this rapidly growing evil; but
The art of voice-training has for its fundamental law, a knowledge, or
were the reader compelled, as I am, day after day and week after week,
while following my vocation as a throat specialist, to examine the vocal appreciation, so to speak, of the structure of the voice-producing apparatus.
organs of those whose voices have been utterly ruined by the class of pseudo- That this is a truism, I do not think any teacher can deny, without acknowl-
professors above alluded to, he would undoubtedly pursue the same course. edging his or her incapacity. That system or method which is built up on
Although many of these self-constituted teachers may be able to execute any other foundation can be nothing else than false in every respect. Now
passably well a certain number of ballads, they are utterly incompetent to comes the momentous question, how many of those who are daily endeavor-
teach, for the simple reason that they have not the faintest conception ing to develop and cultivate the voice, can conscientiously assert that they
regarding the workings of the instrument they would train and develop. have this knowledge? I venture to say that there are precious few, scarcely
There is another class of individuals who infest the country and whom I one in a hundred. Although this ratio may appear somewhat exaggerated
wish particularly to guard the singer against. I refer to those who, to the uninformed, yet, if it were put to the test, I do not think it would be
probably having occupied positions in some fourth or fifth-rate concert much out of the way. Allow this assertion then to be true, there are ninety-
.saloon or beer garden in their own country, come here, and failing to find nine dishonest workers to a single honest one. What ought this handful—for
(employment, enter the ranks of the professional singing teacher, styling there are no more—of capable masters to do to defend themselves from the
themselves Signor this or Signor that. It is surprising what pecuniary onslaughts of the vast array of the incapable? They should, laying aside all
success some of these frauds have with their "pure French " or their "pure petty jealousies and rivalries, band themselves together—in a society if they
Italian " methods! I t is truly astonishing how many there are who believe will—and make a vigorous attack upon the barriers of ignorance which shield
in them! The more mystifying their systems appear the greater seems to be these voice-destroyers. The general public will not be slow to appreciate
their success. These persons are greatly abetted by their foreign accent— and patronize the competent, when they find out who they really are. The
an acquirement absolutely necessary according to the ideas of many simple- great trouble with these masters is that they are too reticent; they allow the
minded persons—and by their eccentric ways. How many throats do you quack to walk over them with his flaming advertisement and endless cheek,
suppose are annually ruined by these voice-destroyers—scamps who ought without making the slightest endeavor to suppress him in his nefarious
to be making an honest living by working at some trade? These fellows do work. No encomiums would be too great for those who would institute
an incalculable amount of harm to the capable foreign master—for some of themselves pioneers in this great work of reform. No praise would be too
our best vocal teachers are from abroad—for those who have been once loud for those who would start the ball rolling, which, in its progress, would
imposed upon are always thereafter very skeptical and apt to place all in sweep up the great number of unqualified teachers. Some one may say,
the same category. There are several ways of denning the term " forcing " " why interfere with those who are striving to make an honest living?" Is
when spoken of with reference to singing ; but generally speaking it is an it honesty to ruin the voices of those, who, under the proper management,
endeavor to produce musical tones by forced or unnatural action of any of might have turned out good singers? Is it honesty to debar these persons
the elements necessary to vocalization. The vocal cords are the sound- from partaking in the fame and fortune which generally falls to the lot of
producing reeds of the larynx, and it is against these wonderful little bodies the first-class artist? I do not mean to say that all who slaughter voices do
that all the ill effects of improper singing act. Thus, if the air-current so intentionally; many of them, no doubt, are doing all they can for the well-
which passes through the glottis, or narrow interval between the cords, is fare of their pupils, but the ideas which they have, and on which their
too powerful for the required tone, these delicate bands are liable to be systems are based, being false, their teachings must, of a necessity, be
injured. One act of violence might not affect them permanently, but wrong. Why is it that the best voices of to-day are foreigners, or of foreign
repeated acts will assuredly harm them. Again, if other muscles than those build? Is it because we have no material or no capable builders? No; we
which preside over the cords be called into play, the delicate structure of have, and always have had, plenty of diamonds of the first water existing in
which these latter bodies are composed is certain to be injured, because the rough state, but the cutting of them is entrusted to unskilled artists,
they cannot withstand the action which the stronger muscles impose upon who underrating their true value, have handled them carelessly and unscienti-
them. The direct result of this excessive muscular action on the vocal ficially. There is no reason why the vocalist should not receive as good a
•cords is strain, and it may be caused by the injudicious employment or musical education here as abroad, provided he falls into the proper hands,
perhaps selection of exercises. There are several sets of little muscles and, in fact, I think a voice would be more lasting were it trained in that
which are situated within the immediate vicinity of the vocal cords, and climate in which it is intended to be used. The training and development
which preside over their physiological action. Now, in true singing, these of the human voice is a slow and tedious process, and should be entered
muscular bodies are the only ones that are at all called into play to produce upon early in life, as it takes years for its accomplishment. He who expects
the movements of the cords necessary before vocal sounds can be evolved, to be turned out an accomplished performer after a few months' instruc-
•whilst forced or incorrect vocalization requires for its accomplishment the tion, no matter how perfect the method, will be sadly disappointed. More
assistance of several large and powerful muscles which are located in the harm is done by attempting to rush a scholar through than can possibly be
neck, and external to the larynx. The first description of muscles, that is, imagined. The vocal apparatus is a most delicate piece of mechanism,
the vocal muscles, can exert no possible injury to the delicate structure of and requires the tenderest care, one little error, one little piece of careless-
the vocal cords, for the simple reason that they are small and consequently ness, may retard the pupil's progress for several months. The false teacher
have not the power; but the latter variety, that is, those located outside the lays down a specified period of time in which he is to bring out his pupil's
larynx, will, on account of their size and strength, injure and in time utterly voice. At every opportunity he strives to make him take in a higher note,
no matter how such a note is produced; he holds that it will all come right in
ruin the vocal bodies.
time. He measures his progress with a yard-stick, upon which he makes his
mark whenever a higher note is reached; he has his own peculiar ideas
about the conformity of the throat, which portion of the body he treats as if
How CAN WE TELL FORCED SINGING ?
it were made of cast iron. The musical quack's sole ambition is to get his
Just as soon as singing becomes an undue effort, then may it be set pupil so that he or she can execute some seemingly difficult piece in such a
down as forced. There are three ways of detecting this style of vocaliza- manner that the untutored ear will imagine it correctly done; he then has a
living advertisement, which he uses for the sole purpose of taking in fresh
tion :
victims, and so goes on from month to month and year to year, leaving
First.—By the quality of the tone.
destruction at every step. The pupils themselves, or those acting in their
Second.—By the facial expression, and
behalf, do not exercise a sufficient amount of care in their selections of a
IJiird.—By the manner of breathing.
Forced tones are generally harsh or grating, they lack that purity and teacher. In nine cases out of ten, the first question which is to be ascer-
sweetness so characteristic of the true tone; they are inclined to be jerky tained concerning a certain master is, "What are his charges?" If they are
and frequently break. In the rendering of the upper notes of the register, low, say from ten to fifteen dollars per quarter, well and good. Then the
this pernicious style of singing is most manifest, because for their produc- other questions regarding proficiency, etc., are in order. If, however, they
tion it is necessary to fill the lungs with an undue amount of air, and, as it are higher than these figures, the answer generally is, " I think I will employ
were, take the vocal cords by storm. If the ordinary amount of air should a cheaper teacher now, and at some future time a more expensive one to
be forced up against the cords with the ordinary velocity, it would be im-
THE THROAT IN ITS RELATIONS TO SINGING.
A SERIES OF POPULAR PAPERS BY WHITFIELD WARD, A.M., M.D.,
TO THE METROPOLITAN THROAT HOSPITAL.
PHYSICIAN