Part 17 (1/2)
The auditory messages are the most important of all the nervous impulses that reach the brain, for the musician, whether appreciation or execution be considered. They are the chief guides for the outgoing nervous impulses to the muscles.
The good executant must, above all, be a good listener.
CHAPTER XVIII.
CONSIDERATION OF GENERAL AND SPECIAL HYGIENE AND RELATED SUBJECTS.
Hygiene deals with the laws by the observance of which health is to be maintained and disease prevented; but as such laws must be based on physiological principles, hygiene follows from physiology.
Accordingly, throughout this work our method has been to point out the correct way as soon as the physiological principle has been laid down, so that the reason for the recommendation made would be obvious.
However, it may be well if now some of the more important tendencies, errors, bad habits, and dangers to be guarded against by the singer and speaker be pointed out afresh, briefly, with some additional observations that experience has shown to be of practical importance.
Hygiene, for all persons, should, in the widest sense, refer to the whole man, his body, intellect, feelings, and will, though the term has usually been restricted to the preservation of bodily health. But, fortunately, it is being more and more recognized that man is a whole, and that one part of him cannot suffer without the others partic.i.p.ating, so we shall pursue the broader course, and consider the general welfare of the voice-user as properly coming under consideration.
He, being a human being like his fellows, must, of course, observe the same laws for the preservation of his general health as they, but just because he comes before the public, his case is peculiar, and he must, in addition, take special precautions to avoid every form of temporary or permanent disability.
There is, of course, much in the life of a public speaker or singer that conduces to health of body and mind, such as the vigorous use of the breathing apparatus, the favorable effect of praise expressed in one way and another, etc., but even with the most successful, all this may be more than counter-balanced by other unfavorable factors. When one considers the necessary travelling, often including night journeys, the late hours, the concentrated efforts essential to success, the uncertainty of the public taste, the rivalries, jealousies, exhaustion, etc., often a.s.sociated with a public career, it must be clear that no one should embark upon it without counting well the cost. For one with mediocre ability, imperfect training, voice of very limited range, power, and quality, feeble will, an imperfectly developed body, and indifferent health, to enter on a public career is practically to court failure and to ensure disappointment and unhappiness.
It is to be remembered that never was the world so exacting of the artist, and never were there so many aspirants to popular favor, so that the compet.i.tion in the ranks of the actors and singers, at least, is very keen. At the same time, there is room for a certain cla.s.s of persons--viz., those with good health, excellent physique, first-rate ability, self-control, sound moral principles, perseverance, industry, musical feeling, and artistic insight, with vocal organs trained like the muscles of the athlete, and, in the case of singers, sound musical knowledge and an exacting and reliable ear.
Considering that the actor, often the public speaker, and the singer are constantly being put under excessive strain, it follows that (1) such persons should begin with an unusually good physical organization--others can scarcely hope to get into the first cla.s.s, even with the best abilities; and (2) because there is a tendency to exhaustion of the body and mind through emotional and other expenditure, the public voice-user must take precautions, on the one hand, to prevent this, and, on the other, to make good his outlay by special means. He needs more sleep and rest generally than others, and he should counteract the influence of unhealthy conditions on the stage or platform by some quiet hours in the open air, all the better if with some congenial friend, sympathetic with his aims, yet belonging, preferably perhaps, to another profession, and who will speak of topics other than those that are ever recurring in the life of an artist. The uninterrupted pursuit of one thing, without the mind and spirit being fed from other springs, can be good for no human being. The specialist who is only a specialist will never reach the very highest point. The artist must seek sources of inspiration and mental nutriment outside of his own line of thought, or he will suffer professionally and in his own spirit.
The reader will by this time understand why the author considers that for one who would be an artist to enter on his public career without the fullest mental equipment and vocal training is an exceedingly unwise course. Technique should be acquired before an aspirant to success steps on a public stage or platform, and this is exactly what is so seldom done in these days, and why we have so few singers, actors, and public speakers of the highest rank. Many, very many, know what they wish to express, and, in a sense, how to express it, but they have neither the formed voice nor the control of that voice by which their ideas are to be embodied. Let no one delude himself into the belief that technique will be learned in public; such is rarely, if ever, the case. Expression, style, etc., may come to the vocalist or speaker all the more readily if he occasionally goes before the public; but that such may be so, he must first have voice and technique. It is because of the neglect of this training for the acquirement of technique that so many naturally good voices are of little practical use for the public, and this explains why the ranks of the professions are crowded with inferior artists, if, indeed, artists they may be called.
The _isolation_ of the dramatic and musical artist from his fellows generally is a great evil. Much that society complains of in the lives of artists would never exist but for this isolation, in spite of the fact that the artistic temperament is so moody and so impulsive, so little regardful of ordinary conventionalities. That it is so is partly the fault of society. It is quite true that because of journeying, rehearsals, etc., the travelling artist has little time to meet the members of the community in private life; but this state of things could be mitigated were society and the artists themselves convinced that for any cla.s.s of people to live in little hives, wholly separated from their fellows, must be unfortunate for them and society. Artists as men and women are practically unknown to the world, though their false selves as represented by sensational paragraphs in newspapers are only too familiar to us. It may truly be said of the artist: ”Be thou as chaste as ice, as pure as snow, thou shalt not escape calumny.” It is within the power of society to alter this, and it should do so.
Why is it that actors and singers do not prepare themselves by as prolonged and thorough a vocal training as in a past time?
Considering that there never was a period when there was the same scope for art, never a time when the public was so eager to hear and so able to pay for art, as now, never a period of such widespread intelligence on all subjects, music included, the question is a very pertinent one. We believe there are many factors underlying the technical decadence we must regret. The orchestra has greatly developed, choral singing is common in all countries, and the spirit of the times has changed. So a.n.a.lytical, so refined is our age, that singing sometimes becomes a sort of musical declamation, but, unfortunately, without that power to declaim possessed by the actors and often the opera-singers of a former period. A singer often attempts now to make up by an expressive reading of a song, for technical defects. We must all commend every evidence of intellectuality in music, but this does not imply that we should accept good intentions for execution--performance. Let us have every possible development of orchestral music; let every village have, if possible, its choral society, but let none enter it who have not been trained vocally.
Out of the author's own experience he could a tale unfold of the evil done to the vocal organs by those who have sung in choirs without adequate vocal training. Choristers are tempted to reach high tones by a process of their own, without any regard to registers, and with corresponding effects on their throats, some of which imply also lasting injury to the voice itself.
In choral singing there is the tendency to lean on certain singers who are natural leaders, with the result that there is little independent listening and individual culture, even if the singer could hear his own voice well, which is not usually the case. The same objections and others apply to cla.s.s singing in schools, which does little for music, and tends to make slovenly singers. If some of the time given to school singing were taken up in ill.u.s.trating why certain musical selections are good, and others mere rubbish--in other words, in forming the taste of the nation in the children--a valuable work would be done; but school cla.s.s singing, as commonly carried out, tends rather to injure than develop voices and good musical taste.
We cannot honestly pa.s.s by the subject of Wagner's music and some of its tendencies. Wagner was an intellectual giant among men, and his works are amazingly grand, yet they unfortunately are, in a certain sense, responsible for much bad singing and not a little injury to fine voices.
First of all, Wagner's operas are, in their present form, too long. To sing these compositions night after night is beyond human powers, even in the case of those of the most perfect musical and technical training. If they were divided into two, and one half sung on one evening and the other on the next, it would be a gain for the public and the artists. It is impossible for even the musically cultivated to absorb and a.s.similate the whole of such an opera as ”Siegfried” or ”Tristan and Isolde” in one evening, and it is too much to expect any artist to sing them through without a rest.
Again, they call for such strong accents, such deep and strenuous breathing, that the artist impersonating a hero or a G.o.d or G.o.ddess is put to a degree of exertion that is too great for human powers when continued for more than a very moderate period; besides, there is a temptation to a wrong use of the larynx--a forcible _coup de glotte_, or attack--that is exceedingly dangerous, and has injured many voices and ruined others. The man or woman who would sing Wagner's greater music dramas should, in addition to a strong physique, be master of a wonderfully perfect technique. These operas should never be attempted by very young singers of either s.e.x, and especially not by very young women. They are for the powerful, the mature, the perfectly trained, the experienced.
Turning to some special faults, we would warn against the ”scoop,” the excessive use of the _portamento_, or glide, so common a fault at the present time, and the _vibrato_ and _tremolo_.
The two former are musical faults, so we pa.s.s them by without further consideration. Otherwise is it with the last two faults; they both result from a wrong use of the vocal organs. They are both due to some unsteadiness and lack of control, and, unfortunately, when once acquired, are very difficult to remedy. The unsteadiness may be almost anywhere in the vocal organs, but is usually referable to the respiratory apparatus or to the larynx.
A _vibrato_ is the milder form of the evil, and is encouraged, we regret to say, by some teachers, while the _tremolo_ is due to an extreme unsteadiness, and, so far as we are aware, is universally condemned. It is about the worst fault any singer can have. It is evident in some cases only when the vocalist sings _piano_, but mostly in vigorous singing, and often arises from straining, disregard of registers, etc. It may be due to the singer trying to control too large a supply of air, or from bringing a blast to bear on the vocal bands too strong for them. In every case there is lack of adjustment between the vocal bands and the respiratory organs. The remedy must be adapted to the case, but usually the singer must for a time give up the use of the voice in _forte_ singing altogether, and gradually again learn to control his vocal mechanism.
a.s.sociated sometimes with this fault is another, which, indeed, often gives rise to the former--viz., ”pumping,” or attempting to vocalize after the breath power is exhausted. One should always have enough air in reserve to sing at least two tones more than what is required.
It will be observed that good singing and speaking are always physiological--_i.e._, they depend on the observance of well-known physiological principles; we wish we could add, principles clearly recognized by singers and teachers generally. It is to those who do that we would recommend the student of the vocal art to go at the outset of his career, otherwise much time may be lost and possibly much injury done. We distinguish, of course, between the teacher who recognizes physiological principles only practically and the one who does so consciously. The former may be an excellent and safe teacher, though, we think, not so good, other things being equal, as one of the latter type,--as yet somewhat rare.