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Updated: May 5, 2025
Skill in using the voice involves something more than has thus far been considered under the head of tone-production. Skill in singing is synonymous with finished vocal technique, and the basis of technique is the correctly produced single tone.
Comparatively few teachers attempt to follow this course. The great majority treat the registers in a much less systematic fashion. A single half-hour lesson usually includes explanations and exercises on several topics of mechanical tone-production, as well as hints on agility, style, execution, etc.
Further, the scope of this work is limited to the basic principle of vocal technique, correct tone-production. For starting the voice properly on the road to the perfect action, intelligently guided practice alone is needed. This practice must be carried on under the direction of a competent teacher. But the teacher cannot pay attention solely to the technical training of the student's voice.
Following the same course, the pupil would also gradually approach a correct model of tone. Finally, all the faults of tone-production having been corrected, both of master and pupil, the latter would be called upon to imitate perfect vocal tones.
The hyoid bone, serving as a medium of attachment for the tongue, may also be considered a portion of the larynx. By means of the extrinsic muscles the larynx is connected with the bones of the chest, neck, and head. While the muscular structure of the vocal organs is thoroughly known, the actions of the laryngeal muscles in tone-production have never been absolutely determined.
This problem has been, since 1865, the one absorbing topic of Voice Culture. Probably the most unfortunate single fact in the history of Voice Culture is that scientific study of the voice was from the beginning confined solely to the mechanical features of tone-production.
A few teachers base their methods on the theory that correct tone-production results necessarily from the singing of "pure vowels." This is no doubt interesting, but still far from convincing. The problem of tone-production is not solved quite so simply. As a rule, vocal teachers consider the subject of pronunciation as quite distinct from tone-production.
All the materials of modern methods have now been described. The subject next to be considered is the manner in which these materials are utilized in practical instruction. In other words, what is a method of Voice Culture? In the present state of Vocal Science, the subject of tone-production overshadows everything else in difficulty.
The student would listen to these tones and model his daily practice accordingly. Just so soon as the student had succeeded in correctly reproducing this slightly less throaty tone the master would again set a slightly improved model. With each successive step the master might eliminate, one by one, the faults of his own tone-production.
After all, the final test of tone-production, tone-placing and position of the lips is the quality of the tone produced; and this is determined at first by the sensitive ear of the skilful teacher, and eventually by the trained mental audition of the pupil.
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