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Updated: September 5, 2025
Beauty of tone is the only criterion of the correct vocal action. By listening to himself the singer may know whether his tone-production is correct. If the tones are beautiful the tone-production cannot be wrong. The ear must always decide. A normally constituted ear instinctively delights in hearing beautiful sounds.
The movements of the vocal cords are so slight as to be observable only with the aid of a specially devised apparatus, the stroboscope. Can all the expiratory force expended in tone-production show such a small result? This apparent objection is found to be groundless in view of the application in this operation of Pascal's law.
Yet the apparatus concerned in voice-production is a most delicate one, and, being easily ruined when incorrectly used, haste in learning how to use it not only is absurd but criminal voice-murder, in fact. It has been said that one error of the old Italian method was that it concerned itself only with beautiful tone-production, whereas real singing is the vitalization of words by emotion.
Under the influence of the idea of mechanical vocal management the attention of all investigators has been turned exclusively to the mechanical features of tone-production. Meanwhile the empirical knowledge of the old masters seems to have been forgotten. As a matter of fact, as will now be seen, this empirical knowledge has never been lost.
The general belief is that tone-production is entirely distinct from vocal technique. Technical studies cannot profitably be undertaken, according to the prevailing idea, until the correct management of the vocal organs has been established. This idea is supposed to be followed out in modern instruction.
This simple action, performed without thought or knowledge of the muscular processes, presents features too complex to be analyzed on the basis of mechanical law and anatomic structure. A complete analysis of the muscular operations of tone-production is absolutely impossible.
A thorough understanding of Vocal Science, including both the mechanical features of tone-production and the psychological aspects of singing, is almost indispensable to the vocal teacher. But the student of singing will in most cases derive no benefit from this scientific knowledge. Those students who plan to become teachers must of course study Vocal Science.
This impression of throat, noted by the hearer, consists of muscular, not of strictly auditory sensations. As a statement of scientific fact, the forward-tone precept is erroneous. It does not describe scientifically the difference between correct and incorrect tone-production. Correctly sung tones are not produced at the lips.
A peculiar contradiction is presented by the modern vocal teacher; his artistic conception of singing is utterly at variance with his ideas of mechanical tone-production. It may safely be said that the vast majority of vocal teachers are thoroughly conversant with the highest standards of artistic singing. They know what effects their pupils ought to obtain.
"You say that again, and I'll give you the worst " "You will NOT!" snapped Marjorie, instantly vitriolic. "He'll say just whatever he wants to, and he'll say it just as MUCH as he wants to. Say it again, Mitchy-Mitch!" "'Ittle gellamun!" said Mitchy-Mitch promptly. "Ow-YAH!" Penrod's tone-production was becoming affected by his mental condition. "You say that again, and I'll "
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