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Updated: September 5, 2025
It is held that the vocal bands give a number of sudden shocks to the air in the resonators, so that, in a sense, the resonance-chambers determine both the pitch and the quality of the tone; and as the tension of the resonators varies with both the physical and psychical condition of the individual, variations in tone-production, more especially as to quality, can now be the better understood.
Considerable technical facility is attained before the tone-production becomes absolutely perfect. A vocal student's practice in singing is not confined to technical exercises, strictly speaking. Vocalises, songs, and arias are taken up, usually very early in the course of study.
Style and quality are, I believe, suspected in Germany as evidences of superficiality, of a desire to add ornament where plain speech should suffice. Like German prose and German singing oh, how acrid is the Teutonic tone-production, a lemon in the larynx! German painting limps heavily.
They carefully noted the characteristic sound of each tone of the voice, and worked out what they believed to be a comprehensive theory of tone-production. One of their observations was that in every voice the low notes have a somewhat different quality from the high notes.
As we are concerned now only with the problem of tone-production in artistic singing, our consideration will be limited to the critical hearer's observation of the tones of singers. Let us imagine two friends to be seated side by side in the concert hall, listening to the performance of a violin sonata by an artist of about mediocre ability.
The singer's education under the old system had demanded from four to seven years; science was expected to revolutionize this, and to accomplish in months what had formerly required years. Even then tone-production was not seen to be a distinct problem. The old imitative method was still successfully followed.
Considered as a cause of faulty tone-production in singing, throat stiffness is due to only one influence, viz., the attempt to manage the voice by thinking of the vocal organs and their mechanical operations. Muscular tension due to nervousness, or to the unskilful nature of first attempts at singing, cannot be looked upon as causing a wrong vocal action.
This practice would tend to stiffen the throat. Technique and tone-production must be developed together. There is a difference between the natural and the properly trained voice. As to the nature of this difference the facts of empirical observation are borne out by the results of scientific analysis. The natural voice is crude because it is unskilfully used.
Every method of instruction in singing must contain as its most important element some means for dealing with the problem of tone-production. No complete and satisfactory solution of this problem has ever been found. Of this fact every one acquainted with the practical side of Voice Culture must be well aware.
Correct tone-production must be there to cause the sensations, or the sensations are not awakened at all. Nothing else can bring about the sensations of correct singing, but correct singing itself. Further, these sensations cannot be known until they are actually experienced. No description is adequate to enable the student to feel them in imagination.
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