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Updated: September 5, 2025
It cannot be too well borne in mind, obvious though it is, that all speaking and singing, whatever else they be, are tone-production; hence the first thing for every one to ascertain regarding himself is the extent to which he can form and hold tones of good quality in other words, the success with which he can establish the essential co-ordinations or harmonious actions of the breathing and laryngeal mechanisms, and maintain them for a considerable length of time.
Yet it may well be asked whether the highest type of coloratura singing, pure tonal beauty, does not appeal to a deeper, more elemental set of emotions than are reached by dramatically expressive singing. This question would call for a profound psychological discussion, hardly in place in a work devoted to the technical problem of tone-production.
No limit can be set to the ability of the voice to improve its manner of tone-production by imitation. It must therefore be concluded that the perfect vocal action can be acquired by imitation. In practical Voice Culture, learning to sing by imitation means simply the cultivation of the sense of hearing and the guidance of the voice by the ear.
Thus the open throat is indicated by one set of sympathetic sensations, the lack of this characteristic of tone by an opposite set, etc. Whatever distinct fault of production the pupil's tone indicates, the master immediately notes the character of the faulty throat action. The master feels, simply and directly, what is wrong with the student's tone-production.
A student of singing may learn to take breath in any way favored by the instructor; the manner of tone-production is not in the least affected. Even if the correct use of the voice has to be acquired, the mode of breathing does not contribute in any way to this result.
He listened another moment, then lessening his tone-production but losing nothing of intensity, he ripped out: "Gur reat Godfrey!" His eyes, narrowed as he listened, now widened upon Bean who stared determinedly at the cuffs. "You know what she says?" "Yes," said Bean doggedly. Then his eyes met Breede's and gave them blaze for blaze.
But the vocal cords are wedded in phonation, and by their attrition the node is formed. Very often strands of tough mucus appear spanning the chink or slit between the cords when they are drawn up in tone-production. The presence of these bands of mucus is an assured precursor of the node. Often they indicate the existence of a node which is hardly perceptible through the laryngeal mirror.
An outline of the existing state of knowledge regarding the acoustic principles of tone-production must be drawn mainly from one source. In this work Prof. Scripture overthrows several of the conclusions of Helmholtz which had hitherto furnished the basis of all the accepted theories of vocal acoustics. Considering the eminently scientific character of all Prof.
The teacher or singer who studies and masters this course never questions or doubts the truth and power of automatic breathing and automatic breath-control; or the wonderful influence on the voice of these movements, which we call true position and action in singing. The third principle of artistic tone-production is High Placing and Low Resonance. Theory.
No doubt there is some difference between the muscular actions of correct tone-production and those of any incorrect operation of the voice. But the nature of this difference in muscular action has never been discovered by means of dissections of the larynx, nor by laryngoscopic observation. The Acoustic Principles of Tone-Production
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