retation of the
expression. The first thing needed is to bring the body under control,
that is, to remain quiet, so that later, in singing, the singer can do
everything intentionally.

The pupil must always stand in such a way that the teacher can watch
his face, as well as his whole body. Continual movements of the
fingers, hands, or feet are not permissible.

The body must serve the singer's purposes freely and must acquire no
bad habits. The singer's self-possession is reflected in a feeling of
satisfaction on the part of the listener. The quieter the singer or
artist, the more significant is every expression he gives; the fewer
motions he makes, the more importance they have. So he can scarcely be
quiet enough. Only there must be a certain accent of expression in
this quietude, which cannot be represented by indifference. The
quietude of the artist is a reassurance for the public, for it can
come only from the certainty of power and the full command of his task
through study and preparation and perfect knowledge of the work to be
presented. An artist whose art is based on power cannot appear other
than self-possessed and certain of himself. An evident uneasiness is
always inartistic, and hence does not belong where art is to be
embodied. All dependence upon tricks of habit creates nervousness and
lack of flexibility.

Therefore the singer must accustom himself to quietude in practising,
and make his will master of his whole body, that later he may have
free command of all his movements and means of expression.

The constant playing of single tones or chords on the piano by the
teacher during the lesson is wrong, and every pupil should request its
discontinuance. The teacher can hear the pupil, but the latter cannot
hear himself, when this is done; and yet it is of the utmost
importance that he should learn to hear himself. I am almost driven
distracted when teachers bring me their pupils, and drum on the piano
as if possessed while they sing. Pupils have the same effect on me
when they sit and play a dozen chords to one long note.

Do they sit in the evening when they sing in a concert?

Do they hear themselves, when they do this? Unfortunately, I cannot
hear them.

Poor pupils!

It is enough for a musical person to strike a single note on the piano
when he practises alone, or perhaps a common chord, after which the
body and hands should return to their quiet natural position. Only in
a standing posture c