nd
Nasal Resonance

CHAPTER IV

The Futility of the Materials of Modern Methods

CHAPTER V

The Error of the Theory of Mechanical Vocal Management

PART III

THE BASIS OF A REAL SCIENCE OF VOICE

CHAPTER I

The Means of Empirical Observation of the Voice

CHAPTER II

Sympathetic Sensations of Vocal Tone

CHAPTER III

Empirical Knowledge of the Voice

CHAPTER IV

The Empirical Precepts of the Old Italian School

CHAPTER V

Empirical Knowledge in Modern Voice Culture

CHAPTER VI

Scientific Knowledge of the Voice

PART IV

VOCAL SCIENCE AND PRACTICAL VOICE CULTURE

CHAPTER I

The Correct Vocal Action

CHAPTER II

The Causes of Throat Stiffness and of Incorrect Vocal Action

CHAPTER III

Throat Stiffness and Incorrect Singing

CHAPTER IV

The True Meaning of Vocal Training

CHAPTER V

Imitation the Rational Basis of Voice Culture

CHAPTER VI

The Old Italian Method

CHAPTER VII

The Disappearance of the Old Italian Method and the Development
of Mechanical Instruction

CHAPTER VIII

The Materials of Rational Instruction in Singing

CHAPTER IX

Outlines of a Practical Method of Voice Culture

Bibliography

CHAPTER I

TONE-PRODUCTION AND VOICE CULTURE

In no other form of expression do art and nature seem so closely
identified as in the art of singing. A perfect voice speaks so directly
to the soul of the hearer that all appearance of artfully prepared
effect is absent. Every tone sung by a consummate vocal artist seems to
be poured forth freely and spontaneously. There is no evidence of
calculation, of carefully directed effort, of attention to the workings
of the voice, in the tones of a perfect singer. Yet if the accepted idea
of Voice Culture is correct, this semblance of spontaneity in the use of
the voice can result only from careful and incessant attention to
mechanical rules. That the voice must be managed or handled in some way
neither spontaneous nor instinctive, is the settled conviction of almost
every authority on the subject. All authorities believe also that this
manner of handling the voice must be acquired by every student of
singing, in the course of carefully directed study.

This training in the use of the voice is the most important feature of
education in singing. Voice Culture embraces a peculiar and distinct
problem, that of the correct management of the vocal organs. Vocal
training has indeed come to be considered synonymou