The Psychology of Singing Part 19

Every vocal teacher will formulate his method of instruction according to his own taste and judgment. There will always be room for the exercise of originality, and for the working out of individual ideas.

His own experience, and his judgment in each individual case, must guide the teacher in answering many important questions. Whether to train a voice up or down, whether to pay special attention to enunciation, when to introduce the trill, what form of studies to use for technique and ornament,--these are all matters for the teacher to decide in his own way.

Above all else the teacher should seek to make the study of singing interesting to his pupils. This cannot be done by making the idea of method and of mechanical drudgery prominent. Singing is an art; both teacher and student must love their art or they cannot succeed.

Everything the student is called on to do should be a distinct pleasure.

To master the piano or the violin many hours of tedious practice are required. Students of singing are indeed fortunate to be spared the necessity of this tiresome work. In place of two or three hours' daily practice of scales and exercises, the vocal student need do nothing but sing good music.

Much is required of a competent vocal teacher. First of all, he must be a cultured musician and a capable judge both of composition and of performance. Further, while not necessarily a great singer, he must have a thorough command of all the resources of his own voice. His understanding of the voice should embrace a fair knowledge of vocal physiology and of vocal psychology. His ear should be so highly trained, and his experience in hearing singers so wide, that he possess in full the empirical knowledge of the voice. The vocal teacher must be familiar with the highest standards of singing. He should hear the great artists of his day and also be well versed in the traditions of his art.

A highly important gift of the vocal teacher is tact. He must know how to deal with his pupils, how to smooth over the rough places of temperament. He should be able to foster a spirit of comrades.h.i.+p among his pupils, to secure the stimulating effect of rivalry, while avoiding the evils of jealousy. Tact is an important element also in individual instruction. Some students will demand to know the reason of everything, others will be content to do as they are told without question. One student may be led to stiffen his throat by instruction which would have no such effect on another. In every case the teacher must study the individual temperaments of his pupils and adapt his method to the character of each student.

Practical instruction, in its outward aspect, should be very simple. At one lesson the teacher a.s.signs certain studies and has the pupil sing them. Now and then the teacher sings a few measures in order to give the student the correct idea of the effects to be obtained. If any p.r.o.nounced fault is shown in the student's tones, the master calls attention to the fault, perhaps imitating it, to make it more apparent to the student. In his home practice the student sings the a.s.signed studies, trying always to get his tones pure and true. At the next lesson the same studies are again sung, and new compositions given for further study.

A great advantage might be gained by combining three, four, or five students in a cla.s.s and giving lessons of an hour's time, or even an hour and a half. The students might sing in turn, all the others listening to the one who is singing. This form of instruction would be of great service in ear training, and in acquainting the students with the various qualities of vocal tone, both correct and faulty. Much time would thus be saved in giving explanations and in pointing out the characteristics of tone to be sought or avoided. On the side of musical education, instruction in small cla.s.ses would also be found very effective.

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. Yet even these students will do well to defer this study until they have acquired a thorough mastery of their voices.

Musical progress would seem to have taken a peculiar direction when a voice need be raised in defense of the old art of pure singing. Several famous writers on musical subjects would have us believe that the love of vocal melody is outgrown by one who reaches the heights of musical development. This may be true; but if so, the world has not yet progressed so far. Music without melody may some day be written. But Mozart knew naught of it, nor Beethoven, nor Wagner. Melody is still beautiful, and never more lovely than when artistically sung by a beautiful voice. We have not reached a point where we can afford to toss lightly aside the old art of Bel Canto.

For its future development, if not indeed for its continued existence, the art of singing depends on an improvement in the art of training voices. For this to be accomplished, mechanical methods must be abandoned. If this work succeeds in bringing home to the vocal profession the error of mechanical instruction in singing, it will have served its purpose.