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+Project Gutenberg's Expressive Voice Culture, by Jessie Eldridge Southwick
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Expressive Voice Culture
+       Including the Emerson System
+
+Author: Jessie Eldridge Southwick
+
+
+Release Date: April, 2005 [EBook #7804]
+This file was first posted on May 18, 2003
+Last Updated: May 6, 2013
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK EXPRESSIVE VOICE CULTURE ***
+
+
+
+
+Produced by Charles Aldarondo, Tiffany Vergon, S.R. Ellison
+and the Online Distributed Proofreading Team
+
+
+
+
+
+
+
+
+EXPRESSIVE VOICE CULTURE
+
+      INCLUDING
+
+THE EMERSON SYSTEM
+
+
+By Jessie Eldridge Southwick
+
+Teacher of Voice Culture in the Emerson College of Oratory.
+
+
+
+
+PREFACE
+
+The Emerson System treats the voice as a natural reporter of the
+individual, constantly emphasizing the tendency of the voice to express
+appropriately any mental concept or state of feeling.
+
+This treatise is a setting forth of methods and principles based upon this
+idea with a fuller elaboration of the relation of technique to expression.
+No attempt is here made, however, to present more than an individual
+contribution to this broad subject.
+
+J. E. S.
+
+
+
+
+EXPRESSIVE VOICE CULTURE
+
+
+
+
+CHAPTER I
+
+Principles of Voice Culture.
+
+
+The first essential to one beginning the study of voice culture is an
+appreciation of the real significance of voice development. We must
+recognize at once the fact that the voice is a natural reporter of the
+conditions, emotions, thoughts, and purposes (character and states or
+conditions) of the individual. The ring of true culture in the voice is
+that perfect modulation of tone and movement which, without
+self-consciousness, communicates exactly the meaning and purpose which
+impel the utterances of the speaker.
+
+It is almost impossible for any person to cultivate vocal expression to
+the best advantage without an intelligent and sympathetic teacher; he
+lacks the perspective upon himself which is necessary in order to correct
+his individual faults and draw out his most effective powers. Then, again,
+he needs that personal supervision and direction of his efforts which will
+allow his mind to be constantly occupied with thoughts and principles, and
+relieve him of all temptation to watch his own performances as such. But
+it is necessary that the student should have a simple and logical basis
+for practice, however great may become the variety of its application.
+
+That the voice is naturally expressive is shown in the fact that even
+where there is no possible suggestion of cultivation we instinctively read
+the broad outlines of meaning and feeling in the tones and inflections of
+the voice. May it not therefore be possible that a finer culture will
+reveal all the subtle shades of thought and feeling, and a more
+discriminating judgment be able to detect these, just as the ethnologist
+will reconstruct from some crude relic the history of an earlier
+civilization?
+
+We must remember, too, that first of all the voice is a vital instrument.
+The physical condition affects most noticeably the quality, strength, and
+movement of the voice. Hence we see that physical health is essential to a
+good voice, and the proper use of the voice is itself one of the most
+invigorating exercises that can be practised. All the vital organs are
+called into healthful action through this extraordinary manipulation of
+the breath, and the nervous system, both vitally and emotionally, receives
+invigoration.
+
+In the beginning, therefore, such vital conditions as are essential to the
+production of tone should be considered.
+
+First, a standing position, in which the vital organs are well sustained,
+is essential. One cannot even breathe properly unless one stands well. The
+weight should be mainly upon the balls of the feet, and the crown of the
+head so positively elevated as to secure the erectness of the spinal
+column. This will involve the proper elevation of the chest, the essential
+freedom of respiration, and the right sustaining tension of the abdominal
+muscles.
+
+(_a_) Take standing position as follows: weight on balls of feet,
+heels together, toes slightly apart; line of gravity from crown of head,
+well lifted, to balls of feet; the ear, point of shoulder, and point of
+hip should be in line; muscles of the thigh strong in front; ribs well
+lifted so that front line from waist to throat is lengthened to full
+extent; back kept erect, and curve at waist not emphasized. Breathe
+strongly and deeply several times.
+
+To secure the elevation of the ribs the hands may be placed under the
+arms, as high as possible, fingers pointing down; then try to turn or
+press the ribs up and forward with strong action of hands, breathing
+freely and emphasizing strength in waist muscles. _Sustain_ the ribs
+in this elevated position, and thus uplift the chest. Keep shoulders free.
+Drop hands to sides again.
+
+(_b_) Take half a step forward; sustain weight on advanced foot; do
+not change position of retired foot, but keep the sense of purchase in it.
+The chest should be carried forward of the abdomen and the abdominal
+muscles given their best leverage by a slight bending forward from the
+hips. (Bending forward must not be done by any dropping of the chest, or
+shortening of the line at waist through relaxation.) This position must be
+light, active, buoyant, and reposeful.
+
+A constant sense of easy balance should be developed through poising
+exercises.
+
+The habit of healthful and powerful respiration should be established by
+physical exercise for that purpose, and the right manipulation of breath
+in tone production should be secured by the nature of the voice exercises.
+Any vocal exercise which involves in the very nature of its production a
+good control of breath becomes, by virtue of that fact, a good breathing
+exercise as well.
+
+[Footnote: See exercises described in a later chapter.]
+
+If the voice be perfectly free, it is then capable of expressing truly all
+that the person thinks and feels. The first desirable end sought, then, is
+freedom. What is freedom, and how secured? When all cavities of resonance
+are accessible to the vibrating column of air the voice may be said to be
+free. By cavities of resonance is meant the chest (trachea and bronchial
+tubes), the larynx, pharynx, the mouth, and the nares anterior and
+posterior, or head chambers of resonance. The free tone is modified
+through all its varieties of expression by those subtle changes in form,
+intensity, movement, inflection, and also direction, which are too fine
+for the judgment to determine, or even observe successfully. These
+varieties are made possible by the very organism of the voice, which is
+vital, not mechanical, and are determined by the influences working from
+the mind through the nerves which control this wonderful living
+instrument. This is governed by the law of reflex action, by which
+stimulation of any nerve center produces responsive action in other parts
+of the body. The voice will obey the mind. Right objects of thought will
+influence it much more perfectly and rapidly than the mere arbitrary
+dictates of calculation.
+
+Right psychology would be the only thing necessary to the thorough
+cultivation of the voice if the conditions were so perfect that there were
+no habits of stricture and our instrument were thus in perfect tune. And
+in spite of the fact that it is not usually found in perfect tune, the
+influence of practice under right mental conditions is the most potent and
+indispensable part of voice culture. Let this fact not be lost sight of
+while we are discussing those more technical methods of training which are
+designed to tune and regulate our instrument.
+
+First, freedom of voice is attained (technically speaking) by right
+direction of tone and vital support. A few words of explanation will make
+this patent.
+
+If the vibrating column of air when it leaves the vocal cords is so
+directed that it passes freely through all the cavities of resonance, it
+cannot fail to find the right one. The following exercise, if properly
+taken, will induce right direction of tone: produce a light humming sound
+such as would be the sound of _m, n,_ or _ng_, if so idealized
+as to eliminate that element of sound commonly spoken of as nasality. That
+which is called nasality is caused by the failure of the tone to reach
+freely the anterior cavities of the nares. The cavity which lies just back
+of the nose and frontal bone imparts a musical resonance resembling the
+vibrating after-tone when a note has been struck upon a piano and allowed
+to die away gradually. The "nasal" effect comes when the tone is confined
+in the posterior or back part of the nares, or head cavity, or is split by
+the dropping of the uvula so that part of the tone is directed through the
+nares and part through the mouth. Many so-called "humming tones" are given
+for practice, but in accepting them observe whether the foregoing
+principle is obeyed.
+
+The controlling center of consciousness is the extreme limit of the
+_nares anteri_. The tone should be thought of as outside. Keep the
+mind upon results, just as one would hold the thought of a certain figure
+which one might desire to draw. If one wishes to inscribe a curve, he
+thinks of the curve as an object of thought, not of the muscles which act
+in executing it. So with the voice. A tone is not a reality until its form
+of vibration reaches the outer air. One should always think of the tone
+one wishes to make--never listen to one's own execution. If the ideal is
+not reached by the effort it will be known by the sense of incompleteness.
+
+Why is the _nares anteri_ the ruling center of tone direction? The
+dominant or ruling center of any organism is that point which, if
+controlled, will involve the regulation of all that is subordinate to it.
+For example, the heart is the dominant center of the circulatory system;
+the brain is the dominant center of the nervous system; the sun is the
+dominant center of the planetary system. In all these systems, if the
+center be affected, the system is proportionately influenced. If any other
+part than the dominant center be affected, it is true that all other parts
+may also be affected, but the desired unity in result will not be secured.
+
+The voice will follow the thought as surely as the hand will reach the
+object aimed at. The extreme anterior part of the nares, or head cavity,
+is the chamber of resonance farthest from the vocal cords. Therefore, if
+the voice be directed through that chamber of resonance all the others
+must be passed in reaching it, and hence all must be accessible to the
+vibrating column of air. It is a law of acoustics that any given cavity of
+resonance will resound to that pitch to which its size corresponds, and to
+no other. This law of sound secures the appropriate resonance for every
+pitch much more accurately than it could be secured by an effort to
+develop chest, middle, and head registers through calculating the
+differences. Again, we need the higher chambers of resonance to reinforce
+even the low pitch, because every note has its overtones that enrich it,
+and if these cannot find their proper resonance the tone is impoverished.
+It may be well to explain our use of the term "overtone."
+
+This word "overtone" is used unscientifically by many. The significance of
+its use is somewhat varied among teachers, but it generally means head
+resonance, or a tone "sent over" through the head cavities. The term is
+used here technically, not arbitrarily. Overtones are not confined to the
+voice, but are those constituent parts of any tone which are produced by
+the vibrating segments into which any vibrating cord will divide itself.
+
+Any cord, or string, stretched between two given points, when struck will
+vibrate throughout its entire length in waves of a certain length and with
+a certain degree of rapidity, according to the tension of the string. This
+vibration of the entire length of cord gives forth the tone heard as the
+fundamental pitch or tone. Besides this fundamental or primary vibration,
+the movement divides itself into segments, or sections, of the entire
+length. These sections also have vibrations of their own which are of
+shorter length and more rapid motion. The note given off by these
+subdivisions is, of course, on a higher pitch than that produced by the
+fundamental vibration of the cord; hence, they are higher tones, or
+overtones. It will be remembered that pitch depends upon the rapidity of
+the sound waves or vibrations. This subdivision of the vibrations is
+incalculably multiplied, so that it may be said to be impossible to
+determine the number of overtones accompanying the fundamental tone. What
+the ear hears is the fundamental pitch only; the overtones harmonize with
+the primary or fundamental tone, and enrich it. Since this is a law of
+vibration, it is unscientific to speak of giving an overtone, for all
+tones contain overtones. Where these overtones are interfered with by any
+imperfection in the instrument the result is a harsh or imperfect sound.
+
+In relation to the voice it should now be clearly understood that since it
+is the overtones which enrich or give a harmonious sound to any tone, and
+since all tones (low as well as high) have overtones as constituent parts
+of their being, therefore the whole range of the resonant cavities of the
+voice should, for the production of pure tone, be open to all degrees of
+pitch, in order that the overtones may find their appropriate
+reinforcement in the resonance chambers. Thus the quality of the voice
+depends, not simply upon the condition of the vocal cords themselves, but
+upon the form and quality of the resounding cavities.
+
+
+
+
+CHAPTER II
+
+Elementary Lessons.
+
+
+After this brief discussion of the principles involved in this method of
+practice, we will proceed to give some essential exercises for practice.
+
+
+EXERCISE FOR SECURING FREEDOM OF TONE
+
+This is the foundation of all voice culture.
+
+1. Take position in accordance with directions given in Chapter I.
+
+2. Take humming tone as indicated in the preceding chapter,--_m, n,
+ng,_--idealized and pure. The mouth should be opened and closed without
+changing the tone.
+
+3. Endeavor to concentrate all consciousness upon the conception of a tone
+emanating from the _nares anteri_ and floating in ideal forms of
+vibration in the surrounding air. Those forms may vary in their definite
+nature, but must always obey the principle of curves and radiation. One
+should never reach up to a tone, but should seem to alight upon it from
+above, as a bird alights on the branch of a tree. The mind must never lose
+sight of the result--the ideal aimed at. The knowledge of processes leads
+us to a right conception of aims, and enables us to judge of their
+correctness. We should know what processes are normal (natural and
+healthful) and what objects of thought will induce them.
+
+While taking the above exercise no effort should be made in the throat.
+The voice should seem to find its way without effort. The tone should not
+be loud or sharp.
+
+If the student finds it difficult to produce the tone alone, some word
+ending in _ing_ should be practised, as _ring-ring-ring-ng_.
+
+
+FORMING OF ELEMENTS
+
+_First Exercise_. Start the humming tone as indicated in the first
+lesson, and maintain the same focus while forming certain elements. Take
+the syllable _n-oe-m_, allowing no break while going from _n_, the nares
+sound, to the vowel sound of _o_, and returning to the nares sound of
+_m_. This is perhaps the best element to begin upon, because of its
+definiteness, but the same principle can be applied to other elements
+of speech, as _Most-men-want-poise-and-more-royal-margin_. Form each
+syllable with the utmost care. Concentrate the mind upon the ideal sound.
+First be sure that the pronunciation is accurately conceived. Then
+enunciate clearly and try each time to make the form more perfect. The
+principle of thinking is the same as that involved in striving to make a
+perfect circle, or to execute any figure with more and more beauty. The
+effort of the mind will bring the result, if the conception of the element
+to be formed be correct. The sentence given--"_Most men want poise, and
+more royal margin"_--is composed of such alternation of elements as will
+tend to bring forward those that might be formed too far back by their
+association with those elements that are necessarily brought to the front.
+For example, the word_poise._ The first and last elements are
+distinctively front. That helps to bring out what is between.
+
+The constant recurrence of the nares tone, as in _m, n,_ etc., may
+serve as a regulator of tone. The object of this step in practice is to
+form elements with beauty, and to form them with the same focus as that
+secured by the humming tone. In this stage of practice each element should
+be dwelt upon separately, but not in such a way as to mar its expression.
+For example, unaccented syllables should be lightly pronounced and the
+right shading carefully observed. Otherwise, when the elements are put
+together their harmony and smoothness will be wanting and the effect
+labored and mechanical, as is often the case where attention has been
+given to the practice of articulation. To make the effort of articulation
+a vital impulse in response to a mental concept,--this is the object
+sought. The principle is that the will should be directed toward the ideal
+to be reached, while the mind comprehends the means incidentally. The
+means may be considered as a matter of knowledge, useful in guiding the
+judgment but a hindrance when used as a trap to catch the conscious
+attention of the practising student.
+
+The whole difference between the artist who is spontaneous and the artisan
+who is artificial is that the one recognizes the fact that the very
+existence of human expression proves that the mind awakens the instinctive
+response of the physical organism, while the other thinks that he can
+calculate that infinite harmony which makes unity of action, without
+reverting to the first cause of expression--the thought that created it.
+To reproduce the impulse born of the thought--this is the aim of a
+psychological method. This is secured only by right objects of thought; it
+is impossible to reach it by voluntary mechanics.
+
+
+SMOOTHNESS AND HARMONY OF UTTERANCE
+
+Having obtained the results sought in our last division, we should learn
+to manipulate the elements of speech fluently without breaking their
+relation to (harmony with) the primary focus, or direction of tone.
+
+Practise the same sentence, "_Most men_" etc., striving to make every
+tone and the form of every element perfect, without dwelling upon them
+separately; practise this (as also the preceding exercises) upon various
+degrees of pitch in the musical scale, generally beginning on a "medium
+high" pitch, then lower, and afterwards higher. Strive to speak or sing
+fluently without breaking the quality of tone used. A break in quality
+signifies loss of focus.
+
+The object of this practise is to attain facility in manipulating the
+elements while maintaining the smooth quality of the tone. After this
+sentence other sentences may be used in reference to the same idea. The
+primary exercise given should always be reverted to as a working center,
+in order to secure, through repetition, a deepening of the tendency
+involved. Variety is admissible only in addition to the original exercise,
+but should not be substituted for it.
+
+
+FOR THE DEVELOPMENT OF MUSICAL EXPRESSIVENESS OF TONES
+
+This opens the way to expression in tone,--dramatic expression,--but the
+technical preparation for expressive responsiveness in the voice is the
+development of its musical possibilities, for all artistic expression in
+tones is musical whether the person be a singer or a speaker. Inflections
+are variations in pitch, and are "the tune of the thought."
+
+_Exercise_. Practise the syllables _mae, zae, skae, ae._ The sound
+of the Italian _a,_ as in ah, gives the freest position of the organs
+for the production of tone, and perhaps the most difficult form in which
+to direct a tone with certainty. It is combined with these consonant
+elements in order to invite it forward and bring it to a point
+(figuratively speaking). The _m_ relates it to the nares or humming
+tone (which is the basis of all resonance in the voice). The _z_
+sharpens the consciousness at the front, and the _sk_ furnishes a
+good start for a positive stroke in the voice, while the _a_ alone
+leaves us to venture upon the free tone unassisted by these guides to
+direction. The exercise should be practised with such musical variations
+as the student can learn to execute--the scale, arpeggios, etc., both
+sustained tone and light touches, broad tones and shaded tones. Other
+vowels may also be practised thus.
+
+The practice of rhythm, or the practice of rhythmical accent, should be
+introduced, as the sense of rhythm is an important element in the
+development of expressiveness.
+
+The object now is to secure sensibility and responsiveness in the voice.
+This opens the possibilities of vocal expression. When we speak of the
+_nares anteri_ (or front head resonant cavity) as the dominant center
+of physical consciousness nothing mechanical is meant. One is conscious
+that the eye is fixed upon an object, but not therefore conscious of the
+action of the muscles used in turning it upon the object. One thinks not
+of the eye, but through the eye toward the object.
+
+Finally, technique has as its object the training of the instrument to
+freedom and responsiveness; but the true art of vocal expression begins
+when the instrument is used in obedience to such objects of thought as
+should cause its strings to vibrate loudly or softly, all together or in
+partial harmony, in obedience to that vital impulse which the instrument
+itself was created to obey.
+
+
+
+
+CHAPTER III
+
+The Higher Development of the Voice by the Application of First
+Principles.
+
+
+There are four general forms of emphasis which serve as indications of the
+characteristics of expression. They are Force, Pitch, Volume, and Time.
+Force corresponds to life, or vitality, in the voice. Pitch corresponds to
+the range of the voice, and expresses affection or attraction. Volume
+measures the activity of the will through the voice, and Time, the
+expression of which depends principally upon movement, or rhythm,
+corresponds to the intellectual activities.
+
+It will be understood that these forms of expression, or emphasis, are
+developed, according to the practice in the "Evolution of Expression," by
+means of purely mental discipline. It is nevertheless possible to
+reinforce these powers of the voice by technical practice with special
+reference to this development. In taking up this branch of the work the
+student is supposed to have fulfilled the requirements of the elementary
+voice practice, which, it will be remembered, includes the establishment
+of freedom by means of right direction of tone, the perfecting of the
+elements in polished articulation, the facile handling of the voice in
+combining various elements, and a certain degree of responsiveness in the
+practice of various musical qualities.
+
+
+FORCE
+
+For the development of increased vital power in the voice the student
+should practise the nares exercise and also the elements of speech in a
+sustained and even manner, continuing tones as long as it is possible to
+keep control of them. The effect of this is to establish _strength and
+steadiness_ in the action of the muscles that control the voice, and
+increase of breathing-power in response to the requirements involved in
+the exercise. The tone must be kept pure and free, and practised with
+varying degrees of force, with the idea of steady projection and
+determined control. The ability to sustain the tone for a long time will
+increase, and with it the power of the muscles exercised.
+
+The idea of projecting tone is based upon the feeling of sympathy with
+those at a distance, and not simply upon the desire to make them hear.
+Short passages of a vital and animated nature should be practised with
+varying degrees of radiation, so that the consciousness of the student may
+adapt itself to the idea of including in his sympathies a larger or
+smaller number of people. The thought of sympathy with, or nearness to,
+those addressed is a most important principle in the development of this
+power. It is never the best way to strive to speak loud in order that one
+may be heard. Such selections as Lanier's "Life and Song," Wordsworth's
+"The Daffodils," and Scott's "Lochinvar" will be found helpful studies for
+radiation. It is useful in practising the humming tone, or the nares tone,
+to imagine the whole atmosphere pervaded with pure resonance. Too much
+emphasis cannot be placed upon the idea of perfect purity as the essential
+foundation of power. The pure voice will grow to power. In taking this
+exercise there should be no consciousness of effort in the throat, and no
+shade of sharpness should be heard in the tone. One must try for the pure,
+pervasive resonance which seems to float on the air like the soft note of
+a violin. The right condition for the expression of this radiant vitality
+in the voice is a complete alertness and responsive vivacity of the whole
+person. This animation should be vital and not nervous.
+
+
+PITCH
+
+A voice, to express variety, must have sufficient compass to give
+opportunity for a free play of inflection over various degrees of pitch.
+It has been said, "Inflection is the tune of the thought." It is that
+which makes it attractive. If one desires to emphasize a point of thought
+and make it attractive to another person he instinctively increases his
+emphasis by lengthening the slide or inflection. The high pitch indicates
+mental activity; the medium pitch is the normal or heart range; the low
+pitch is more peculiarly vital. If one would express varieties of thought
+with brilliancy and effectiveness, the range of his voice must be wide,
+and the evenness of quality so perfect that he can glide from one extreme
+of pitch to another without any break in the tone. Facility in thus
+handling the voice may be developed by means of special attention directed
+to this characteristic. The practice for securing this adaptability in the
+modulations of pitch is as follows.
+
+Begin with the nares or humming tone, giving it on as many different notes
+of the scale as can be easily reached. Practise the scale gliding from one
+note to another while maintaining the pure tone. Practise gliding in the
+form of inflection, or slide, from one extreme of pitch to another. This
+may be given with variations, according to the ability of the student to
+control his voice with evenness and to maintain that pure smoothness of
+gradation in quality which permits no break or interruption in gliding
+from one pitch to another. These varieties of practice in slides and
+scales should be introduced with the practice of various elements of
+speech, as well as with the humming tone. The different vowels should be
+so used. Selections for practice should be chosen which contain much
+variety of thought and feeling and are smooth in movement. For instance,
+Tennyson's "Song of the Brook," "The Bugle Song," practised with the
+introduction of the bugle notes and their echoes, and various other
+selections of a musical and attractive nature, may be adapted to this
+practice by simply exaggerating the slides which one would naturally make
+in bringing out the meaning. No extravagant or unwarrantable inflections
+which will mar the expression of the thought should be permitted, but it
+is quite desirable to gradually extend the range of the inflections, if
+one still maintains in the practice that common sense which will leave the
+expression in perfect symmetry when the extra effort made for inflection
+shall have been withdrawn. Though it is sometimes desirable to exaggerate
+one element, even to the sacrifice of others, it is never necessary to
+introduce false notes, the effect of which may remain as a limitation upon
+the expression of the selection used.
+
+
+VOLUME
+
+Other things being equal, the volume of voice used measures the value that
+the mind puts upon the thought. Of course the expression of this value is
+modified and characterized by the nature of the thing spoken of. For
+example, one would express the value of the ocean with a different quality
+from that which would be used in expressing the value of something
+exquisitely delicate. All elements of expression modify each other, so
+that no mere rule can cover all cases. Volume is not always expressed in
+the form of extension of power, but is frequently manifested in the form
+of intensity or compressed volume. It is scarcely necessary to explain the
+difference between the expression of mere vital power in the voice and
+that manifestation of the will which gives the impression of directed
+energy. The will determines, and the impetus of the thought is measured
+by, the adjustment of volume. Vitality is expressed in radiation; will is
+expressed in focus.
+
+The term "volume" may be broadly used to cover the characteristics of the
+thing estimated, and hence to include something of that subtle expression
+which we call color in the voice. Volume expresses will; color expresses
+imagination. For this use of the voice in the special service of
+will-power, or propelling force, it is necessary first to test its
+freedom. This may be done by taking the humming tone and bringing to bear
+upon it a strong pressure of energy. If the tone sharpens under the strain
+it is not perfectly focused. If it remains mellow one may venture upon the
+next step, which is to practise various vowel sounds and elements of
+speech with concentrated energy. The sense of bearing on to the voice, or
+endeavoring to push the tone by any pressure whatever, should be
+absolutely avoided. Tone support should be carefully regarded. In order to
+secure this a correct standing position must be held and the muscles about
+the waist and the abdominal muscles must be firm and elastic.
+
+The chin is, in articulation, the pedal of power, and decision in the
+conscious action of the chin (not the jaw) will induce by reflex action
+that stroke which expresses well-aimed will-power. It may be noticed in
+connection with this suggestion that when a person means what he says the
+action of the chin is likely to be noticeably decided.
+
+The perfectly alert and self-commanding attitude of the body cannot be too
+strongly urged at this point, for the voice cannot be used safely with
+great power when the body itself is in a negative attitude; for it must be
+remembered that the voice is a reporter, and if we attempt to force it to
+report something that is not there it will repay us by casting the lie in
+our throat. Power is the result of growth, and can be developed only by
+patience and the securing of such conditions as will establish freedom and
+certainty. The certainty of any tone depends upon the perfection of its
+focus. Quality is the synthetic effect of these attributes in the voice.
+Under this head selections of a warlike nature may be practised, and those
+which have in them the thoughts of magnitude and importance. Spartacus's
+"Address to the Gladiators" is excellent; also, Byron's "Apostrophe to the
+Ocean," "The Rising in '76," and selections of a similar nature.
+
+
+TIME
+
+_Including Poise and Rhythm_
+
+The significance of time is determined by the movement of any selection,
+or, in other words, the rhythm. It will be noticed that a selection may be
+read with rhythmical effect and be made quite impressive without much
+emphasis of other characteristics. However, the responsiveness of the
+voice in variety of pitch, quality, and power is also a very large factor
+in the illumination of the pause. The pause, as a mere interruption of
+sound, has little significance, but the relations that the different
+sounds bear to each other lend significance to the pause. A pause should
+always suggest an orbit of thought. These characteristics of expression
+can be made effective only by the practice of concentration in the mind
+itself upon the thoughts to be suggested. Nevertheless, the quick
+responsiveness of one's sensibilities in the expression of the various
+qualities developed by the cultivation of the voice greatly facilitates
+the manifestation of the thought itself.
+
+All selections of a high order have relation to rhythm in their
+composition, and that style of movement in the composition should find its
+ready response in the organism of the speaker or reciter. It should be
+remembered that the sense of rhythm may be misapplied, as may any other
+element, by allowing the mind to go off into the sensation of "jingle"
+without reference to its expression of the thought or its relation to the
+thought. But if the sense of rhythm is duly developed, and then this
+sensibility, as well as all others, is surrendered to the service of the
+thought, it furnishes an element of beauty which cannot easily be
+dispensed with. The reason we associate rhythm with the significance of
+time is that rhythm is a measurer of time.
+
+In connection with this step the practice of melodies is useful, if one
+has musical taste. Simple, familiar melodies are best--such as "The Last
+Rose of Summer," "Annie Laurie," "Flow Gently, Sweet Afton," etc., etc.
+The importance of rhythm is well expressed by Emerson, who said that the
+rhythm of Shakespeare's verse was always the outcome of the thought.
+
+The term "ellipse" has been sometimes used to express the implied action
+of the mind during the pause--describing an orbit of thought implied but
+not stated in the words.
+
+The illumination of the pause, or the responsiveness of the voice, in
+exhibiting those modifications of quality which give significance, may be
+greatly enhanced by the practice of such selections as express much beauty
+of thought and variety of significance,--such as Shelley's "The
+Cloud,"--things which are somewhat philosophical in their significance; by
+selections which suggest much more than is definitely stated,--"Aux
+Italiens," by Owen Meredith, "He and She," by Edwin Arnold, "Evelyn Hope,"
+by Robert Browning; also chapters from philosophy that is poetically
+expressed, such as Emerson's "Essays." In practising these for the special
+development of significance every effort should be made to realize the
+thought quality in the voice, so that each word may seem to picture forth
+the full truth that lies behind it, and that all shall move in such
+harmony as to suggest the deeper meanings. The quality of expressiveness,
+or clear response to thought in the voice, it will be observed, is secured
+through the ready service of all its powers under the influence of the
+mental concept. It is to be attained by the attitude of receptivity and
+the effort to think through the voice.
+
+This form of expression in voice corresponds to the suggestive in art, and
+when the student has attained the power of fulfilling its requirements his
+work can be called artistic. One should never attempt to measure his
+progress by listening to himself directly; but keeping the ideal in mind,
+he may come to realize himself as harmonizing with that, and a sense of
+freedom from limitation will at last crown his endeavors.
+
+
+
+
+CHAPTER IV
+
+The Relation of Technique to Rendering.
+
+
+It is certainly true that the highest use of the voice is the revelation
+of the soul. The most important and effective means of cultivation lie in
+the exercise of the voice under such mental conditions as shall invite the
+expression of the highest thoughts, but the voice is in one sense an
+instrument which is capable of being attuned. Right technical study and
+practice adjust the instrument in proper relations with the natural laws
+of its use, and establish, or deepen, the tendency to obey those laws.
+Hence the mind finds a more ready response in the instrument, and one is
+able to express with greater facility all that the soul desires to reveal.
+It would seem of little consequence that a person should be able to use
+the voice well simply as an ornamental accomplishment; for these agents of
+expression, these powers of the material being, have a higher significance
+than the mere exhibition of any qualities, however admirable. Such a
+motive in studying expression would be a very shallow one, for what would
+it signify in comparison with the great purposes of living?
+
+But so long as these instruments of ours do not serve us they are a
+hindrance to the higher expression of our being and the accomplishment of
+our highest mission to others. We do indeed desire to escape from the
+material and transient into the world of eternal verities, but these
+conditions are given us for a purpose. They have their use, and we cannot
+escape from the imprisonment in which we find ourselves until we have
+solved their meaning and conquered them for the service of the higher
+mind. We therefore study, not for the attainment of particular feats, but
+to secure the obedience of all our activities to the higher laws through
+which they can fulfil the purpose for which they were created.
+
+This harmonizing of the forces having been once accomplished, little time
+is required to keep in tune this harp of the soul; while the broader
+culture and the higher realization of all meanings that can be expressed
+are constantly sought in such discipline of the mind itself as shall
+secure the activity of its highest powers. The whole aim is to secure the
+development of character by the expression of the highest elements of
+character.
+
+Although the voice, like all other agents of expression, is naturally the
+reflector of the individual and his states, it is necessary to understand
+what that statement implies in order to appreciate the great need for the
+higher culture of the vocal organism. If the individual's condition were
+attuned to perfect harmony, to perfect unity of action, and to singleness
+of purpose, together with the habit of personal expression rather than
+expression through some limited mode of action--if, indeed, this were so,
+his voice would scarce need training,--certainly not corrective
+training,--nor would he need "culture" of any kind, being already a
+perfect human being.
+
+Those who postulate the "perfectly natural" voice, _i.e._, one that
+is unconscious of its own art, either presuppose this condition of innate
+perfection or assume that the simple wish to speak--and its exercise--will
+be sufficient to overcome wrong habits and conditions. Will it? Let us
+see.
+
+The culture of expression is a very different thing from the artful
+imitation of the signs of feeling and purpose. If we are to have a real
+education along lines of expression we must begin with the "content," or
+cause, of expression. We may for the moment postpone discussion as to the
+relative power of the sign to evoke the feeling, and the power of the
+feeling or condition to evolve the most effective sign. There is something
+to be said upon both sides; and, surely, the truth lies in the adoption of
+all good means to produce the desired end.
+
+First, then, to the basis. All oratorical values are measured primarily
+from the standpoint of the "what;" the "how" is important, too, but only
+in its relation to the "what" and "wherefore." The voice of the orator
+must be an influence--a sincere vibration of the motive within.
+Theoretically it is so naturally, but practically it is so only when the
+voice is free from bias and is responsive through habit or spontaneous
+inspiration to the thought of the speaker.
+
+We will admit that genius sometimes is great enough to bring into
+harmonious action all powers of the individual under its sway; but
+education mainly strives to unfold the imperfect, to balance, the
+ununified elements. Even genius, however, needs direction and adjustment
+to secure the most perfect and reliable results. How, then, shall we
+develop the motive, how enlarge the content?
+
+There is such a subtle relation between motive and action that it has been
+said, "The effect of any action is measured by the depth of the motive
+from which it proceeds." [Footnote: Ralph Waldo Emerson.] And so this is
+why the clever performer cannot reproduce the effect of a speech of
+Demosthenes or Daniel Webster. This is a reason aside from that arising
+from the difference in the occasion. Great men and great artists
+_make_ the occasion in the hearts of their hearers. The voice of the
+orator peculiarly should be free from studied effects, and responsive to
+motive. It is not the voice of entertainment, but of influence above all.
+The orator should be taught self-mastery. The orator who is not moved by
+high moral sense is a trickster or a hypocrite; the former juggles with
+human susceptibility for unworthy or inadequate ends, and the latter poses
+for motives he has not. So complex is human nature that this can be done
+by a good actor so as to deceive the judgment and feelings; but the
+influence will ultimately reveal the truth, if the auditor will use
+intuition and not be taken off guard by the psychic influence of a strong
+will bent on a given effect.
+
+The sincere endeavor to express a quality, with the aspiration to make it
+real, has the tendency to focus the power of that quality and concentrate
+the mind upon it. This, by repetition of effort, both increases the power
+and facilitates its expression. One must come to think vividly in terms of
+expression. In the instance before us it should be in terms of vocal
+expression. Anything well expressed--unconsciously--is to real art what
+innocence is to virtue, or what the spontaneous grace of a child is to
+that grace as applied to forms definitely intended to communicate an ideal
+to others. Self-consciousness must precede super-self-consciousness.
+
+Unconsciousness is childishness in art, and leads to vagueness of meaning,
+to the perpetuation of personal idiosyncrasies; and while a larger
+consciousness may be induced from the mind side, positive and overwhelming
+inspiration will be needed to overcome habitual limitations. A musician
+must love music itself, as well as its meanings, and a voice cannot be
+made the best of by one who does not love its music. Self-consciousness
+represents the stage of work and endeavor where faults are being overcome,
+power enlarged, and new forms of activity mastered. This may be at first a
+hindrance to spontaneity, and seem to hamper the imagination; but as
+facility is acquired joy comes back, and the joy of conquest with the
+adustment of means to ends is a stage of self-consciousness dangerous for
+the egotist, but is inspiration and incitement to larger effort. This is a
+stage where many artists remain--most of the time. But the super-conscious
+stage is that state in which with perfected facility and power of
+self-mastery the doing becomes lost in supreme realization; and right
+action, now become habitual, is forgotten in the full consciousness of
+oneness with the ideal. Then the voice--or the artist--embodies the ideal,
+becomes the part for the time being, and is, as we say, inspired.
+
+We may forget what we are doing, but we must be able to know, or there
+will be nothing worth while to forget! The danger of the mechanical
+idea--the extreme technician's notion that the sign is enough--is that the
+person may become an automaton and inhibit the power of real feeling in
+himself; and though he may perform admirably and win the applause of some
+critics who love form unduly, he fails in the great issue and wins only
+superficial success or fails utterly, without seeing why. The real
+experience has a magnetism of its own and will win above mere technicality
+whenever it has the opportunity.
+
+Some believe that psychic response to the sign is desirable. This develops
+merely sensitiveness, reflex action, and does not enlarge the power of
+feeling nor encourage the motive and the real heart. The desirability of
+emotional response quickly reaches its limit; and while it may be feeling,
+it does not spring from an adequate cause, so has not the dignity and
+sweep of absolute sincerity. We must have _motif_ first, then
+technique to adapt and adjust expression and to develop facility in the
+active agents. We want the Real, idealized by Art, and the Ideal, made
+real and tangible by Art, the Revealer!
+
+The process we would follow, then, is, primarily, the training of the
+imagination to conceive fuller and fuller ideals of music and meaning;
+and, simultaneously, the exercise of such activities as shall increase the
+capacity of vocal expression and the availability of the vocal powers.
+Availability is of the utmost importance! Concentration is the prime
+requisite in attaining rapid results. The student must concentrate
+absolutely upon the various qualities sought, and must infuse intelligent
+impulse into his every nerve and muscle! The vibrant voice of the spirit
+cannot be evoked by half-hearted effort, lazy nerves and muscles, nor with
+the drag of inattention. The student who does not intend to arouse himself
+need hope for no keen sense of beauty.
+
+The voice is, first of all, a messenger of spirit, and illustrates this in
+that quality which has given rise to the expression "borne on the wings of
+song." Ultimately the whole body will be conceived to be a sensitive
+vibrator responding with dramatic sympathy and returning vital radiance to
+the tones. The rightly cultivated expressive voice is the man--speaking.
+
+
+
+
+CHAPTER V
+
+Phases of Vocal Interpretation
+
+
+ARTICULATION
+
+The quality of artistic beauty in articulation is very important, beyond
+the mere accuracy which is ordinarily thought of. There are five general
+heads under which the characteristics to be sought may be grouped.
+
+First, _Accuracy of Form_. This not with severity, but with
+perfection coming from sensitive response of the articulating organs to
+the form concept as held in the mind. One should avoid the practice of
+exertion in the execution of articulated forms.
+
+Second, _Tone Quality_, secured by the right relation of the tone
+form to the line of resonance, is very important and may be attained by
+careful attention to musical beauty and a sense of harmony. This is the
+right _placing_ of tones.
+
+Third, _Proportion_ must be carefully considered. Very often
+unaccented syllables are made unduly prominent and unimportant words are
+over-emphasized through lack of attention to this principle. The careful
+appreciation of rhythm, or the _movement_ of syllables in
+enunciation, gives a flowing, easy, well-proportioned clearness that is
+indispensable to beauty. This should be practised in connection with the
+interpretation of melodious, _flowing_ passages, which will furnish
+opportunity for the appreciation of the relation between the accented and
+unaccented syllables and the important and unimportant words. Such
+material as Bryant's "Thanatopsis" is good.
+
+Fourth, _Phrasing_. The careful observation of the three foregoing
+aspects of articulation leads at once to the fourth; namely, the
+expressive value of words in direct relation to the interpretation itself.
+This is closely connected with phrasing, and the phrase, which is the
+larger "thought word," should be studied as the communicating link between
+the articulation of the part and interpretation as it relates to
+literature itself. In connection with this comes the consideration of
+slides and the finer modulations of tone-color, movement, and cadence. But
+the study of word values, in the light of the whole phrase to be
+interpreted, will make each word a living thing in its influence--a winged
+messenger of the thought.
+
+Fifth, _Slides_. The slide has already been referred to as the unit
+of vocalization in speech as distinct from the province of song, the unit
+of song being the scale of notes as sung in succession, but with distinct
+individuality. Few who have not studied the matter carefully appreciate
+the fact that the speaking voice suggestively covers as wide a range as
+the singing voice ordinarily does. But it is essential that the even
+development of range from high to low pitch should enable the student to
+glide without break from one extreme of pitch to another. Inflection is
+often inferred by the mind of the listener when the person speaking
+abruptly drops from high to low pitch without rendering the intervening
+sound. The absence of the fulfilment of inflection robs the speech of much
+of its musical quality and much of its appeal to the feelings; for
+inflection is the musical expression of the thought, and depends upon
+feeling. The expression of this relationship of intelligence and emotion
+is a subtle and powerful appeal,--the realization of true
+culture,--combining thought and feeling. We know what a man means
+literally by the abrupt or emphatic changes of the pitch or pressure; but
+we know what the fact means to his feelings by the slides and cadences. It
+is difficult to over-emphasize the importance of that characterization
+which awakens a keen sense of the _musical_ meaning as corresponding
+to the _thought_. This perception brings music into the speech and,
+if it be awakened to the extent of a real love for the music itself,
+develops a smooth and quiet clearness in the communication of thought and
+feeling which is the greatest charm of conversation and of descriptive and
+narrative utterance.
+
+
+VOCAL RANGE
+
+It is ordinarily considered that the range of the speaking voice is very
+limited as compared with the singer's range. A little consideration of
+what is involved in the full development of the power of slide should show
+us that while the key-note of speech fundamentally may not vary widely,
+the suggestive music of the voice in long slides often does cover a great
+number of notes. A little experiment will demonstrate this. Take any
+selection containing variety in idea colored by feeling and try making
+the long lines of inflection, keeping the proportion good and modulating
+into a very shadow of sound, yet wholly appreciable. That which the
+student of expression calls length of line is very largely expressed in
+range of inflection as well as in the extension of time and modulation
+of volume. The range of tone in every voice should cover as many degrees
+of pitch as possible, as these are needed in word painting no less than
+in dramatic expression.
+
+It is claimed by singers that the practice of speech as an elocutionary
+exercise is sure to lower the pitch of the voice so as to depress the
+so-called higher register. This is doubtless true to a large extent, as
+manifest in the conditions common, but it is by no means a certainty that
+a sufficient balance of practice upon the delicate, esthetic lines of the
+voice in high pitch and in such selections as Shelley's "Ode to a Skylark"
+may not counterbalance the overemphasis upon low tones which is ordinarily
+practised by students of the speech arts. The orotund, sonorous, and
+forceful qualities are perhaps dwelt upon too much, and to have a full
+voice is frequently the greatest care of the elocutionist. There are,
+however, those who appreciate the musical varieties of the vocal power and
+who hold flexibility, range, and great variety as of more importance than
+absolute power. It is the experience of such that the voice may be
+extended in its range in both directions at once. The high pitch
+represents mentality, the esthetic phases of beauty, and much brilliancy.
+The medium pitch expresses warmth, emotion, and the heart qualities. The
+low pitch is used for grandeur, and all the vital and broad expressions.
+The use of the slide makes possible infinite blending of these various
+characteristics in expressing the complexities of meaning which involve
+rapid transition from one to the other of the fundamental characteristics,
+or a combination of all three.
+
+
+DRAMATIC EXPRESSION IN THE VOICE
+
+Dramatic adaptation in expressing various characters, emotions, and
+motives is potentially very great. Though the average speaker is generally
+limited by one type of voice, which he varies somewhat, it is not often
+disguised. It is the belief of the writer that this is largely due to a
+psychological limitation. It requires broad sympathy and a vital
+realization of the subjective view-point of different characters, with an
+appreciation of the relative force of different appeals to those
+characters, in order that the responsive voice may have the convincing
+ring which expresses the psychology of the character represented, and not
+merely the mannerisms and externalities of impersonation.
+
+Impersonation may be more easily achieved intellectually, requiring only
+keen observation and the power of imitation. Dramatic interpretation, on
+the other hand, deals mainly with the phase of human nature which is not
+exterior--the interior force of the character. We would classify these two
+departments in this way, though in the highest dramatic work elements of
+both phases are combined. Pantomime is more essential to the development
+of impersonation, but dramatic interpretation gathers power from the
+psychological appreciation attained from the studies pertaining to
+personal development. In dramatic interpretation the voice is a much more
+significant feature relatively than is the detail of gesture in pantomime.
+Impersonation absolutely requires the finest detail of mannerism to be
+represented in the action.
+
+It has been very well demonstrated that the quality of the so-called
+"line" of the voice is influenced in accordance with dramatic action. If
+one makes a gesture expressive of directness, the tone of the voice, if
+given with the simultaneous impulse, will express that characteristic. If
+subtlety or sinuousness of meaning is desired, the body and the gesture of
+the hand may be powerful aids in inciting vital expression in the voice.
+In order to test this, take a certain tone like _ah_ or _o_ and
+hold it while taking vital dramatic attitudes differing widely in
+significance.
+
+This may also be done in the practice of single words or short sentences.
+Take some such word as "come" or "go," "forward" or "away," practising
+with different attitudes, and it will be seen at once that it is almost
+impossible to make tone and dramatic action contradict each other.
+
+Fine descriptive shades may be attained by taking such selections as
+Byron's "The Ocean," Bryant's "Thanatopsis," Shelley's "The Cloud" and
+"Ode to West Wind," accentuating with gestures of the arm and hand every
+sweep or impulse of the word-painting, letting the curve of the figure
+described in the air by the hand correspond with what is wanted in the
+mind by the picture. Then, if the vital center of dramatic action is
+aroused and the tone support is good, the voice alone--all gestures
+withheld--can reproduce the same impressions. This is often of great
+advantage, as the strength of repose is expressed to a great degree in
+restraint of movement. However, it is advisable for the student of
+expression not to be too absolute in determining how much he will or will
+not "make gestures." The person whose impulse is not sufficiently strong
+from the center may do far better to arouse activity of the organism by
+more action than to allow any inadequacy of nervous energy to depress the
+power of vibration which determines the influence of the voice.
+
+There are many simple principles and laws of expression that may be
+advantageously used in preparation for public recitation or finished
+interpretation.
+
+The emphasis of various qualities appearing in typical selections, such as
+beauty in "The Chambered Nautilus," by Holmes, and other selections of
+varying character, intensifies both the appreciation and the power of
+expression in different characteristics. Careful observation and analysis
+of the modes of different qualities which manifest themselves in this way
+give full resource, and then whatever quality we have mastered and stored
+in our nerve centers through appreciation will spring up spontaneously
+under the influence of inspiration, making calculation practically
+needless at the time of one's highest artistic expression. Analysis and
+practice in preparation are the steps over which we must climb to the
+platform of power. Having attained this, the infinite variety of the
+broader vision calls forth the expression of all that has been previously
+involved.
+
+Dramatic adaptation, then, from the standpoint of expressive voice
+culture, is attained by free and varied development, focused in the
+psychological triumph at the moment of interpretation. The body is as a
+musical instrument of which the voice is the reporter. There are two
+things to be sought in the artistic voice: one is concentration of
+consciousness in the vibration of the tone so that the voice may be filled
+with conscious motive; the other is the response of the free voice to the
+powerful act of the imagination. Affirmatively, the voice vibrates with
+the individual message. Reflectively, it mirrors the ideal conceived at
+the moment of speech. The orator must have the former of these two powers
+of the voice. The artist, though emphasizing the latter, can scarcely
+achieve power in this without also attaining the former.
+
+
+LYRIC INTERPRETATION
+
+In the rendering of lyric poetry there are two extremes to be avoided. One
+is the musical tendency to obscure the sense, as in "sing-song" rendering;
+the other is the reactionary effort made by many would-be sensible people
+to make prose of the poetry by excluding all the music and rhythm in
+emphasizing the literal meaning. The following rule will be found a safe
+guide. Use the rhythm and quality pertaining to the full musical
+expression, modified by the inflection called for by the meaning, having
+careful reference to the perfect phrasing of the thought. The fulfilment
+of both of these complementary requirements will produce rhythmical and
+tone modulations characteristic of the poetry as such, and at the same
+time the full meaning will be brilliantly manifest. It has been said that
+the meaning of all great poetry is emphasized by its music. Much more
+attention should be given than is ordinarily devoted to the consideration
+of rhythm. Even prose has its peculiar rhythmic movement which constitutes
+its style and gives impetus.
+
+Finally, by concentration of every distinctive phase, synthesized by a
+vital motive aroused by the message spoken, the voice becomes musical,
+forceful, clear, vibrant in the fulfilment of its natural function. The
+voice is the most potent influence of expression, the winged messenger
+between soul and soul.
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Expressive Voice Culture, by
+Jessie Eldridge Southwick
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