PSYCHIC MECHANISM OF THE VOICE


A musical speaking voice denotes generally a good singing voice, and it
must be remembered that articulation cannot be separated from phonation in
the psychic mechanism. In speaking, we are unconscious of the breath
necessary for the production of the voice. Not so, however, in effective
singing, the management of the breathing being of fundamental importance;
and it is no exaggeration to say that only the individual who knows how to
breathe knows how to sing effectually. A musical ear and sense of rhythm
are innate in some individuals; in others they are not innate and can only
be acquired to a variable degree of perfection by persevering efforts and
practice. The most intelligent persons may never be able to sing in tune,
or even time; the latter (sense of rhythm) is much more easily acquired by
practice than the former (correct intonation). This is easily intelligible,
for rhythmical movement appertains also to speech and other acts of human
beings, e.g. walking, dancing, running, swimming, etc.; moreover,
rhythmical periodicity characterises the beat of the heart and respiration.

But how does a trained singer learn to sing a song or to take part in an
opera? He has to study the performances of two parts for the vocal
instrument--the part written by the composer and the part written by the
poet or dramatist--and in order to present an artistic rendering, the
intellectual and emotional characters of each part must be blended in
harmonious combination. A singer will first read the words and understand
their meaning, then memorise them, so that the whole attention subsequently
may be given to applying the musical part to them and employing with proper
phrasing, which means more than knowing when to breathe; it means imparting
expression and feeling. A clever actor or orator can, if he possess a high