Commonplaces of Vocal Art

Whilst the greatest effort has been made to ensure the quality of this text, due to the historical nature of this content, in some rare cases there may be minor issues with legibility. The following studies treat of the philosophy of the voice and of voice use, and offer suggestions as to the best method of practice for the develop ment of the speaking voice and the voice in singing. The work is largely made up of essays written during the last ten years for various musical journals, and of lectures before musical institutions. These essays have been rewritten and brought up to date, with reference to the author's further experience and deeper study since their first publica tion. They have also been placed in practical sequence, and made more didactic, that they may, together with much new matter, form a succinct text book for vocal students (singers and public speakers), and serve as a companion work to the author's books of Practical Exercises, The Essential Practice Material for Singers English Diction for Singers and Speakers, and The Singer's Control of Body and Breath. The volume is placed before the public after many requests from the readers of the original essays throughout the country, and also to meet the requirements of the author's pupils now teaching in accordance with the processes herein displayed. Perhaps the cause of the cordial approval that greeted the essays in their original form was, as has been said of them, their plain speech. So much of vocal literature is written in cumbersome, technical language - or still worse, with fantastic personal theory - the whole subject has become a doctrine of mysteries. To such an extent has this been the fact, it has grown to be the belief of many that the practice of the profession of vocal teaching is a very conspiracy, the innocent student being willfully kept in darkness by the teacher, who exercises every effort to impress upon him the occult nature of the art, and the oracular power of the professor.