Excerpt: ... This description is embodied in two of the traditional precepts, those dealing with the open throat and the support of the tone. Mention of the traditional precepts leads at once to the consideration of another aspect of the empirical knowledge of the voice. Vocalists have been attentively listening to voices since the beginning of the modern art of singing. Although many of the impressions made by the voice on the ear cannot be expressed in words, one set of impressions has been clearly recorded. A marked ...
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Excerpt: ... This description is embodied in two of the traditional precepts, those dealing with the open throat and the support of the tone. Mention of the traditional precepts leads at once to the consideration of another aspect of the empirical knowledge of the voice. Vocalists have been attentively listening to voices since the beginning of the modern art of singing. Although many of the impressions made by the voice on the ear cannot be expressed in words, one set of impressions has been clearly recorded. A marked difference was evidently noticed by the Pg 185 old Italian masters between the feelings awakened in the hearer by a voice properly managed and those awakened by an incorrectly produced voice. These impressions were embodied in a set of precepts for the guidance of the singer, which are none other than the much-discussed traditional precepts. In other words, the traditional precepts embody the results of the old masters' empirical study of the voice. Considered in this light, the old precepts lose at once all air of mystery and become perfectly intelligible and coherent. To a consideration of this record of the empirical knowledge of the voice the following chapter is devoted. Pg 186 CHAPTER IV THE TRADITIONAL PRECEPTS OF THE OLD ITALIAN SCHOOL There should be nothing mysterious, nothing hard to understand, about the empirical precepts. It was pointed out in Chapter V of Part I that these precepts contain a perfect description of correctly produced vocal tone, so far as the impression on the listener is concerned. This means nothing else than that the old precepts summarize the results of empirical observation of correct singing. There is nothing new in this statement; considered as empirical knowledge, the modern vocal teacher understands the meaning of the old masters' precepts perfectly well. The misunderstanding of the subject begins with the attempt to apply the precepts as specific rules for the direct mechanical management of the voice. In...
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Add this copy of The Psychology of Singing to cart. $5.62, new condition, Sold by Ingram Customer Returns Center rated 5.0 out of 5 stars, ships from NV, USA, published 2017 by Createspace Independent Publishing Platform.
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