250 THE POPULAR SCIENCE MONTHLY. 



in the smallest degree diminishes the vital capacity seriously 

 handicaps the singer. 



Although the abdominal mode of breathing may be the natural 

 method of inspiration, there can, I think, be no doubt that in sing- 

 ing it is not the most effective. On this point the empirical tradi- 

 tions of singing-masters were abandoned some years ago in favor 

 of what was supposed to be the teaching of science, and now sing- 

 ers are often taught to breathe by pushing down the diaphragm 

 and protruding the stomach. Anatomists are, however, beginning 

 to see that the Italian masters were right in insisting that the 

 diaphragm should be fixed, and the abdomen flat in inspiration ; 

 in this method there is great expansion of the lower ribs, and the 

 increase in the capacity of the chest takes place chiefly in this di- 

 rection. In this form of breathing there is far more control over 

 expiration than when the diaphragm is displaced ; the act can be 

 regulated absolutely by the will to suit the requirements of the 

 vocalist. Abdominal inspiration is apt, on the other hand, to be 

 followed by jerky expiration, a defect which is fatal to artistic 

 delivery and most fatiguing to the singer. 



The training of the other parts of the vocal machinery, the 

 vibrating element and the resonant apparatus, lies altogether out- 

 side my province. What I may call the " fingering " of the vocal 

 cords and the " tuning " of the resonators can be acquired only by 

 constant practice under a good teacher. There is no such thing 

 as a self-taught singer. Constant imitation of the best models 

 and the watchful discipline of an experienced instructor consti- 

 tute the real secret of the old Italian schools of singing, which 

 gave such splendid results. Tosi insisted that the pupil should 

 never sing at all except in the presence of a master. It is impor- 

 tant that the very best teacher that can be found should be chosen ; 

 it is a false economy to trust a young voice to an inferior man on 

 the ground of cheapness. To masters I venture to hint that they 

 should strive to train their pupils according to the traditions of 

 the golden age of song before the laryngoscope was invented. 



I have only to add that the ear should be not less carefully 

 trained than the vocal organs. An old Scotch minister used to 

 tell his flock that the conscience should be kept " as white as the 

 breest o' a clean sark." The ear is the conscience of the voice, and 

 its purity should be not less jealously guarded. Many singers of 

 the finest vocal endowment fail from a defect of ear ; their con- 

 dition is like that of a color-blind painter. Passing indisposition 

 may sometimes vitiate the ear as well as the temper ; the artist 

 should on no account attempt to sing under such circumstances. 



Two questions in connection with the training of the voice still 

 remain to be discussed viz., when it should be commenced, and 

 whether it should be interrupted during the so-called " cracking " 



