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CHAPTER IV. RESPIRATION. OR many years past very much has been said
and written by professors of elocution and of singing upon the
important connection of respiration with the speaking and singing
voice. Physiologists and medical men have pointed out again and
again the laws of physiology governing the vocal organs, and the
serious consequences of violating those laws. But in spite of these
efforts which should have been received as so valuable to the
singing art, the most pernicious theories have been promulgated and
have found followers. It is not too much to say that thousands of
voices have been ruined or hopelessly injured by those who have
applied them. The too prevalent idea has been that in order to sing
well, some abnormal and difficult method of breathing must be
learned. The terms abdominal and diaphragmatic as characterizing a
method, have caught the ear, as scientific words pregnant with
value, and the student has very often submitted to be led
accordingly by those who, while professing knowledge, are ignorant
of the real meaning of the terms they use. Since Dr. Mandl in 1855,
published his famous paper Sur le Fatigue de la Voix, giving a
clear exposition of the different types of breathing, and their
effect upon the action and the hygiene of the vocal organs, at the
same time pointing out the fatal errors of the Methode de la
Conservatoire de Musique, a more serious and growing attention has
been given to the subject, and the best teachers recognize to-day
that the success of the old Italian school of singing was based
upon sound physiological laws. It is scarcely appreciated that
almost every feature of the art of singing depends upon the proper
use of the breath; that without an easy management of the breath
there can be no legato, no messa di voce, ...
General Books LLC
|Country of origin:
Sabrina H Dow
||246 x 189 x 1mm (L x W x T)
||Paperback - Trade
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