The Renaissance of the Vocal Art   By: Edmund Myer

A Practical Study of Vitality, Vitalized Energy, of the Physical, Mental and Emotional Powers of the Singer, through Flexible, Elastic Bodily Movements

BY EDMUND J. MYER F.S. Sc. (London)

Author of "Truths of Importance to Vocalists," "The Voice from a Practical Stand Point," "Voice Training Exercises" (a study of the natural movements of the voice), "Vocal Reinforcement," "Position and Action in Singing," etc., etc.

1902

" When you see something new to you in art, or hear a proposition in philosophy you never heard before, do not make haste to ridicule, deny or refute. Possibly the trouble is with yourself who knows? "

PREFACE.

To my readers once again through this little work, greetings. For the many kind things said of my former works by my friends, my pupils, the critic and the profession, thanks! To those who have understood and appreciated the principles laid down in my last book, "Position and Action in Singing," I will say that this little work will be an additional help. To my readers in general, who may not have fully understood or appreciated the principles of vitality, of vitalized energy, aroused and developed through the movements set forth in my last book, to such I will say that I hope this little work will make clearer those principles. I hope that it may lead them to a better understanding of the fundamental principles of the system, principles which are founded upon natural laws and common sense. In this work I have endeavored to logically formulate my system.

As it is not possible to fully study and develop any one fundamental principle of singing without some understanding or mastery of all others, so it is not possible to write a work like this without more or less repetition. Certain subjects are so closely related, are so interdependent, that repetition cannot be avoided. I am not offering an apology for this; I am simply stating that a certain amount of repetition is necessary.

CONTENTS.

PREFACE EXORDIUM

PART FIRST.

EVOLUTION .

ARTICLE 1. THE OLD ITALIAN SCHOOL OF SINGING " 2. THE DARK AGES OF THE VOCAL ART " 3. THE TWO PREVAILING SYSTEMS " 4. THE RENAISSANCE OF THE VOCAL ART " 5. THE COMING SCHOOL OR SYSTEM " 6. CONDITIONS " 7. THE INFLUENCE OF RIGHT BODILY ACTION

RAISON D'ÊTRE

PART SECOND.

VITALITY .

ARTICLE 1. THE FIRST PRINCIPLE OF ARTISTIC TONE PRODUCTION " 2. THE SECOND PRINCIPLE OF ARTISTIC TONE PRODUCTION " 3. THE THIRD PRINCIPLE OF ARTISTIC TONE PRODUCTION

PART THIRD.

AESTHETICS .

ARTICLE 1. THE FOURTH PRINCIPLE OF ARTISTIC SINGING " 2. THE FIFTH PRINCIPLE OF ARTISTIC SINGING " 3. THE SIXTH PRINCIPLE OF ARTISTIC SINGING " 4. THE SEVENTH PRINCIPLE OF ARTISTIC SINGING

EXORDIUM.

Man, to see far and clearly, must rise above his surroundings. To win great possessions, to master great truths, we must climb all the hills, all the mountains, which confront us. Unfortunately the vocal profession dwells too much upon the lowlands of tradition, or is buried too deep in the valleys of prejudice. Better things, however, will come. They must come. The current of the advanced thought, the higher thought, of this, the opening year of the twentieth century, will slowly but surely increase in power and influence, will slowly but surely broaden and deepen, until the light of reason breaks upon the vocal world. We may confidently look, in the near future, for the Renaissance of the Vocal Art.

PART FIRST.

EVOLUTION.

ARTICLE ONE.

THE OLD ITALIAN SCHOOL OF SINGING.

The Shibboleth, or trade cry, of the average modern vocal teacher is "The Old Italian School of Singing." How much of value there is in this may be surmised when we stop to consider that of the many who claim to teach the true Old Italian method no two of them teach at all alike, unless they happen to be pupils of the same master.