THE PHILOSOPHY OF SINGING CLARA KATHLEEN ROGERS -. AY ir irrifh ntrd frufh as rcZigion. W. nr. THACKERAY A22 fLozdgt 6e8im in feelifig-wide In Ue great 7ims ifs Zusasc is kid, A724 narrwing a fo iLozrt, staads gZrnicd, A nrmeless pyrnizid. JAMES RUSSELL LOWELL NEW YORK HARPER S BROTHERS PUBLISHERS 893 WHOSE SPbPPATIlY AND ENCOURAGEIIENT RAVE NADE THE IYRITING OF THIS BOOK POSSIBLE CONTENTS PAGE INTRODUCTION .............. vii THE PHILOSOPHY OF SINGING I. THE PURPOSE OF EXPRESSION IN ART . .. 3 ....... . . . . . . . . . 11. THE EVOTIONS IN SINGIKG 14 111. THE MIND IN SINGING 27 IV. THE BODY ........ IS SINGING. 33 V. SPONTANETTY THROUGH CONCE-UTRATIOY OF ENERGY. . ............ 40 11. AUTOIATISM. ............ 5I Part U hIECHhKIS31 AND TECHNIQUE I. IECHANISI ............. 67 . 11. BREATHING . . . . . . . . . . . . . . 73 111. THE THROAT IN BREATHIKG . . . . . . SO IV. SILENT EXERCISES, AND HOW TO PRACTISE THEM . .............. 85 V. REGISTERS . ....... . ... 90 vi CONTENTS PAGE TECHXIQUE VI. THE FIPE ESSESTZALS OF VOCAL 96 1 TOSE-TTACK. ........... g6 G THE Le.io AS DISTIXCT FRO11 THE POB- TAIPESTO, ............ 99 3 THE h1ss.t DI VOCE OR CRESCENDO AKD IIISUESDO ........... 104 4 y0tE.t THEIR REL-4101 TO THE REGIS- TERS, AXD THEIR EFFECT OK THE VOCAL SCALE . ............. ro7 5 Gosscr.isa.s ............ 116 TII. How TO STUDY . . . . . . . part lllll APPLIC-4TION AXD ELUCID-4TION OF THE PHI- LOSOPHY OF SIXGIKG 122 I. DRAMATIC EXPRESSION AND ITS RELATION TQ THE EVOTIOXS ......... I35 11. THE SCALE OF THE EMOTIONS . . . . . . 146 111. ACTION IN h-ICTION, OR THE TRUE RELA- TION OF PASSIVITY TO ACTION . . . . . 155 IT. RHITHAIICAL BREATHING AND ITS RELATION TO SISGINC 162 . . . . . . . . . . V. INDIVIDUALITY IN ART . . . . VI. A TORD ABOUT TEACHING VII. STAGE-FRIGHT ITS CAUSE VEII. SCIBIXRY ....... 170 184 AND ITS CURE . IS .........,.... 209 INTRODUCTION THIS little book contains tlie convictions which are the summing up of my whole artistic life. I have written it, first and foremost, for myself. I felt that the only way to recognize fully and clearly what my conclusions really are, was to for- mulate and express them. I take it for granted that there must be others who are beset by some of the same perplexities tvhich have made my art- life a constant struggle to attain that security of expression which would enable me at all times to voice that something of beauty and perfection stirring and urging within me, to which I couId seldom give adequate utterance. To such unsatisfied souls, the concPusions which I have reached in my struggles after the true lams of expression may be helpful, and therefore, in giving my book to the public, it is to these that it is especially addressed. Were I to cite one half of the tentative and speculative theories tvhich have brought me di- rectiy or indirectly to my present conclusions, there v-ould be material enough to fill several quarto volumes. But when all theories and ideas are sifted, and the solid, fupdamental truths sep- arated from the chaff of speculation, it is astonish- ing into how small a compass they may be com- pressed. This is, therefore, but a little book. But small as it is, it represents a quarter of a century of con- stant groping and reaching out for the true prin- ciples which govern the art of singing in its high- est aspect, which is the most eloquent and direct expression not only of the individualized soul, but also of the great universal soul itself. This treatise might as properly be called l The Philosophy of Life as The Philosophy of Sing- ing. Some of my readers who are looking for hethods of singing will probabIy consider tlie former a. more appropriate title than the latter. I tvill therefore state, as simply as possible, why I call it The Philosophy of Singing...