vocal expression. "Thought without action is dead," says the psychologist. In vocal expression thought must seek an outlet through voice, which thus becomes an object of study. In fact, some study of it, if rightly conducted, will assist in its cultivation. The medium of vocal expression. The human voice, the medium of vocal expression, is a form of sound. The principal material in which an art works must determine, in a large measure, the character of the art. The art of vocal expression depends upon a specific sound, the human voice, for its nature. It follows, then, that in the elementary qualities and attributes of sound a basis may be found for the study of vocal expression. Sound as a sensation. Sound in its most elementary form is a sensation. This is excited by the vibration of bodies external to the brain. This vibratory motion is communicated to the brain through the organ of hearing. Every sensation, whether of seeing, hearing, or what not, must have certain attributes which serve to awaken consciousness and give it definite character: (1) There must be something about every sensation which will distinguish it in kind from every other sensation; (2) a sensation must continue long enough to be recognized; (3) a sensation must be strong enough, must have a sufficiently high degree of intensity, to identify it. For example, a sound sensation must have (1) pitch, which serves to give it definite form and character; (2) it must continue long enough to be recognized; (3) it must have sufficient loudness to be heard. Without these three attributes a sensation would fail to be identified and distinguished; that is, there would be no sensation. Vocal expression then, from the very nature of the human voice and the method by which sound is communicated, will be characterized by changes in pitch, time, and intensity. The nature of pitch. Pitch may be said to affect sound in two ways: (1) there is a fundamental tone which appeals most strongly to the ear and acts as the determining pitch; (2) this is always a composite tone due to resonance. A sound of one pitch is never heard. The ear of the untrained listener may not note any but the pitch of the fundamental tone. But every sound-producing body is resonant. Resonance is the sympathetic vibration of bodies which respond to a given sound. The parts of the soundproducing instrument may respond. Resonant bodies near at hand may do the same, and these responses reënforce the original sound with tones of varying pitches and intensities, some higher than the original or fundamental tone. This blended tone (which in its component parts appeals only to the trained ear), with its fundamental and its higher tones, or overtones, is the composite which gives what is called quality to the voice. Departments of vocal expression. Apply now these facts to vocal expression and there are possibly four departments: (1) speech melody, which is due to the variety of the fundamental pitches of the tones of the voice in utterance; (2) speech quality, which is due to the combinations of tones of varying pitches and intensities; (3) speech rhythm, which is due to the variation of the element of time in the vocal utterance; and (4) speech dynamics, which is due to the varying intensity of speech sounds. These divisions are based upon the mechanical nature of sound, and correspond, respectively, to similar departments in music. The study of vocal expression, as outlined in this treatise, is founded upon these divisions. II. VOCAL PROGRAM Speech melody. 1. With relaxed throat, jaw, and tongue utter the sound ä, (1) with a rising inflection as though in the climax of a joyous surprise. Breathe deeply but easily and let the tone be well sustained. (2) Utter the sound with a falling inflection as though in the climax of a joyous approval and satisfaction. These are among the most helpful exercises for vocal development. (3) Vary the pitch of the sound, gradually extending the range of utterance, always keeping close to the point where the tone is easily made. 2. With conditions the same as in the previous exercises, practice exclamations of a dramatic nature. Use the word "come," and give it with varying degrees of emotion and with varying emotions. Give it in the different parts of the range of the voice. 3. Give sentences, as, "Come here; no, go there! noting the constant change in pitch on each sound and between sounds, and the contrasts in pitches. 4. With varying pitches as indicated utter the vowel This exercise will help students to realize the fact of speech melody. 5. Use some sentence to show how the meaning will vary with the form, as: 6. Let the student bring sentences properly diagramed to represent in a rough way the logical thought of the selection, somewhat as indicated here: Saratoga is won! In the same manner let the student diagram and hand in the following: We charge him with having broken his coronation oath; and we are told that he kept his marriage vow. By making each line contain but a single phrase the student will learn not only the melody of the thought but something of its rhythm. In the same manner let the student diagram the following exercises in speech melody: numbers 3, 6, 11, 14, 21, 28, and 32. 3. Give us, O give us, the man who sings at his work!-CARLYLE 4. So long as we love we serve. So long as we are loved by others I would almost say we are indispensable; and no man is useless while he has a friend. STEVENSON 5. I would still with the last impulse of that soul, with the last gasp of that voice, implore you to remember this truth: God has given America to be free! - LIPPARD 6. My lords, what is it that we want here to a great act of national justice? Do we want a cause, my lords? You have the cause of oppressed princes, of desolated provinces, and of wasted kingdoms. BURKE 7. The soul of all genius is to be man if one be great, one cannot fail to speak, act, write, paint, live greatly.—GRIGGS 8. ९९ Charge!" trump and drum awoke; onward the bondman broke; bayonet and sabre stroke vainly opposed their rush! To see to it that I grow and gain and give! BOKER |