In the studios of vocal teachers "open and closed tone* method is often spoken of, but 'it is doubtful if a distinct vocal method has ever been built on this idea. Garcia advocated using open tone in the low voice and closed in the upper. Lamperti advised open tone through out the voice, at least in practice on exercises and vocalizes. It would seem as if "open and closed tone" method is a varying adjunct of several tnethods, rather than distinct vocal method by itself.
In the last few years a theory has been ad vanced which may serve as ground for a new method. It is, that tone is prtmordial substance, present in everything, as is electricity; that by stimulating vibration in the vocal machinery at the proper rate to make audible the tone which is present, our musical tone is produced. Voice culture, in this system, consists of stimulating the sounding machinery at just the right degree of vibration, soliciting above all, such counter balance of effort that the act of singing is unfelt and the appearance of effort hidden. This method further contemplates that transmission of tone is made ampliation of the vibration of the vocal machinery.
Examination of all methods of training the voice in vogue emphasizes the belief that none can have universal endorsement. This comes about because there are so many views of music and of the requirements for singing modern music. All unite in saying that singing should be without effort; but such is the difference in perception of sensation that what seems effort less to one appears charged with effort to an other. The latter fact points out the need of sotne scientific measure by which test may be made of this important element in singing. A barometer or thermometer would establish a vocal method. The one to invent such an in strument has not been found. Garcia opened the way for scientific examination of the voice, but no one has advanced in the science and Garcia's discoveries did not create a method generally endorsed. Among vocal teachers it is comman saying that there are two vocal methods, the good and the bad. Each believes his to be good, but as they differ very much all cannot be good. All know that breath must be used to create vocal tone; that tone emission must be with comfortable action in the throat ; that transmission of tone must be generous and the tone given be vibrant. The way to secure these constitutes good method. Every teacher has his own way by which to attain these de sirable ends, and the individuality prevents gen eral acceptance of any one system. Again, vocal teachers who depend on their individuality are little likely to invent any scientific testing ma chine. Method which can have universal ac ceptance and application will come only from deductions made by practical teachers working out the suggestions which scientific men make, which \\ 111 corn, ri um invention. The telephone came near showing new forms of transmission and reception of tone. It supplied the idea that tone is awakened into audible vibration and en dorsed the teachers of the (Primordial° method. Nor is it certain but that further experiments in which electricity plays an important part will supply views on w hich to base vocal method. It is a subject of vast importance. In this, vocal methods for singing have been considered be cause training the oice for that art is supposed to be the most important and extended training the voice can have. When we think of the large
number of actors, elocutionists and public speakers and recall that each needs to use true principles of voice culture, the importance of ha‘ing a definite and universally applicable vocal method seems almost imperative. When we realize that the constantly used conversational voice would be an infinitely more valuable im plement of communication between huinan be ings were it cultivated as it might be, the need of perfect (and universal) vocal method as sumes large proportions. If, as many believe, voice culture is one of the most valuable proph ylactic and therapeutic agents known, such need is absolutely imperative.
Schools of music have been established in all large cities, and of course the study of sing ing has been made prominent It has not, as a rule, been the chief study. It has been forced to fourth place, cotnposition, piano and instru mental playing having heen given precedence. Wherever the study of singing has been given special prominence it has attracted more stu dents to the school and has made more lasting impression on music. Thus, Lamperti made Milan with its conservatory, noted. The Royal Academy at London has, since the day of Han del, had a large number of great vocal teathers and that has given power to the school. The New England Conservatory and the Chicag-o College of Music have pioduced many excellent singers, but the fact remains that none has ad vocated special vocal method. Training has been on lines widely separated and left entirely to the judgment of individual teachers. As all have produced results, although using means so different, it is evident that training the voice for singing modern music can be had. through th.e personality of the teacher developing the musi cal nature of the student. This has taken the place of method. Many teachers, in late years, have written treatises on singing and which are intended, although frequently not so claimed, to be descriptions of vocal methods. Garcia's method was described in a book issued about 1865. It has since been revised and simplified. Madame Seiler, Madame Marchesi and Messrs. Randegger, Behnke and Alberto Bach have de scribed their methods in print Nor must we forget some very excellent works by American writers. Fredenc Root, D. A. Clippinger and Edmund J. Myer have written clearly and well on vocal methods. As their works are the latest and tfiey are men grown into the strong thouFfht of present activity, their writings have definiteness which was lacking in many earlier works. There is a growing belief that Ameri can teachers are taking the most advanced posi tion with regard to certainty in method, and that study of singing can best be prosecuted with such teachers. That which is most evident in their. -cvork is that they combine scientific with empirical teaching, and they bind the whole to gether with directing power of intellect and soul. At no time has it been possible to ensure that anyone possessing any degree of vocal re sources shall become an acceptable singer as it is now. This is true, in spite of the fact that never before has music demanded so much of singers.