Full text: Proceedings of the International Congress of Education of the World's Columbian Exposition, Chicago, July 25-28, 1893

DISCUSSION. 
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The qualifications of a teacher of vocal musi. 
MR. WATT : Nearly all well-trained voices use a soft, pleasant voice in speaking. 
MR. GLOVER : In taking breath to produce a tone, where does the expansion begin ? 
DISCUSSION. 
MR. Howarp : The expansion to produce a tone begins at the fourth rib ; at least the 
sensation is at this point. Nearly all great singers breathe in this way, but there are a 
few exceptions, and these persons sing very well. 
PRESIDENT Root : I think a little knowledge is a dangerous thing on this point, If 
you do not know thoroughly how to answer, do not answer. It doesn’t make so much dif- 
ference how you take breath, but how to manage it when you have taken it is the serious 
question. Go slowly on any new theory you may come across; you may be mistaken and 
then do harm. In regard to the position of the larynx, which Mr. Glover asked about, I 
would say that there is a certain place where it gives more resonance to the voice. Its 
position would depend on whether you wished the orotund voice or the thin, sentimental 
voice. Hold the larynx nearly at one point if you wish ease without much shading ; 
move it for color of tone. 
MR. HOWARD : Thereis great power in a fixed larynx, and it should be, in all singing, 
almost fixed ; but I have heard very beautiful tones made by a movable larynx, 
MR. WATT : The larynx is attached to the spinal column, but merely tilted in front, 
and we have the privilege of letting it play a little. 
MR. Norse: I would like to know what we can say to the boys and girls next 
September. 
Mr. H. E. Horr, of Boston : I would not talk to them about these things. How 
much study of the eye do the painters give in order to paint ? These are interesting 
points for us to study as teachers, but if the pupil’s attention is directed to these things 
he is made self-conscious, and his mind is directed to the mechanical process. He should 
chink of the music ; the voice is but the natural way of expressing the musical feelings 
of the soul. In teaching children, if perfect intonation is secured nine-tenths of the 
work is done, so far as using the voice properly is concerned. No rote singing should 
oe done. More interest is awakened by teaching the intervals of the scale and naming 
them, and thus training the mind to think. 
MR. GLOVER: There should be no strain of the vocal cords, and as little tension as 
possible. A good example should be given, and nothing should be said about the throat 
and its anatomy. If you talk about the anatomy of the throat, you confuse the pupils 
ns well as vourself. 
The vocal teacher's use of some instrument, as the piano or violin ; also of classical musie. 
’ 
MR. MarsuALL, of Newark, Ohio : 1 should not use an instrument to lead in teach- 
ng. It is an advantage to have a piano or organ to give the correct example in teaching 
chromatic tones, and in illustrating certain harmonious progressions. 
Mz. Roor : There is much diversity of opinion as to what constitutes classic music 3 
each one will have to speak according to his notion of the term. 
Mrs. Roper : Classic music is the music which has stood the best test of the artists 
and musicians. It may be very simple, as © Heavenly Father,” by Beethoven. 
Mr. LAWRENCE : The element of time must enter before music can be called classic. 
No modern music can be truly called classic, although it may become so if it endures 
long enough. The teacher should use as much of this kind of music as is easy enough 
for the children to appreciate, and such as the children like.
	        
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