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_The Traditional Precepts in Modern Instruction_

So much importance is attached by modern teachers to the traditional
precepts of the old school that this subject calls for somewhat lengthy
treatment. Before discussing the manner in which the precepts are
applied in practical instruction, it will be well to review first the
interpretations of the precepts offered by different vocal scientists.

It must be remarked, in the first place, that no single one of the
precepts has ever been satisfactorily explained; that is, no direct
means of performing the actions indicated by the precepts has ever been
found. If ever the precepts had a definite meaning, considered as
specific directions for performing certain actions in a special way,
that meaning has been lost. Mechanical analysis has not reduced the
precepts to a form in which they are of direct value to the modern
teacher.

That the "forward tone" is interpreted as a reference to the emission of
the voice was noted earlier in this chapter. The explanation of the
"open throat" precept as a function of mouth-pharynx resonance has also
been mentioned.

"Singing on the breath" is a very perplexing subject for vocal
theorists. Many authorities assert that this precept describes an
effect obtained by the "opposed muscular action" breath-control. (See
citation from Shakespeare in Chapter II.) But this explanation is hardly
satisfactory; if the precept had meant no more than breath-control, it
would have been forgotten long ago.

The "support of the tone" is mentioned by a large number of theoretical
writers on the voice. These writers generally state, in substance, that
"the tone must be supported by the breathing muscles of the chest, and
not by the throat muscles." (See _The Technics of Bel Canto_, by G. B.
Lamperti, New York, 1905.) But this explanation is hardly to be
considered as a scientific doctrine. Every one knows that a tone has no
weight, so in the physical sense it can need no support. In short,
scientific analysis has thrown no more light on this than any other of
the old precepts.

Notwithstanding the modern teacher's complete ignorance of the
mechanical operations which they seem to indicate, the old precepts form
a very important feature of instruction in singing. The great majority
of teachers cite these precepts constantly, and frequently direct their
pupils to "open the throat," to "bring the tone forward," etc. Is it to
be believed that an intel