,,expressive ,,voice ,,culture          
,,including  ,,the ,,emerson ,,system   
,by ,jessie ,eldridge ,southwick        
,teacher of ,voice ,culture in the      
,emerson ,college of ,oratory4          
,,preface  ,the ,emerson ,system treats 
the voice as a natural reporter of the  
individual1 constantly emphasizing the  
tendency of the voice to express        
appropriately any mental concept or     
state of feeling4  ,this treatise is a  
setting forth of methods and principles 
based upon this idea with a fuller      
elaboration of the relation of technique
 to expression4 ,no attempt is here     
made1 however1 to present more than an  
individual contribution to this broad   
subject4  ,j4 ,e4 ,s4     ,,expressive  
,,voice ,,culture     ,,chapter ,i      
,principles of ,voice ,culture4   ,the  
first essential to one beginning the    
study of voice culture is an            
appreciation of the real significance of
 voice development4 ,we must recognize  
at once the fact that the voice is a    

natural reporter of the conditions1     
emotions1 thoughts1 and purposes        
7character and states or conditions7 of 
the individual4 ,the ring of true       
culture in the voice is that perfect    
modulation of tone and movement which1  
without self-consciousness1 communicates
 exactly the meaning and purpose which  
impel the utterances of the speaker4    
,it is almost impossible for any person 
to cultivate vocal expression to the    
best advantage without an intelligent   
and sympathetic teacher2 he lacks the   
perspective upon himself which is       
necessary in order to correct his       
individual faults and draw out his most 
effective powers4 ,then1 again1 he needs
 that personal supervision and direction
 of his efforts which will allow his    
mind to be constantly occupied with     
thoughts and principles1 and relieve him
 of all temptation to watch his own     
performances as such4 ,but it is        
necessary that the student should have a
 simple and logical basis for practice1 

however great may become the variety of 
its application4  ,that the voice is    
naturally expressive is shown in the    
fact that even where there is no        
possible suggestion of cultivation we   
instinctively read the broad outlines of
 meaning and feeling in the tones and   
inflections of the voice4 ,may it not   
therefore be possible that a finer      
culture will reveal all the subtle      
shades of thought and feeling1 and a    
more discriminating judgment be able to 
detect these1 just as the ethnologist   
will reconstruct from some crude relic  
the history of an earlier civilization8 
,we must remember1 too1 that first of   
all the voice is a vital instrument4    
,the physical condition affects most    
noticeably the quality1 strength1 and   
movement of the voice4 ,hence we see    
that physical health is essential to a  
good voice1 and the proper use of the   
voice is itself one of the most         
invigorating exercises that can be      
practised4 ,all the vital organs are    

called into healthful action through    
this extraordinary manipulation of the  
breath1 and the nervous system1 both    
vitally and emotionally1 receives       
invigoration4  ,in the beginning1       
therefore1 such vital conditions as are 
essential to the production of tone     
should be considered4  ,first1 a        
standing position1 in which the vital   
organs are well sustained1 is essential4
 ,one cannot even breathe properly      
unless one stands well4 ,the weight     
should be mainly upon the balls of the  
feet1 and the crown of the head so      
positively elevated as to secure the    
erectness of the spinal column4 ,this   
will involve the proper elevation of the
 chest1 the essential freedom of        
respiration1 and the right sustaining   
tension of the abdominal muscles4  7a7  
,take standing position as follows3     
weight on balls of feet1 heels together1
 toes slightly apart2 line of gravity   
from crown of head1 well lifted1 to     
balls of feet2 the ear1 point of        

shoulder1 and point of hip should be in 
line2 muscles of the thigh strong in    
front2 ribs well lifted so that front   
line from waist to throat is lengthened 
to full extent2 back kept erect1 and    
curve at waist not emphasized4 ,breathe 
strongly and deeply several times4  ,to 
secure the elevation of the ribs the    
hands may be placed under the arms1 as  
high as possible1 fingers pointing down2
 then try to turn or press the ribs up  
and forward with strong action of hands1
 breathing freely and emphasizing       
strength in waist muscles4 ,sustain the 
ribs in this elevated position1 and thus
 uplift the chest4 ,keep shoulders free4
 ,drop hands to sides again4  7b7 ,take 
half a step forward2 sustain weight on  
advanced foot2 do not change position of
 retired foot1 but keep the sense of    
purchase in it4 ,the chest should be    
carried forward of the abdomen and the  
abdominal muscles given their best      
leverage by a slight bending forward    
from the hips4 7,bending forward must   

not be done by any dropping of the      
chest1 or shortening of the line at     
waist through relaxation47 ,this        
position must be light1 active1 buoyant1
 and reposeful4  ,a constant sense of   
easy balance should be developed through
 poising exercises4  ,the habit of      
healthful and powerful respiration      
should be established by physical       
exercise for that purpose1 and the right
 manipulation of breath in tone         
production should be secured by the     
nature of the voice exercises4 ,any     
vocal exercise which involves in the    
very nature of its production a good    
control of breath becomes1 by virtue of 
that fact1 a good breathing exercise as 
well4  ,footnote3 ,see exercises        
described in a later chapter4  ,if the  
voice be perfectly free1 it is then     
capable of expressing truly all that the
 person thinks and feels4 ,the first    
desirable end sought1 then1 is freedom4 
,what is freedom1 and how secured8 ,when
 all cavities of resonance are          

accessible to the vibrating column of   
air the voice may be said to be free4   
,by cavities of resonance is meant the  
chest 7trachea and bronchial tubes71 the
 larynx1 pharynx1 the mouth1 and the    
nares anterior and posterior1 or head   
chambers of resonance4 ,the free tone is
 modified through all its varieties of  
expression by those subtle changes in   
form1 intensity1 movement1 inflection1  
and also direction1 which are too fine  
for the judgment to determine1 or even  
observe successfully4 ,these varieties  
are made possible by the very organism  
of the voice1 which is vital1 not       
mechanical1 and are determined by the   
influences working from the mind through
 the nerves which control this wonderful
 living instrument4 ,this is governed by
 the law of reflex action1 by which     
stimulation of any nerve center produces
 responsive action in other parts of the
 body4 ,the voice will obey the mind4   
,right objects of thought will influence
 it much more perfectly and rapidly than

 the mere arbitrary dictates of         
calculation4  ,right psychology would be
 the only thing necessary to the        
thorough cultivation of the voice if the
 conditions were so perfect that there  
were no habits of stricture and our     
instrument were thus in perfect tune4   
,and in spite of the fact that it is not
 usually found in perfect tune1 the     
influence of practice under right mental
 conditions is the most potent and      
indispensable part of voice culture4    
,let this fact not be lost sight of     
while we are discussing those more      
technical methods of training which are 
designed to tune and regulate our       
instrument4  ,first1 freedom of voice is
 attained 7technically speaking7 by     
right direction of tone and vital       
support4 ,a few words of explanation    
will make this patent4  ,if the         
vibrating column of air when it leaves  
the vocal cords is so directed that it  
passes freely through all the cavities  
of resonance1 it cannot fail to find the

 right one4 ,the following exercise1 if 
properly taken1 will induce right       
direction of tone3 produce a light      
humming sound such as would be the sound
 of m1 n1 or ng1 if so idealized as to  
eliminate that element of sound commonly
 spoken of as nasality4 ,that which is  
called nasality is caused by the failure
 of the tone to reach freely the        
anterior cavities of the nares4 ,the    
cavity which lies just back of the nose 
and frontal bone imparts a musical      
resonance resembling the vibrating      
after-tone when a note has been struck  
upon a piano and allowed to die away    
gradually4 ,the nasal effect comes when 
the tone is confined in the posterior or
 back part of the nares1 or head cavity1
 or is split by the dropping of the     
uvula so that part of the tone is       
directed through the nares and part     
through the mouth4 ,many so-called      
humming tones are given for practice1   
but in accepting them observe whether   
the foregoing principle is obeyed4  ,the

 controlling center of consciousness is 
the extreme limit of the nares anteri4  
,the tone should be thought of as       
outside4 ,keep the mind upon results1   
just as one would hold the thought of a 
certain figure which one might desire to
 draw4 ,if one wishes to inscribe a     
curve1 he thinks of the curve as an     
object of thought1 not of the muscles   
which act in executing it4 ,so with the 
voice4 ,a tone is not a reality until   
its form of vibration reaches the outer 
air4 ,one should always think of the    
tone one wishes to make--never listen to
 one's own execution4 ,if the ideal is  
not reached by the effort it will be    
known by the sense of incompleteness4   
,why is the nares anteri the ruling     
center of tone direction8 ,the dominant 
or ruling center of any organism is that
 point which1 if controlled1 will       
involve the regulation of all that is   
subordinate to it4 ,for example1 the    
heart is the dominant center of the     
circulatory system2 the brain is the    

dominant center of the nervous system2  
the sun is the dominant center of the   
planetary system4 ,in all these systems1
 if the center be affected1 the system  
is proportionately influenced4 ,if any  
other part than the dominant center be  
affected1 it is true that all other     
parts may also be affected1 but the     
desired unity in result will not be     
secured4  ,the voice will follow the    
thought as surely as the hand will reach
 the object aimed at4 ,the extreme      
anterior part of the nares1 or head     
cavity1 is the chamber of resonance     
farthest from the vocal cords4          
,therefore1 if the voice be directed    
through that chamber of resonance all   
the others must be passed in reaching   
it1 and hence all must be accessible to 
the vibrating column of air4 ,it is a   
law of acoustics that any given cavity  
of resonance will resound to that pitch 
to which its size corresponds1 and to no
 other4 ,this law of sound secures the  
appropriate resonance for every pitch   

much more accurately than it could be   
secured by an effort to develop chest1  
middle1 and head registers through      
calculating the differences4 ,again1 we 
need the higher chambers of resonance to
 reinforce even the low pitch1 because  
every note has its overtones that enrich
 it1 and if these cannot find their     
proper resonance the tone is            
impoverished4 ,it may be well to explain
 our use of the term overtone4  ,this   
word overtone is used unscientifically  
by many4 ,the significance of its use is
 somewhat varied among teachers1 but it 
generally means head resonance1 or a    
tone sent over through the head         
cavities4 ,the term is used here        
technically1 not arbitrarily4 ,overtones
 are not confined to the voice1 but are 
those constituent parts of any tone     
which are produced by the vibrating     
segments into which any vibrating cord  
will divide itself4  ,any cord1 or      
string1 stretched between two given     
points1 when struck will vibrate        

throughout its entire length in waves of
 a certain length and with a certain    
degree of rapidity1 according to the    
tension of the string4 ,this vibration  
of the entire length of cord gives forth
 the tone heard as the fundamental pitch
 or tone4 ,besides this fundamental or  
primary vibration1 the movement divides 
itself into segments1 or sections1 of   
the entire length4 ,these sections also 
have vibrations of their own which are  
of shorter length and more rapid motion4
 ,the note given off by these           
subdivisions is1 of course1 on a higher 
pitch than that produced by the         
fundamental vibration of the cord2      
hence1 they are higher tones1 or        
overtones4 ,it will be remembered that  
pitch depends upon the rapidity of the  
sound waves or vibrations4 ,this        
subdivision of the vibrations is        
incalculably multiplied1 so that it may 
be said to be impossible to determine   
the number of overtones accompanying the
 fundamental tone4 ,what the ear hears  

is the fundamental pitch only2 the      
overtones harmonize with the primary or 
fundamental tone1 and enrich it4 ,since 
this is a law of vibration1 it is       
unscientific to speak of giving an      
overtone1 for all tones contain         
overtones4 ,where these overtones are   
interfered with by any imperfection in  
the instrument the result is a harsh or 
imperfect sound4  ,in relation to the   
voice it should now be clearly          
understood that since it is the         
overtones which enrich or give a        
harmonious sound to any tone1 and since 
all tones 7low as well as high7 have    
overtones as constituent parts of their 
being1 therefore the whole range of the 
resonant cavities of the voice should1  
for the production of pure tone1 be open
 to all degrees of pitch1 in order that 
the overtones may find their appropriate
 reinforcement in the resonance         
chambers4 ,thus the quality of the voice
 depends1 not simply upon the condition 
of the vocal cords themselves1 but upon 

the form and quality of the resounding  
cavities4     ,,chapter ,,ii            
,elementary ,lessons4   ,after this     
brief discussion of the principles      
involved in this method of practice1 we 
will proceed to give some essential     
exercises for practice4   ,,exercise    
,,for ,,securing ,,freedom ,,of ,,tone  
,this is the foundation of all voice    
culture4  #a4 ,take position in         
accordance with directions given in     
,chapter ,i4  #b4 ,take humming tone as 
indicated in the preceding chapter1--m1 
n1 ng1--idealized and pure4 ,the mouth  
should be opened and closed without     
changing the tone4  #c4 ,endeavor to    
concentrate all consciousness upon the  
conception of a tone emanating from the 
nares anteri and floating in ideal forms
 of vibration in the surrounding air4   
,those forms may vary in their definite 
nature1 but must always obey the        
principle of curves and radiation4 ,one 
should never reach up to a tone1 but    
should seem to alight upon it from      

above1 as a bird alights on the branch  
of a tree4 ,the mind must never lose    
sight of the result--the ideal aimed at4
 ,the knowledge of processes leads us to
 a right conception of aims1 and enables
 us to judge of their correctness4 ,we  
should know what processes are normal   
7natural and healthful7 and what objects
 of thought will induce them4  ,while   
taking the above exercise no effort     
should be made in the throat4 ,the voice
 should seem to find its way without    
effort4 ,the tone should not be loud or 
sharp4  ,if the student finds it        
difficult to produce the tone alone1    
some word ending in ing should be       
practised1 as ring-ring-ring-ng4        
,,forming ,,of ,,elements  ,first       
,exercise4 ,start the humming tone as   
indicated in the first lesson1 and      
maintain the same focus while forming   
certain elements4 ,take the syllable    
n--m1 allowing no break while going from
 n1 the nares sound1 to the vowel sound 
of o1 and returning to the nares sound  

of m4 ,this is perhaps the best element 
to begin upon1 because of its           
definiteness1 but the same principle can
 be applied to other elements of speech1
 as                                     
,most-men-want-poise-and-more-royal-marg
in4 ,form each syllable with the utmost 
care4 ,concentrate the mind upon the    
ideal sound4 ,first be sure that the    
pronunciation is accurately conceived4  
,then enunciate clearly and try each    
time to make the form more perfect4 ,the
 principle of thinking is the same as   
that involved in striving to make a     
perfect circle1 or to execute any figure
 with more and more beauty4 ,the effort 
of the mind will bring the result1 if   
the conception of the element to be     
formed be correct4 ,the sentence        
given--,most men want poise1 and more   
royal margin--is composed of such       
alternation of elements as will tend to 
bring forward those that might be formed
 too far back by their association with 
those elements that are necessarily     

brought to the front4 ,for example1 the 
wordpoise4 ,the first and last elements 
are distinctively front4 ,that helps to 
bring out what is between4  ,the        
constant recurrence of the nares tone1  
as in m1 n1 etc41 may serve as a        
regulator of tone4 ,the object of this  
step in practice is to form elements    
with beauty1 and to form them with the  
same focus as that secured by the       
humming tone4 ,in this stage of practice
 each element should be dwelt upon      
separately1 but not in such a way as to 
mar its expression4 ,for example1       
unaccented syllables should be lightly  
pronounced and the right shading        
carefully observed4 ,otherwise1 when the
 elements are put together their harmony
 and smoothness will be wanting and the 
effect labored and mechanical1 as is    
often the case where attention has been 
given to the practice of articulation4  
,to make the effort of articulation a   
vital impulse in response to a mental   
concept1--this is the object sought4    

,the principle is that the will should  
be directed toward the ideal to be      
reached1 while the mind comprehends the 
means incidentally4 ,the means may be   
considered as a matter of knowledge1    
useful in guiding the judgment but a    
hindrance when used as a trap to catch  
the conscious attention of the          
practising student4  ,the whole         
difference between the artist who is    
spontaneous and the artisan who is      
artificial is that the one recognizes   
the fact that the very existence of     
human expression proves that the mind   
awakens the instinctive response of the 
physical organism1 while the other      
thinks that he can calculate that       
infinite harmony which makes unity of   
action1 without reverting to the first  
cause of expression--the thought that   
created it4 ,to reproduce the impulse   
born of the thought--this is the aim of 
a psychological method4 ,this is secured
 only by right objects of thought2 it is
 impossible to reach it by voluntary    

mechanics4   ,,smoothness ,,and         
,,harmony ,,of ,,utterance  ,having     
obtained the results sought in our last 
division1 we should learn to manipulate 
the elements of speech fluently without 
breaking their relation to 7harmony     
with7 the primary focus1 or direction of
 tone4  ,practise the same sentence1    
,most men etc41 striving to make every  
tone and the form of every element      
perfect1 without dwelling upon them     
separately2 practise this 7as also the  
preceding exercises7 upon various       
degrees of pitch in the musical scale1  
generally beginning on a medium high    
pitch1 then lower1 and afterwards       
higher4 ,strive to speak or sing        
fluently without breaking the quality of
 tone used4 ,a break in quality         
signifies loss of focus4  ,the object of
 this practise is to attain facility in 
manipulating the elements while         
maintaining the smooth quality of the   
tone4 ,after this sentence other        
sentences may be used in reference to   

the same idea4 ,the primary exercise    
given should always be reverted to as a 
working center1 in order to secure1     
through repetition1 a deepening of the  
tendency involved4 ,variety is          
admissible only in addition to the      
original exercise1 but should not be    
substituted for it4   ,,for ,,the       
,,development ,,of ,,musical            
,,expressiveness ,,of ,,tones  ,this    
opens the way to expression in          
tone1--dramatic expression1--but the    
technical preparation for expressive    
responsiveness in the voice is the      
development of its musical              
possibilities1 for all artistic         
expression in tones is musical whether  
the person be a singer or a speaker4    
,inflections are variations in pitch1   
and are the tune of the thought4        
,exercise4 ,practise the syllables m1 z1
 sk1 4 ,the sound of the ,italian a1 as 
in ah1 gives the freest position of the 
organs for the production of tone1 and  
perhaps the most difficult form in which

 to direct a tone with certainty4 ,it is
 combined with these consonant elements 
in order to invite it forward and bring 
it to a point 7figuratively speaking74  
,the m relates it to the nares or       
humming tone 7which is the basis of all 
resonance in the voice74 ,the z sharpens
 the consciousness at the front1 and the
 sk furnishes a good start for a        
positive stroke in the voice1 while the 
a alone leaves us to venture upon the   
free tone unassisted by these guides to 
direction4 ,the exercise should be      
practised with such musical variations  
as the student can learn to execute--the
 scale1 arpeggios1 etc41 both sustained 
tone and light touches1 broad tones and 
shaded tones4 ,other vowels may also be 
practised thus4  ,the practice of       
rhythm1 or the practice of rhythmical   
accent1 should be introduced1 as the    
sense of rhythm is an important element 
in the development of expressiveness4   
,the object now is to secure sensibility
 and responsiveness in the voice4 ,this 

opens the possibilities of vocal        
expression4 ,when we speak of the nares 
anteri 7or front head resonant cavity7  
as the dominant center of physical      
consciousness nothing mechanical is     
meant4 ,one is conscious that the eye is
 fixed upon an object1 but not therefore
 conscious of the action of the muscles 
used in turning it upon the object4 ,one
 thinks not of the eye1 but through the 
eye toward the object4  ,finally1       
technique has as its object the training
 of the instrument to freedom and       
responsiveness2 but the true art of     
vocal expression begins when the        
instrument is used in obedience to such 
objects of thought as should cause its  
strings to vibrate loudly or softly1 all
 together or in partial harmony1 in     
obedience to that vital impulse which   
the instrument itself was created to    
obey4     ,,chapter ,,iii  ,the ,higher 
,development of the ,voice by the       
,application of ,first ,principles4     
,there are four general forms of        

emphasis which serve as indications of  
the characteristics of expression4 ,they
 are ,force1 ,pitch1 ,volume1 and ,time4
 ,force corresponds to life1 or         
vitality1 in the voice4 ,pitch          
corresponds to the range of the voice1  
and expresses affection or attraction4  
,volume measures the activity of the    
will through the voice1 and ,time1 the  
expression of which depends principally 
upon movement1 or rhythm1 corresponds to
 the intellectual activities4  ,it will 
be understood that these forms of       
expression1 or emphasis1 are developed1 
according to the practice in the        
,evolution of ,expression1 by means of  
purely mental discipline4 ,it is        
nevertheless possible to reinforce these
 powers of the voice by technical       
practice with special reference to this 
development4 ,in taking up this branch  
of the work the student is supposed to  
have fulfilled the requirements of the  
elementary voice practice1 which1 it    
will be remembered1 includes the        

establishment of freedom by means of    
right direction of tone1 the perfecting 
of the elements in polished             
articulation1 the facile handling of the
 voice in combining various elements1   
and a certain degree of responsiveness  
in the practice of various musical      
qualities4   ,,force  ,for the          
development of increased vital power in 
the voice the student should practise   
the nares exercise and also the elements
 of speech in a sustained and even      
manner1 continuing tones as long as it  
is possible to keep control of them4    
,the effect of this is to establish     
strength and steadiness in the action of
 the muscles that control the voice1 and
 increase of breathing-power in response
 to the requirements involved in the    
exercise4 ,the tone must be kept pure   
and free1 and practised with varying    
degrees of force1 with the idea of      
steady projection and determined        
control4 ,the ability to sustain the    
tone for a long time will increase1 and 

with it the power of the muscles        
exercised4  ,the idea of projecting tone
 is based upon the feeling of sympathy  
with those at a distance1 and not simply
 upon the desire to make them hear4     
,short passages of a vital and animated 
nature should be practised with varying 
degrees of radiation1 so that the       
consciousness of the student may adapt  
itself to the idea of including in his  
sympathies a larger or smaller number of
 people4 ,the thought of sympathy with1 
or nearness to1 those addressed is a    
most important principle in the         
development of this power4 ,it is never 
the best way to strive to speak loud in 
order that one may be heard4 ,such      
selections as ,lanier's ,life and ,song1
 ,wordsworth's ,the ,daffodils1 and     
,scott's ,lochinvar will be found       
helpful studies for radiation4 ,it is   
useful in practising the humming tone1  
or the nares tone1 to imagine the whole 
atmosphere pervaded with pure resonance4
 ,too much emphasis cannot be placed    

upon the idea of perfect purity as the  
essential foundation of power4 ,the pure
 voice will grow to power4 ,in taking   
this exercise there should be no        
consciousness of effort in the throat1  
and no shade of sharpness should be     
heard in the tone4 ,one must try for the
 pure1 pervasive resonance which seems  
to float on the air like the soft note  
of a violin4 ,the right condition for   
the expression of this radiant vitality 
in the voice is a complete alertness and
 responsive vivacity of the whole       
person4 ,this animation should be vital 
and not nervous4   ,,pitch  ,a voice1 to
 express variety1 must have sufficient  
compass to give opportunity for a free  
play of inflection over various degrees 
of pitch4 ,it has been said1 ,inflection
 is the tune of the thought4 ,it is that
 which makes it attractive4 ,if one     
desires to emphasize a point of thought 
and make it attractive to another person
 he instinctively increases his emphasis
 by lengthening the slide or inflection4

 ,the high pitch indicates mental       
activity2 the medium pitch is the normal
 or heart range2 the low pitch is more  
peculiarly vital4 ,if one would express 
varieties of thought with brilliancy and
 effectiveness1 the range of his voice  
must be wide1 and the evenness of       
quality so perfect that he can glide    
from one extreme of pitch to another    
without any break in the tone4 ,facility
 in thus handling the voice may be      
developed by means of special attention 
directed to this characteristic4 ,the   
practice for securing this adaptability 
in the modulations of pitch is as       
follows4  ,begin with the nares or      
humming tone1 giving it on as many      
different notes of the scale as can be  
easily reached4 ,practise the scale     
gliding from one note to another while  
maintaining the pure tone4 ,practise    
gliding in the form of inflection1 or   
slide1 from one extreme of pitch to     
another4 ,this may be given with        
variations1 according to the ability of 

the student to control his voice with   
evenness and to maintain that pure      
smoothness of gradation in quality which
 permits no break or interruption in    
gliding from one pitch to another4      
,these varieties of practice in slides  
and scales should be introduced with the
 practice of various elements of speech1
 as well as with the humming tone4 ,the 
different vowels should be so used4     
,selections for practice should be      
chosen which contain much variety of    
thought and feeling and are smooth in   
movement4 ,for instance1 ,tennyson's    
,song of the ,brook1 ,the ,bugle ,song1 
practised with the introduction of the  
bugle notes and their echoes1 and       
various other selections of a musical   
and attractive nature1 may be adapted to
 this practice by simply exaggerating   
the slides which one would naturally    
make in bringing out the meaning4 ,no   
extravagant or unwarrantable inflections
 which will mar the expression of the   
thought should be permitted1 but it is  

quite desirable to gradually extend the 
range of the inflections1 if one still  
maintains in the practice that common   
sense which will leave the expression in
 perfect symmetry when the extra effort 
made for inflection shall have been     
withdrawn4 ,though it is sometimes      
desirable to exaggerate one element1    
even to the sacrifice of others1 it is  
never necessary to introduce false      
notes1 the effect of which may remain as
 a limitation upon the expression of the
 selection used4   ,,volume  ,other     
things being equal1 the volume of voice 
used measures the value that the mind   
puts upon the thought4 ,of course the   
expression of this value is modified and
 characterized by the nature of the     
thing spoken of4 ,for example1 one would
 express the value of the ocean with a  
different quality from that which would 
be used in expressing the value of      
something exquisitely delicate4 ,all    
elements of expression modify each      
other1 so that no mere rule can cover   

all cases4 ,volume is not always        
expressed in the form of extension of   
power1 but is frequently manifested in  
the form of intensity or compressed     
volume4 ,it is scarcely necessary to    
explain the difference between the      
expression of mere vital power in the   
voice and that manifestation of the will
 which gives the impression of directed 
energy4 ,the will determines1 and the   
impetus of the thought is measured by1  
the adjustment of volume4 ,vitality is  
expressed in radiation2 will is         
expressed in focus4  ,the term volume   
may be broadly used to cover the        
characteristics of the thing estimated1 
and hence to include something of that  
subtle expression which we call color in
 the voice4 ,volume expresses will2     
color expresses imagination4 ,for this  
use of the voice in the special service 
of will-power1 or propelling force1 it  
is necessary first to test its freedom4 
,this may be done by taking the humming 
tone and bringing to bear upon it a     

strong pressure of energy4 ,if the tone 
sharpens under the strain it is not     
perfectly focused4 ,if it remains mellow
 one may venture upon the next step1    
which is to practise various vowel      
sounds and elements of speech with      
concentrated energy4 ,the sense of      
bearing on to the voice1 or endeavoring 
to push the tone by any pressure        
whatever1 should be absolutely avoided4 
,tone support should be carefully       
regarded4 ,in order to secure this a    
correct standing position must be held  
and the muscles about the waist and the 
abdominal muscles must be firm and      
elastic4  ,the chin is1 in articulation1
 the pedal of power1 and decision in the
 conscious action of the chin 7not the  
jaw7 will induce by reflex action that  
stroke which expresses well-aimed       
will-power4 ,it may be noticed in       
connection with this suggestion that    
when a person means what he says the    
action of the chin is likely to be      
noticeably decided4  ,the perfectly     

alert and self-commanding attitude of   
the body cannot be too strongly urged at
 this point1 for the voice cannot be    
used safely with great power when the   
body itself is in a negative attitude2  
for it must be remembered that the voice
 is a reporter1 and if we attempt to    
force it to report something that is not
 there it will repay us by casting the  
lie in our throat4 ,power is the result 
of growth1 and can be developed only by 
patience and the securing of such       
conditions as will establish freedom and
 certainty4 ,the certainty of any tone  
depends upon the perfection of its      
focus4 ,quality is the synthetic effect 
of these attributes in the voice4 ,under
 this head selections of a warlike      
nature may be practised1 and those which
 have in them the thoughts of magnitude 
and importance4 ,spartacus's ,address to
 the ,gladiators is excellent2 also1    
,byron's ,apostrophe to the ,ocean1 ,the
 ,rising in '#gf1 and selections of a   
similar nature4   ,,time  ,including    

,poise and ,rhythm  ,the significance of
 time is determined by the movement of  
any selection1 or1 in other words1 the  
rhythm4 ,it will be noticed that a      
selection may be read with rhythmical   
effect and be made quite impressive     
without much emphasis of other          
characteristics4 ,however1 the          
responsiveness of the voice in variety  
of pitch1 quality1 and power is also a  
very large factor in the illumination of
 the pause4 ,the pause1 as a mere       
interruption of sound1 has little       
significance1 but the relations that the
 different sounds bear to each other    
lend significance to the pause4 ,a pause
 should always suggest an orbit of      
thought4 ,these characteristics of      
expression can be made effective only by
 the practice of concentration in the   
mind itself upon the thoughts to be     
suggested4 ,nevertheless1 the quick     
responsiveness of one's sensibilities in
 the expression of the various qualities
 developed by the cultivation of the    

voice greatly facilitates the           
manifestation of the thought itself4    
,all selections of a high order have    
relation to rhythm in their composition1
 and that style of movement in the      
composition should find its ready       
response in the organism of the speaker 
or reciter4 ,it should be remembered    
that the sense of rhythm may be         
misapplied1 as may any other element1 by
 allowing the mind to go off into the   
sensation of jingle without reference to
 its expression of the thought or its   
relation to the thought4 ,but if the    
sense of rhythm is duly developed1 and  
then this sensibility1 as well as all   
others1 is surrendered to the service of
 the thought1 it furnishes an element of
 beauty which cannot easily be dispensed
 with4 ,the reason we associate rhythm  
with the significance of time is that   
rhythm is a measurer of time4  ,in      
connection with this step the practice  
of melodies is useful1 if one has       
musical taste4 ,simple1 familiar        

melodies are best--such as ,the ,last   
,rose of ,summer1 ,annie ,laurie1 ,flow 
,gently1 ,sweet ,afton1 etc41 etc4 ,the 
importance of rhythm is well expressed  
by ,emerson1 who said that the rhythm of
 ,shakespeare's verse was always the    
outcome of the thought4  ,the term      
ellipse has been sometimes used to      
express the implied action of the mind  
during the pause--describing an orbit of
 thought implied but not stated in the  
words4  ,the illumination of the pause1 
or the responsiveness of the voice1 in  
exhibiting those modifications of       
quality which give significance1 may be 
greatly enhanced by the practice of such
 selections as express much beauty of   
thought and variety of                  
significance1--such as ,shelley's ,the  
,cloud1--things which are somewhat      
philosophical in their significance2 by 
selections which suggest much more than 
is definitely stated1--,aux ,italiens1  
by ,owen ,meredith1 ,he and ,she1 by    
,edwin ,arnold1 ,evelyn ,hope1 by       

,robert ,browning2 also chapters from   
philosophy that is poetically expressed1
 such as ,emerson's ,essays4 ,in        
practising these for the special        
development of significance every effort
 should be made to realize the thought  
quality in the voice1 so that each word 
may seem to picture forth the full truth
 that lies behind it1 and that all shall
 move in such harmony as to suggest the 
deeper meanings4 ,the quality of        
expressiveness1 or clear response to    
thought in the voice1 it will be        
observed1 is secured through the ready  
service of all its powers under the     
influence of the mental concept4 ,it is 
to be attained by the attitude of       
receptivity and the effort to think     
through the voice4  ,this form of       
expression in voice corresponds to the  
suggestive in art1 and when the student 
has attained the power of fulfilling its
 requirements his work can be called    
artistic4 ,one should never attempt to  
measure his progress by listening to    

himself directly2 but keeping the ideal 
in mind1 he may come to realize himself 
as harmonizing with that1 and a sense of
 freedom from limitation will at last   
crown his endeavors4     ,,chapter ,,iv 
,the ,relation of ,technique to         
,rendering4   ,it is certainly true that
 the highest use of the voice is the    
revelation of the soul4 ,the most       
important and effective means of        
cultivation lie in the exercise of the  
voice under such mental conditions as   
shall invite the expression of the      
highest thoughts1 but the voice is in   
one sense an instrument which is capable
 of being attuned4 ,right technical     
study and practice adjust the instrument
 in proper relations with the natural   
laws of its use1 and establish1 or      
deepen1 the tendency to obey those laws4
 ,hence the mind finds a more ready     
response in the instrument1 and one is  
able to express with greater facility   
all that the soul desires to reveal4 ,it
 would seem of little consequence that a

 person should be able to use the voice 
well simply as an ornamental            
accomplishment2 for these agents of     
expression1 these powers of the material
 being1 have a higher significance than 
the mere exhibition of any qualities1   
however admirable4 ,such a motive in    
studying expression would be a very     
shallow one1 for what would it signify  
in comparison with the great purposes of
 living8  ,but so long as these         
instruments of ours do not serve us they
 are a hindrance to the higher          
expression of our being and the         
accomplishment of our highest mission to
 others4 ,we do indeed desire to escape 
from the material and transient into the
 world of eternal verities1 but these   
conditions are given us for a purpose4  
,they have their use1 and we cannot     
escape from the imprisonment in which we
 find ourselves until we have solved    
their meaning and conquered them for the
 service of the higher mind4 ,we        
therefore study1 not for the attainment 

of particular feats1 but to secure the  
obedience of all our activities to the  
higher laws through which they can      
fulfil the purpose for which they were  
created4  ,this harmonizing of the      
forces having been once accomplished1   
little time is required to keep in tune 
this harp of the soul2 while the broader
 culture and the higher realization of  
all meanings that can be expressed are  
constantly sought in such discipline of 
the mind itself as shall secure the     
activity of its highest powers4 ,the    
whole aim is to secure the development  
of character by the expression of the   
highest elements of character4          
,although the voice1 like all other     
agents of expression1 is naturally the  
reflector of the individual and his     
states1 it is necessary to understand   
what that statement implies in order to 
appreciate the great need for the higher
 culture of the vocal organism4 ,if the 
individual's condition were attuned to  
perfect harmony1 to perfect unity of    

action1 and to singleness of purpose1   
together with the habit of personal     
expression rather than expression       
through some limited mode of action--if1
 indeed1 this were so1 his voice would  
scarce need training1--certainly not    
corrective training1--nor would he need 
culture of any kind1 being already a    
perfect human being4  ,those who        
postulate the perfectly natural voice1  
i4e41 one that is unconscious of its own
 art1 either presuppose this condition  
of innate perfection or assume that the 
simple wish to speak--and its           
exercise--will be sufficient to overcome
 wrong habits and conditions4 ,will it8 
,let us see4  ,the culture of expression
 is a very different thing from the     
artful imitation of the signs of feeling
 and purpose4 ,if we are to have a real 
education along lines of expression we  
must begin with the content1 or cause1  
of expression4 ,we may for the moment   
postpone discussion as to the relative  
power of the sign to evoke the feeling1 

and the power of the feeling or         
condition to evolve the most effective  
sign4 ,there is something to be said    
upon both sides2 and1 surely1 the truth 
lies in the adoption of all good means  
to produce the desired end4  ,first1    
then1 to the basis4 ,all oratorical     
values are measured primarily from the  
standpoint of the what2 the how is      
important1 too1 but only in its relation
 to the what and wherefore4 ,the voice  
of the orator must be an influence--a   
sincere vibration of the motive within4 
,theoretically it is so naturally1 but  
practically it is so only when the voice
 is free from bias and is responsive    
through habit or spontaneous inspiration
 to the thought of the speaker4  ,we    
will admit that genius sometimes is     
great enough to bring into harmonious   
action all powers of the individual     
under its sway2 but education mainly    
strives to unfold the imperfect1 to     
balance1 the ununified elements4 ,even  
genius1 however1 needs direction and    

adjustment to secure the most perfect   
and reliable results4 ,how1 then1 shall 
we develop the motive1 how enlarge the  
content8  ,there is such a subtle       
relation between motive and action that 
it has been said1 ,the effect of any    
action is measured by the depth of the  
motive from which it proceeds4          
,footnote3 ,ralph ,waldo ,emerson4 ,and 
so this is why the clever performer     
cannot reproduce the effect of a speech 
of ,demosthenes or ,daniel ,webster4    
,this is a reason aside from that       
arising from the difference in the      
occasion4 ,great men and great artists  
make the occasion in the hearts of their
 hearers4 ,the voice of the orator      
peculiarly should be free from studied  
effects1 and responsive to motive4 ,it  
is not the voice of entertainment1 but  
of influence above all4 ,the orator     
should be taught self-mastery4 ,the     
orator who is not moved by high moral   
sense is a trickster or a hypocrite2 the
 former juggles with human              

susceptibility for unworthy or          
inadequate ends1 and the latter poses   
for motives he has not4 ,so complex is  
human nature that this can be done by a 
good actor so as to deceive the judgment
 and feelings2 but the influence will   
ultimately reveal the truth1 if the     
auditor will use intuition and not be   
taken off guard by the psychic influence
 of a strong will bent on a given       
effect4  ,the sincere endeavor to       
express a quality1 with the aspiration  
to make it real1 has the tendency to    
focus the power of that quality and     
concentrate the mind upon it4 ,this1 by 
repetition of effort1 both increases the
 power and facilitates its expression4  
,one must come to think vividly in terms
 of expression4 ,in the instance before 
us it should be in terms of vocal       
expression4 ,anything well              
expressed--unconsciously--is to real art
 what innocence is to virtue1 or what   
the spontaneous grace of a child is to  
that grace as applied to forms          

definitely intended to communicate an   
ideal to others4 ,self-consciousness    
must precede super-self-consciousness4  
,unconsciousness is childishness in art1
 and leads to vagueness of meaning1 to  
the perpetuation of personal            
idiosyncrasies2 and while a larger      
consciousness may be induced from the   
mind side1 positive and overwhelming    
inspiration will be needed to overcome  
habitual limitations4 ,a musician must  
love music itself1 as well as its       
meanings1 and a voice cannot be made the
 best of by one who does not love its   
music4 ,self-consciousness represents   
the stage of work and endeavor where    
faults are being overcome1 power        
enlarged1 and new forms of activity     
mastered4 ,this may be at first a       
hindrance to spontaneity1 and seem to   
hamper the imagination2 but as facility 
is acquired joy comes back1 and the joy 
of conquest with the adustment of means 
to ends is a stage of self-consciousness
 dangerous for the egotist1 but is      

inspiration and incitement to larger    
effort4 ,this is a stage where many     
artists remain--most of the time4 ,but  
the super-conscious stage is that state 
in which with perfected facility and    
power of self-mastery the doing becomes 
lost in supreme realization2 and right  
action1 now become habitual1 is         
forgotten in the full consciousness of  
oneness with the ideal4 ,then the       
voice--or the artist--embodies the      
ideal1 becomes the part for the time    
being1 and is1 as we say1 inspired4  ,we
 may forget what we are doing1 but we   
must be able to know1 or there will be  
nothing worth while to forget6 ,the     
danger of the mechanical idea--the      
extreme technician's notion that the    
sign is enough--is that the person may  
become an automaton and inhibit the     
power of real feeling in himself2 and   
though he may perform admirably and win 
the applause of some critics who love   
form unduly1 he fails in the great issue
 and wins only superficial success or   

fails utterly1 without seeing why4 ,the 
real experience has a magnetism of its  
own and will win above mere technicality
 whenever it has the opportunity4  ,some
 believe that psychic response to the   
sign is desirable4 ,this develops merely
 sensitiveness1 reflex action1 and does 
not enlarge the power of feeling nor    
encourage the motive and the real heart4
 ,the desirability of emotional response
 quickly reaches its limit2 and while it
 may be feeling1 it does not spring from
 an adequate cause1 so has not the      
dignity and sweep of absolute sincerity4
 ,we must have motif first1 then        
technique to adapt and adjust expression
 and to develop facility in the active  
agents4 ,we want the ,real1 idealized by
 ,art1 and the ,ideal1 made real and    
tangible by ,art1 the ,revealer6  ,the  
process we would follow1 then1 is1      
primarily1 the training of the          
imagination to conceive fuller and      
fuller ideals of music and meaning2 and1
 simultaneously1 the exercise of such   

activities as shall increase the        
capacity of vocal expression and the    
availability of the vocal powers4       
,availability is of the utmost          
importance6 ,concentration is the prime 
requisite in attaining rapid results4   
,the student must concentrate absolutely
 upon the various qualities sought1 and 
must infuse intelligent impulse into his
 every nerve and muscle6 ,the vibrant   
voice of the spirit cannot be evoked by 
half-hearted effort1 lazy nerves and    
muscles1 nor with the drag of           
inattention4 ,the student who does not  
intend to arouse himself need hope for  
no keen sense of beauty4  ,the voice is1
 first of all1 a messenger of spirit1   
and illustrates this in that quality    
which has given rise to the expression  
borne on the wings of song4 ,ultimately 
the whole body will be conceived to be a
 sensitive vibrator responding with     
dramatic sympathy and returning vital   
radiance to the tones4 ,the rightly     
cultivated expressive voice is the      

man--speaking4     ,,chapter ,v  ,phases
 of ,vocal ,interpretation              
,,articulation  ,the quality of artistic
 beauty in articulation is very         
important1 beyond the mere accuracy     
which is ordinarily thought of4 ,there  
are five general heads under which the  
characteristics to be sought may be     
grouped4  ,first1 ,accuracy of ,form4   
,this not with severity1 but with       
perfection coming from sensitive        
response of the articulating organs to  
the form concept as held in the mind4   
,one should avoid the practice of       
exertion in the execution of articulated
 forms4  ,second1 ,tone ,quality1       
secured by the right relation of the    
tone form to the line of resonance1 is  
very important and may be attained by   
careful attention to musical beauty and 
a sense of harmony4 ,this is the right  
placing of tones4  ,third1 ,proportion  
must be carefully considered4 ,very     
often unaccented syllables are made     
unduly prominent and unimportant words  

are over-emphasized through lack of     
attention to this principle4 ,the       
careful appreciation of rhythm1 or the  
movement of syllables in enunciation1   
gives a flowing1 easy1 well-proportioned
 clearness that is indispensable to     
beauty4 ,this should be practised in    
connection with the interpretation of   
melodious1 flowing passages1 which will 
furnish opportunity for the appreciation
 of the relation between the accented   
and unaccented syllables and the        
important and unimportant words4 ,such  
material as ,bryant's ,thanatopsis is   
good4  ,fourth1 ,phrasing4 ,the careful 
observation of the three foregoing      
aspects of articulation leads at once to
 the fourth2 namely1 the expressive     
value of words in direct relation to the
 interpretation itself4 ,this is closely
 connected with phrasing1 and the       
phrase1 which is the larger thought     
word1 should be studied as the          
communicating link between the          
articulation of the part and            

interpretation as it relates to         
literature itself4 ,in connection with  
this comes the consideration of slides  
and the finer modulations of tone-color1
 movement1 and cadence4 ,but the study  
of word values1 in the light of the     
whole phrase to be interpreted1 will    
make each word a living thing in its    
influence--a winged messenger of the    
thought4  ,fifth1 ,slides4 ,the slide   
has already been referred to as the unit
 of vocalization in speech as distinct  
from the province of song1 the unit of  
song being the scale of notes as sung in
 succession1 but with distinct          
individuality4 ,few who have not studied
 the matter carefully appreciate the    
fact that the speaking voice            
suggestively covers as wide a range as  
the singing voice ordinarily does4 ,but 
it is essential that the even           
development of range from high to low   
pitch should enable the student to glide
 without break from one extreme of pitch
 to another4 ,inflection is often       

inferred by the mind of the listener    
when the person speaking abruptly drops 
from high to low pitch without rendering
 the intervening sound4 ,the absence of 
the fulfilment of inflection robs the   
speech of much of its musical quality   
and much of its appeal to the feelings2 
for inflection is the musical expression
 of the thought1 and depends upon       
feeling4 ,the expression of this        
relationship of intelligence and emotion
 is a subtle and powerful appeal1--the  
realization of true culture1--combining 
thought and feeling4 ,we know what a man
 means literally by the abrupt or       
emphatic changes of the pitch or        
pressure2 but we know what the fact     
means to his feelings by the slides and 
cadences4 ,it is difficult to           
over-emphasize the importance of that   
characterization which awakens a keen   
sense of the musical meaning as         
corresponding to the thought4 ,this     
perception brings music into the speech 
and1 if it be awakened to the extent of 

a real love for the music itself1       
develops a smooth and quiet clearness in
 the communication of thought and       
feeling which is the greatest charm of  
conversation and of descriptive and     
narrative utterance4   ,,vocal ,,range  
,it is ordinarily considered that the   
range of the speaking voice is very     
limited as compared with the singer's   
range4 ,a little consideration of what  
is involved in the full development of  
the power of slide should show us that  
while the key-note of speech            
fundamentally may not vary widely1 the  
suggestive music of the voice in long   
slides often does cover a great number  
of notes4 ,a little experiment will     
demonstrate this4 ,take any selection   
containing variety in idea colored by   
feeling and try making the long lines of
 inflection1 keeping the proportion good
 and modulating into a very shadow of   
sound1 yet wholly appreciable4 ,that    
which the student of expression calls   
length of line is very largely expressed

 in range of inflection as well as in   
the extension of time and modulation of 
volume4 ,the range of tone in every     
voice should cover as many degrees of   
pitch as possible1 as these are needed  
in word painting no less than in        
dramatic expression4  ,it is claimed by 
singers that the practice of speech as  
an elocutionary exercise is sure to     
lower the pitch of the voice so as to   
depress the so-called higher register4  
,this is doubtless true to a large      
extent1 as manifest in the conditions   
common1 but it is by no means a         
certainty that a sufficient balance of  
practice upon the delicate1 esthetic    
lines of the voice in high pitch and in 
such selections as ,shelley's ,ode to a 
,skylark may not counterbalance the     
overemphasis upon low tones which is    
ordinarily practised by students of the 
speech arts4 ,the orotund1 sonorous1 and
 forceful qualities are perhaps dwelt   
upon too much1 and to have a full voice 
is frequently the greatest care of the  

elocutionist4 ,there are1 however1 those
 who appreciate the musical varieties of
 the vocal power and who hold           
flexibility1 range1 and great variety as
 of more importance than absolute power4
 ,it is the experience of such that the 
voice may be extended in its range in   
both directions at once4 ,the high pitch
 represents mentality1 the esthetic     
phases of beauty1 and much brilliancy4  
,the medium pitch expresses warmth1     
emotion1 and the heart qualities4 ,the  
low pitch is used for grandeur1 and all 
the vital and broad expressions4 ,the   
use of the slide makes possible infinite
 blending of these various              
characteristics in expressing the       
complexities of meaning which involve   
rapid transition from one to the other  
of the fundamental characteristics1 or a
 combination of all three4   ,,dramatic 
,,expression ,,in ,,the ,,voice         
,dramatic adaptation in expressing      
various characters1 emotions1 and       
motives is potentially very great4      

,though the average speaker is generally
 limited by one type of voice1 which he 
varies somewhat1 it is not often        
disguised4 ,it is the belief of the     
writer that this is largely due to a    
psychological limitation4 ,it requires  
broad sympathy and a vital realization  
of the subjective view-point of         
different characters1 with an           
appreciation of the relative force of   
different appeals to those characters1  
in order that the responsive voice may  
have the convincing ring which expresses
 the psychology of the character        
represented1 and not merely the         
mannerisms and externalities of         
impersonation4  ,impersonation may be   
more easily achieved intellectually1    
requiring only keen observation and the 
power of imitation4 ,dramatic           
interpretation1 on the other hand1 deals
 mainly with the phase of human nature  
which is not exterior--the interior     
force of the character4 ,we would       
classify these two departments in this  

way1 though in the highest dramatic work
 elements of both phases are combined4  
,pantomime is more essential to the     
development of impersonation1 but       
dramatic interpretation gathers power   
from the psychological appreciation     
attained from the studies pertaining to 
personal development4 ,in dramatic      
interpretation the voice is a much more 
significant feature relatively than is  
the detail of gesture in pantomime4     
,impersonation absolutely requires the  
finest detail of mannerism to be        
represented in the action4  ,it has been
 very well demonstrated that the quality
 of the so-called line of the voice is  
influenced in accordance with dramatic  
action4 ,if one makes a gesture         
expressive of directness1 the tone of   
the voice1 if given with the            
simultaneous impulse1 will express that 
characteristic4 ,if subtlety or         
sinuousness of meaning is desired1 the  
body and the gesture of the hand may be 
powerful aids in inciting vital         

expression in the voice4 ,in order to   
test this1 take a certain tone like ah  
or o and hold it while taking vital     
dramatic attitudes differing widely in  
significance4  ,this may also be done in
 the practice of single words or short  
sentences4 ,take some such word as come 
or go1 forward or away1 practising with 
different attitudes1 and it will be seen
 at once that it is almost impossible to
 make tone and dramatic action          
contradict each other4  ,fine           
descriptive shades may be attained by   
taking such selections as ,byron's ,the 
,ocean1 ,bryant's ,thanatopsis1         
,shelley's ,the ,cloud and ,ode to ,west
 ,wind1 accentuating with gestures of   
the arm and hand every sweep or impulse 
of the word-painting1 letting the curve 
of the figure described in the air by   
the hand correspond with what is wanted 
in the mind by the picture4 ,then1 if   
the vital center of dramatic action is  
aroused and the tone support is good1   
the voice alone--all gestures           

withheld--can reproduce the same        
impressions4 ,this is often of great    
advantage1 as the strength of repose is 
expressed to a great degree in restraint
 of movement4 ,however1 it is advisable 
for the student of expression not to be 
too absolute in determining how much he 
will or will not make gestures4 ,the    
person whose impulse is not sufficiently
 strong from the center may do far      
better to arouse activity of the        
organism by more action than to allow   
any inadequacy of nervous energy to     
depress the power of vibration which    
determines the influence of the voice4  
,there are many simple principles and   
laws of expression that may be          
advantageously used in preparation for  
public recitation or finished           
interpretation4  ,the emphasis of       
various qualities appearing in typical  
selections1 such as beauty in ,the      
,chambered ,nautilus1 by ,holmes1 and   
other selections of varying character1  
intensifies both the appreciation and   

the power of expression in different    
characteristics4 ,careful observation   
and analysis of the modes of different  
qualities which manifest themselves in  
this way give full resource1 and then   
whatever quality we have mastered and   
stored in our nerve centers through     
appreciation will spring up             
spontaneously under the influence of    
inspiration1 making calculation         
practically needless at the time of     
one's highest artistic expression4      
,analysis and practice in preparation   
are the steps over which we must climb  
to the platform of power4 ,having       
attained this1 the infinite variety of  
the broader vision calls forth the      
expression of all that has been         
previously involved4  ,dramatic         
adaptation1 then1 from the standpoint of
 expressive voice culture1 is attained  
by free and varied development1 focused 
in the psychological triumph at the     
moment of interpretation4 ,the body is  
as a musical instrument of which the    

voice is the reporter4 ,there are two   
things to be sought in the artistic     
voice3 one is concentration of          
consciousness in the vibration of the   
tone so that the voice may be filled    
with conscious motive2 the other is the 
response of the free voice to the       
powerful act of the imagination4        
,affirmatively1 the voice vibrates with 
the individual message4 ,reflectively1  
it mirrors the ideal conceived at the   
moment of speech4 ,the orator must have 
the former of these two powers of the   
voice4 ,the artist1 though emphasizing  
the latter1 can scarcely achieve power  
in this without also attaining the      
former4   ,,lyric ,,interpretation  ,in 
the rendering of lyric poetry there are 
two extremes to be avoided4 ,one is the 
musical tendency to obscure the sense1  
as in sing-song rendering2 the other is 
the reactionary effort made by many     
would-be sensible people to make prose  
of the poetry by excluding all the music
 and rhythm in emphasizing the literal  

meaning4 ,the following rule will be    
found a safe guide4 ,use the rhythm and 
quality pertaining to the full musical  
expression1 modified by the inflection  
called for by the meaning1 having       
careful reference to the perfect        
phrasing of the thought4 ,the fulfilment
 of both of these complementary         
requirements will produce rhythmical and
 tone modulations characteristic of the 
poetry as such1 and at the same time the
 full meaning will be brilliantly       
manifest4 ,it has been said that the    
meaning of all great poetry is          
emphasized by its music4 ,much more     
attention should be given than is       
ordinarily devoted to the consideration 
of rhythm4 ,even prose has its peculiar 
rhythmic movement which constitutes its 
style and gives impetus4  ,finally1 by  
concentration of every distinctive      
phase1 synthesized by a vital motive    
aroused by the message spoken1 the voice
 becomes musical1 forceful1 clear1      
vibrant in the fulfilment of its natural

 function4 ,the voice is the most potent
 influence of expression1 the winged    
messenger between soul and soul4