This means, of course, the higher form of
expression, means the power of tone color and tone character; but it
depends first upon all true conditions of tone, mental and physical, and
then upon the temperament, upon the heart, and soul of the singer.
Singing, as we have said, is more psychological than physiological. This
whole system of flexible, vitalized movements, is first aroused by right
thought, and finally applied and controlled through the mind or will, in
response to feeling or emotional impulse. In this way we are able to arouse
and use at will the persuasive, the impressive, the fervent voice; the
voice that is something more than mere sound; the voice that has character
and magnetism.
Compare two voices that are equal in every way in regard to power of tone,
compass, and control. The one varies the color and character of the tone
continually with the change of thought and sentiment, and is enabled
thereby not only to avoid monotony, but to use the impressive, persuasive
voice, the tone the sentiment demands. In this way he has magnetic power
and influence over an audience. The other voice may be bright, free, and
clear, yet may use the same quality or color of tone constantly on all
styles of singing, and on all degrees of power, it matters not what the
thought or sentiment may be; and this style of voice is by no means
uncommon, even among many of our public singers. Now consider the
difference in the commercial value of these two voices, which should bear
at least some relation to their artistic value.
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