Chapter V

THE VOICE IN ITS NATURAL PRODUCTION: NEW PRINCIPLES ON THE MECHANISM
OF VOICE PRODUCTION

The following principles regarding the mechanism of voice
production, as conceived by the author, were examined by Enrico
Caruso during the year preceding his death, and while of much
interest to the great singer, were not accepted by him without
discrimination. On the contrary, Caruso, attracted by the
complex problems concerning the human voice, merely because of
his constant craving to investigate and to learn, would not pass
over any point without satisfactory discussion, thus becoming
the author’s most valuable assistant and collaborator in the
preparation of this work, both by personal supervision and
through correspondence.

During the Summer of 1920, a series of letters were exchanged
between the great artist and the author in reference to the
contents of this book. It was the author’s aim to have Caruso as
an adviser and a judge of his work, and while the great tenor
showed a decided enthusiasm for it, he was both reserved and
inquisitive at the beginning. He accepted, in general, the
Principles on the Vocal Mechanism and the suggestions for a
radical reform in voice culture as conceived by the author, but
for his own conviction he wanted to test them thoroughly.

This desire is plainly expressed in the following quotation from
one of his letters, written in a friendly form, and which were
not originally intended for publication.

The author now feels that these should be presented in order to
justify the title of this book, offering for the reader’s
examination the actual proof, in Caruso’s own handwriting, of
how closely the basic principles of the Scientific Culture of
Voice advocated in this book were molded on Caruso’s own ideas,
and how scrupulous the great artist was before giving them his
unconditional approval.

During the month of July, 1920, the author sent to the artist a
brief summary of his principles and suggestions for a radical
reform in voice culture, which are illustrated in this book.
Caruso answered with the following note, the original of which
(written in Italian) is reproduced herewith, and which,
literally translated, reads as follows:

_East Hampton, L. I.
July 22, 1920_

DEAR MARAFIOTI:

I am still running after you on Fifth Avenue ... with the
object of discussing what you wrote me yesterday about your
vocal principles. What you tell me in your letter is beautiful
and convincing, but you understand very well that if Saint
Thomas was allowed to _put his finger_ you must permit me also
to see with my own eyes and thus ascertain for myself your
convincing theories. Therefore I will be in New York soon and
will come to see you and discuss all this....

Affectionately,
ENRICO CARUSO

FACSIMILE OF CARUSO’S LETTER DATED JULY 22, 1920
]

Evidently Caruso felt that certain new ideas needed practical
demonstration, and only after having made personal observation
of some apparatus which the author invented for actual evidence
of his principles did he feel reassured in his impressions by
this final and decisive proof.

A month later the author sent to Caruso the introduction and
part of the scientific section of this book. The following was
Caruso’s answer (the original, in Italian, of this letter is
also shown herewith):

_East Hampton, L. I.
August 23, 1920_

DEAR MARAFIOTI:

I am answering immediately your letter of yesterday, as I see
I have neglected to inform you that I have read the
introduction to your book and find it most interesting. Such
an introduction will cause a commotion in the field of vocal
teaching, and especially among those who are the merchants of
teaching. Among the real professionals I am sure your book
will create a deep impression, and will be of major use to
them, because, as I see, you add to the teaching of singing
also the physical and scientific issues....

FACSIMILE OF CARUSO’S LETTER DATED AUG. 23, 1920
]

FACSIMILE OF ENRICO CARUSO’S ENDORSEMENT OF THIS WORK
]

On October 5th the author received the following official
endorsement from Caruso for his method of singing—_The
Scientific Culture of Voice_ which, translated, reads as
follows:[2]

_October, 1920_

If the experts of the art of singing knew the basis on which
Dr. P. M. Marafioti’s method of voice culture is founded, I am
sure they would not resort to any other method.

The principles it sets forth are scientific but simple, and
revert to the real source of the voice, Nature; therefore they
are the most correct.

Students and schools of singing ought to experiment with this
new form of scientific culture of the voice, because it is
based on the natural laws which rule its mechanism, known to
Dr. Marafioti as a specialist of the throat; and it has a
modern tendency, better fitted to the new exigencies of the
singing music of to-day.

I am glad to express this personal conviction of mine, for it
harmonizes with my own conception of singing; and the
recognition of the value of Dr. Marafioti’s method is but
just, because it can be of great service to those starting out
in the study of singing as well as to those who have already
entered into an artistic career.

ENRICO CARUSO

During the month of May, 1921, the author read to Caruso a great
part of this book, and stated his desire to dedicate it to him.

Three days before Caruso sailed for Italy, he wrote to the
author the letter published at the beginning of this book, in
which he accepted the dedication and emphasized the point that,
since he shared the author’s impressions, he wished him the full
attainment of his aims.

On the strength of these personal testimonials of Caruso, the
author feels justified in his claim that, though the method he
is presenting as Caruso’s Method of Singing has not been written
by the great singer personally, nevertheless it is the most
faithful reproduction of his own ideas, and above all, of his
“feelings” about his own singing. No singer, especially a great
singer who is born such can explain exactly how he sings, though
he may express his “feelings” about his singing.

The following principles outline the scientific contents of this
book, on which the author bases his _Radical Reform of Voice
Education_. Some suggestions will be developed later, indicating
how this reform of voice culture can be carried out practically.
The principles are:

1. _Voice_ is _Speech_, and is produced by the _mouth_, not by
the vocal cords. The _vocal cords_ produce only _sounds_, which
are transformed into _vowels_ and _consonants_ by a phonetic
process taking place in the _mouth_, and giving origin to the
_voice_.

2. (_a_) The full extension of the natural range of the voice is
produced only by using the _minimum tension_ of the vocal cords
and the _minimum breath_ required for each tone. This
establishes a correct mechanism of voice production.

(_b_) The laryngeal sounds must be transmitted to the mouth
_free_ of any interference; _freedom_ is the fundamental pillar
of voice production.

3. Breath is an indispensable factor in voice production, but
_it is not the essential power_ which develops the voice as it
is taught to-day. On the contrary, the function of _singing_
develops the _breathing apparatus_ and its power, just as any
physiological function develops the organ from which it takes
origin. Therefore _singing_ develops _breathing_, not
_breathing_, singing.

4. _Resonance_ is the _most important factor_ in voice
production. It furnishes to the voice volume and quality, and
emphasizes its loudness. To rely on resonance rather than on
force is essential for producing a big and pleasing voice.

5. _Speaking_ and _singing_ are _similar functions_, produced by
the same physiological mechanism; therefore they are the same
vocal phenomenon.

The speaking voice is the substantial factor of the singing
voice and singing, in its very essence, is merely speaking in
musical rhythm; hence no correct singing can exist without a
correctly produced speaking voice.

6. The _pitch_ and the _dimensions_ of the singing voice—the
volume, the quality and loudness—are determined by the _speaking
voice_. Speaking high or low, resonant, loud or soft, in any
gradation of sentiment and shade of color, lays the ground for
singing in high or low pitch, loud, resonant or soft, in any
musical color or expression.

7. There are _no registers_ in the singing voice, when it is
correctly produced. According to natural laws the voice is made
up of only _one_ register, which constitutes its entire range.