Public Speaking: Principles and Practice. Irvah Lester Winter
Читать онлайн книгу.
of sound; will be perhaps somewhat monotonous, because kept pretty much in one key, or in one average degree of pitch. It will perhaps be necessary to make the utterance for the time somewhat artificial. The voice is in the artificial stage, as is the work of an oarsman, for example, in learning the parts of the stroke, or that of a golfer in learning the "swing," although in the case of some students, when the vocal conditions are good and the tone is well balanced, very little of the artificial process is necessary. In that case the voice simply needs, in its present general form, to be developed.
The next step in the training is to try a more varied use of the voice, without a loss of what has been acquired as to formation of tone. The student is to make himself able to slide the voice up and down in pitch, by what is called inflection, to raise or lower the pitch by varied intervals, momentarily to enlarge or diminish the tone, in expressive ways; in short, to adapt the improved tone, the more effective method of voice control, to more varied speech. In the early practice for getting tone variation, the student must guard most carefully against "forcing." Additional difficulties arise when we have vocal changes, and moderate effort, in the degree of the change, is best. In running the tone up, one should let the voice take its own way. The tone should not be pushed or held by any slightest effort at the throat. The control should, as has been said, be far below the throat. In running an inflection from low to high, the tone may be allowed, especially in the earlier practice, to thin out at the top. And always when the pitch is high the tone should be smaller, as it is on a musical instrument, though it should have a consistent depth and dignity from its proper degree of connection with the chest. This consistent character in the upper voice is attained by giving the tone a bit of pomp or nobleness of quality. In taking a low pitch there is, among novices, always a tendency to bear down on the tone in order to gain strength or to give weight to utterance. The voice is thus crowded into, or on, the throat. The voice should never be pushed down or pressed back in the low pitch. This practice leads to raggedness of tone, and finally to virtual loss of the lower voice. The voice should fall of itself with only that degree of force which is legitimately given by the breath tension, produced easily, though firmly, by the breathing muscles. Breadth will be given to the tone by some degree of expansion at the back of the mouth, or in the pharynx. As soon as can be, the speech should be brought down to the utmost of simplicity and naturalness, so that the thought of literature can be expressed with reality and truth; can be made to sound exactly as if it came as an unstudied, spontaneous expression of the student's own mind, and yet so it can be heard, so it will be adequate, so it will be pleasing in sound. The improved tone is to become the student's inevitable, everyday voice.
THE FORMATION OF WORDS
The term enunciation means the formation of words, including right vocal shape to the vowels and right form to the consonants. Pronunciation is scholastic, relating to the word accent and the vowel sound. Authority for this is in the dictionary. Enunciation, belonging to elocution, is the act of forming those authorized sounds into finished speech.
There is a common error regarding enunciation. It is usual, if a speaker is not easily understood, to say that he should "articulate" more clearly; that is, make the consonants more pronounced, and young students are thus often urged into wrongly directed effort with the tongue and lips. Sometimes in books, articulation "stunts," in the form of nonsense alliterations, are prescribed, by which all the vowels are likely to be chewed into consonants. The result is usually an overexertion, and a consequent tightening, of the articulating muscles. At first, and for a time, it may appear that this forcing of the articulation brings the desired result of clearer speech, but it will, in the end, be destructive to voice and bring incoherent utterance. Articulation exercises too difficult for the master, should not be given to the novice. All teachers of singing train voices, at first, on the vowel, and it should be known that, without right vowel, or tone, formation, efforts at good articulation are futile. Every technical vocal fault must be referred back to the fundamental condition of right formation of tone, that is, the vowel. Sputtering, hissing, biting, snapping, of consonants is not enunciation. The student should learn how without constraint, to prolong vowels; learn, if you please, the fundamentals of singing, and articulation, the formation of consonants, the jointing of syllables, will become easy. The reason for this is that when the vowel tone is rightly produced, all the vocal muscles are freed; the tongue, lips, and jaw act without constraint.
The principle of rhythm simplifies greatly the problem of enunciation. It is easier, not only to make good tone, but also to speak words, in the reading of verse than of prose. It is much easier to read a rhythmical piece of prose than one lacking in rhythm. All prose, then, should be rendered with as much rhythmical flow as is allowed consistently with its spirit and meaning. Care must be taken of course that no singsong effect occurs; that the exact meaning receives first attention. In case of long, hard words, ease is attained by making a slight pause before the word or before its preposition or article or other closely attached word, and by giving a strong beat to its accented syllable or syllables, with little effort on the subordinate syllables.
The particular weakness among Americans, in the speaking of words, is failure adequately to form the nasal, or head, sounds. The letters "l," "m," "n," are called vowel consonants. They can be given continuous sound, a head resonance. This sounding may be carried to a fault, or affectation; but commonly it is insufficiently done, and it should be among the first objects of cultivation in vocal practice. The humming of these head sounds, with very moderate force, is excellent for developing and clearing this resonance. The "ng" sound, as in rung, may be added.
Improper division of words into syllables is a common fault. The word "constitution," for example, is made "cons-titution," instead of "con- stitution;" "prin-ciple" is pronounced "prints-iple." A clean, correct formation should be made by slightly holding, and completing the accented syllable. The little word "also" is often called "als-o" or "als-so" or "alt-so"; chrysanthemum is pronounced "chrysant-themum"; coun-try is called "country," band so forth. In the case of doubled consonants, as in the word "mellow," "commemorate," "bubble," and the like, a momentary holding of the first consonant, so that a bit of separate impulse is given to the second, makes more perfect speaking. There is a slight difference between "mel-low" and "mel-ow," "bub-ble" and "bub-le," "com-memorate" and "com-emorate." These finer distinctions, if one cares to make speech accurate and refined, can be observed in words ending in "ence" and "ance" as in "guidance" and "credence"; in words with the ending "al," "el," or "le," as in "general," "principal," "final," "vessel," "rebel," "principle," and "little." If that troublesome word "separate" were from the beginning rightly pronounced, it would probably be less often wrongly spelled. One should hasten to say, however, that over-nicety in enunciation, pedantic exactness, obtrusive "elocutionary" excellence, or any sort of labored or affected effort should be carefully guarded against. The line of distinction between what is perfect and what is slightly strained is a fine one. Very often, for example, one hears such endings as "or" in "creator," "ed" in "dedicated," "ess" in "readiness," "men" in "gentlemen," pronounced with incorrect prominence. These syllables, being very subordinate, should not be made to stand out with undue distinctness, and though the vowels should not be distorted into a wrong form, they should be obscured. In "gentlemen," for example, the "e" is, according to the dictionary, an "obscure" vowel, and the word is pronounced almost as "gentlem'n,"—not "gentle_mun_," of course, but not "gentlem_e_n." The fault in such forms is more easily avoided by throwing a sharp accent on the accented syllable, letting the other syllables fall easily out. The expression of greeting, "Ladies and gentlemen," should have a strong accent on each first syllable of the two important words, with little prominence given to other syllables or the connecting word; as, "La'dies 'nd gen'tlem'n."
In the same class of errors is that of making an extra syllable in such words as "even," "seven," "heaven," "eleven," and "given," where properly the "e" is elided, leaving "ev'n," "heav'n," and so forth. The mouth should remain closed when the first syllable is pronounced; the "n" is then simply sounded in the head. The same treatment should be given to such words as "chasm" and "enthusiasm." If the mouth is opened after the first part of the word is sounded, we have "chas-_u_m," "enthusias-_u_m." The little words "and," "as," "at" and the like should, of course, when not emphatic, be very lightly touched, with the vowel hardly formed, and the mouth only slightly opened. The word "and" is best sounded, where not emphatic, with light touch, slight opening of the mouth, and