What is the central idea of passage 1?

Answer this question based on the following passages.

Passage 1

            In no other form of expression do art and
            nature seem so closely identified as in the
            art of singing. A perfect voice speaks so
            directly to the soul of the hearer that all
(5)        appearance of artfully prepared effect is
            absent. Every tone sung by a consummate
            vocal artist seems to be poured forth freely
            and spontaneously. There is no evidence of
            calculation, of carefully directed effort, of
(10)      attention to the workings of the voice, in the
            tones of a perfect singer. Yet if the accepted
            idea of Voice Culture is correct, this semblance
            of spontaneity in the use of the voice can result
            only from careful and incessant attention to
(15)      mechanical rules. That the voice must be
            managed or handled in some way neither
            spontaneous nor instinctive, is the settled
            conviction of almost every authority on the
            subject. All authorities believe also that this
(20)      manner of handling the voice must be acquired
            by every student of singing, in the course of
            carefully directed study.
            This training in the use of the voice is the
            most important feature of education in
(25)      singing. Voice Culture embraces a peculiar
            and distinct problem, that of the correct
            management of the vocal organs. Vocal
            training has indeed come to be considered
            synonymous with training in the correct use
(30)      of the voice. Every method of instruction
            in singing must contain as its most important
            element some means for dealing with the
            problem of tone-production.
            No complete and satisfactory solution of
(35)      this problem has ever been found. Of this
            fact every one acquainted with the practical
            side of Voice Culture must be well aware.
            It is advisable to define precisely what is
            meant by the problem of tone-production.
(40)      In theory the question may be stated very
            simply. It is generally believed throughout
            the vocal profession that the voice has one
            correct mode of action, different from a wide
            variety of incorrect actions of which it is
(45)      capable;—that this mode of action, though
            ordained by Nature, is not in the usual sense
            natural or instinctive;—that the correct vocal
            action must be acquired, through a definite
            understanding and conscious management
(50)      of the muscular movements involved. The
            theoretical problem therefore is: What is the
             correct vocal action, and how can it be
            acquired?

Passage 2
            There is only one way to sing correctly, and
            that is to sing naturally, easily, comfortably.
            The height of vocal art is to have no apparent
            method, but to be able to sing with perfect
(5)        facility from one end of the voice to the other,
            emitting all the notes clearly and yet with
            power and having each note of the scale
            sound the same in quality and tonal beauty
            as the ones before and after.
(10)      There are many methods which lead to the
            goal of natural singing — that is to say, the
            production of the voice with ease, beauty
            and with perfect control. Certainly the highest
            art and a lifetime of work and study are
(15)      necessary to acquire an easy emission of
            tone. There is a multitude of wonderful natural
            voices. But these naturally untrained voices
            soon break or fail if they are used much unless
            the singer supplements the natural, God-given
(20)      vocal gifts with a conscious understanding of
            how the vocal apparatus should be used.
            The singer must have some knowledge of
            his or her anatomical structure, particularly
            the structure of the throat, mouth and face,
(25)      with its resonant cavities, which are so
            necessary for the right production of the
            voice. Besides that, the lungs and diaphragm
            and the whole breathing apparatus must be
            understood, because the foundation of
(30)      singing is breathing and breath control.
            A singer must be able to rely on his breath,
            just as he relies upon the solidity of the
            ground beneath his feet. A shaky, uncontrolled
            breath is like a rickety foundation on which
(35)      nothing can be built, and until that foundation
            has been developed and strengthened the
            would-be singer need expect no satisfactory
            results.
            In order to insure proper breathing capacity
(40)      it is understood that the clothing must be
            absolutely loose around the chest and also
            across the lower part of the back, for one
            should breathe with the back of the lungs as
            well as with the front. A singer should stand
(45)      freely and easily and should feel as if the
            chest were leading, but should not feel
            constrained or stiff in any part of the ribs or lungs.