omparative negative, though
with qualifications. Miss Farrar said:

"No, I do not actually hear my voice, except in a general way, but we
learn to know the sensations produced in throat, head, face, lips and
other parts of the anatomy, which vibrate in a certain manner to correct
tone production. We learn the _feeling_ of the tone." "I can tell just
how I am singing a tone or phrase," says De Luca, "by the feeling and
sensation; for of course I cannot hear the full effect; no singer can
really hear the effect of his work, except on the records." "The singer
must judge so much from sensation, for she cannot very well hear
herself, that is, she cannot tell the full effect of what she is doing,"
says Anna Case. Mr. Witherspoon says: "The singer of course hears
himself and with study learns to hear himself better. The singer should
depend more on hearing the sound he makes than on feeling the sound. In
other words, train the _ear_, the court of ultimate resort, and the only
judge, and forget sensation as much as possible, for the latter leads to
a million confusions."

VOCAL MASTERY, FROM THE ARTISTS' VIEWPOINT

Farrar: "A thing that is mastered must be really perfect. To master
vocal art, the singer must have so developed his voice that it is under
complete control; then he can do with it what he wishes. He must be able
to produce all he desires of power, pianissimo, accent, shading,
delicacy and variety of color."

Galli-Curci: "To sum up: the three requirements of vocal mastery are:
Management of the Larynx; Relaxation of the Diaphragm; Control of the
Breath. To these might be added a fourth: Mixed Vowels. But when these
are mastered, what then? Ah, so much more it can never be put into
words. It is self-expression through the medium of tone, for tone must
always be a vital part of the singer's individuality, colored by feeling
and emotion. To perfect one's own instrument, must always be the
singer's joy and satisfaction."

Raisa: "If I have developed perfect control throughout the two and a
half octaves of my voice, can make each tone with pure quality and
perfect evenness in the different degrees of loud and soft, and if I
have perfect breath control as well, I then have an equipment that may
serve all purposes of interpretation. For together with vocal mastery
must go the art of interpretation, in which all the mastery of the vocal
equipment may find expression. In order to interpret adequately one
ought to po