largely a training of mind and
ear, a developing of nicety in discrimination. Singing is mental
rather than physical, psychologic rather than physiologic. Think
therefore of the effect desired rather than of the process.

In considering the details of voice production analytically we are apt
to forget that man, notwithstanding his complexity, is a _unit_ and
acts as a unit. Back of all and underlying man's varied activity is
the psychical. In the advanced stages of the art of speech and song
this psychical element is of pre-eminent importance.

The speaker who essays to give expression to his own thoughts must
have his ideas sharply defined and aflame in order to so utter them
that they will arouse his hearers to enthusiasm. The speaker or singer
who would successfully interpret the thoughts of others must first
make those thoughts his very own. When this is attained, then the
voice, action, and the whole spirit of the performer, responding to
the theme, will beget a like responsiveness in his audience.

THE SINGER BEHIND THE VOICE

Books upon books have been written on voice training, and will
continue to be written. The preceding pages have been devoted to the
fundamental subject of tone production, but it is time to suggest that
back of the voice and the song is the singer himself with his complex
personality. Back of the personality is the soul itself, forever
seeking utterance through its mask of personality. All genuine impulse
to sing is from the soul in its need for expression. Through
expression comes growth in soul consciousness and desire for greater
and greater self-expression.

Singing is far more than "wind and muscle," for, as Ffrangcon-Davies
puts it, "The whole spiritual system, spirit, mind, sense, _soul_,
together with the whole muscular system from feet to head, will be in
the wise man's singing, _and the whole man will be in the tone_."

Of all the expressions of the human spirit in art form, the sublimated
speech we call song is the most direct. Every other art requires some
material medium for its transmission, and in music, subtlest of all
the arts, instruments are needed, except in singing only.

FREEDOM

In song the singer himself is the instrument of free and direct
expression. Freedom of expression, complete utterance, is prevented
only by the singer himself. No one hinders him, no one stands in the
way but himself. The business of the teacher is to _set free_ that
which is lat