of the vocal cords, the body of the
cords being relaxed.

Mr. Lunn feels sure that the true vocal cords are not involved in
falsetto, that voice being produced by the false vocal cords.

Mantels says that in the falsetto voice the vocal cords do not produce
pitch, that the quality and mechanism are both that of the flute, that
the cords set the air in vibration and the different tones are made by
alterations in the length of the tube.

Davidson Palmer says that the falsetto is the remnant of the boy's voice
which has deteriorated through lack of use, but which is the correct
mechanism to be used throughout the tenor voice.

Mr. Chater argues along the same lines as Mr. Mantels except that he
makes the instrument belong to the clarinet or oboe class. Others
believe the vocal cords act as the lips do in playing a brass
instrument.

But the action of the vocal cords is but the first part of the
unscientific controversy. What takes place above the vocal cords is
equally mystifying. The offices of the pharynx, the mouth, the nasal
cavities, the entire structure of the head in fact, are rich in
uncertainties.

Some think the cavities of the pharynx and head are involved
acoustically and in some way enlarge, refine and purify the tone, but
one famous man says the head has nothing whatever to do with it. Another
gentleman of international reputation says the nose is the most
important factor in singing. If your nasal cavities are right you can
sing, otherwise you cannot.

And so this verbal rambling continues; so the search for mind in matter
goes on, with a seriousness scarcely equalled in any other line of
strife. There is nothing more certain to permanently bewilder a vocal
student than to deluge him with pseudo-scientific twaddle about the
voice. And this for the simple reason that he comes to learn to sing,
not for a course in anatomy.

What is scientific voice production? Books without number have been
written with the openly expressed intention to give a clear exposition
of the subject, but the seeker for a scientific method soon finds
himself in a maze of conflicting human opinions from which he cannot
extricate himself.

We are told with much unction and warmth that science means to know.
That it is a knowledge of principles or causes, ascertained truths or
facts. A scientific voice teacher then must know something. What must he
know? Books on scientific voice production usually begin with a picture
of th