e traced to those unique and
professedly scientific mentalities that solve all vocal problems by a
mathematical formula. As an example of the chimerical, impossible and
altogether undesirable, it commands admiration. If it is impossible to
establish a standard tone for pianos where the problem is mechanical,
what may we expect to do with voice where the problem is psychological?

When we have succeeded in making all people look alike, act alike, think
alike; when we have eliminated all racial characteristics and those
resulting from environment; when people are all of the same size,
weight, proportion, structure; when skulls are all of the same size,
thickness and density; when all vocal organs and vocal cavities are of
the same form and size; when we have succeeded in equalizing all
temperaments; when there is but one climate, one language, one
government, one religion; when there is no longer such a thing as
individuality--then perhaps a standard tone may be considered. Until
that time nothing could be more certain of failure. The great charm of
voices is their individuality, which is the result not alone of
training, but of ages of varied experience, for man is the sum of all
that has preceded him. It is, to say the least, an extraordinary
mentality that would destroy this most vital element in singing for the
sake of working out a scientific theory.

But there is no immediate danger. Nature, whose chief joy is in variety
and contrast, is not likely to sacrifice it suddenly to a mere whim.

When we speak of a standard tone we enter the domain of acoustics and
must proceed according to the laws of physics. In this standard tone
there must be a fundamental combined with certain overtones. But who
shall say which overtones, and why the particular combination? The
answer must be "because it sounds best." A tone being something to hear,
this is a logical and legitimate answer. But if the listener knows when
it sounds right he knows it entirely separate and apart from any
knowledge he may have of its scientific construction; hence such
knowledge is of no value whatever in determining what is good and what
is bad in tone quality. A tone is not a thing to see and the teacher
cannot use a camera and a manometric flame in teaching tone production.
Any knowledge he may have gained from the use of such instruments in the
laboratory is valueless in teaching.

If it were possible to adopt as a standard tone a certain combinatio