ning which
makes anatomy and physiology its basis. Further, there is much to be
done in the studio beside giving the voice lesson. Whistler said that
natural conditions are never right for a perfect picture. From the
picture which nature presents the artist selects what suits his purpose
and rejects the rest. It is much the same in the training of a singer.
In order that the lesson be effective the conditions must be right. This
only rarely obtains in the beginning. The student's attitude toward the
subject must be right or the lesson will mean little to him. The lesson
to be effective must be protected by _honesty_, _industry_ and
_perseverance_. If these are lacking in various degrees, as they often
are, little progress will be made. If the student is studying merely for
"society purposes," not much can be expected until that mental attitude
is changed. Students always want to sing well, but they are not always
willing to make the sacrifice of time and effort; consequently they lack
concentration and slight their practice. Sometimes the thought uppermost
in the student's mind is the exaltation of the ego, in other words,
fame. Sometimes he measures his efforts by the amount of money he thinks
he may ultimately earn, be it great or small. Sometimes he overestimates
himself, or what is equally bad, underestimates himself. It is a very
common thing to find him putting limitations on himself and telling of
the few things he will be able to do and the large number he never will
be able to do, thus effectually barring his progress. Then there is
always the one who is habitually late. She feels sure that all of the
forces of nature are leagued in a conspiracy to prevent her from ever
being on time anywhere. She, therefore, is guiltless. There is another
one who is a riot of excuses, apologies and reasons why she has not been
able to practice. Her home and neighborhood seem to be the special
object of providential displeasure, which is manifested in an unbroken
series of calamitous visitations ranging from croup to bubonic plague,
each one making vocal practice a physical and moral impossibility.

All of these things are habits of mind which must be corrected by the
teacher before satisfactory growth may be expected. In fact he must
devote no inconsiderable part of his time to setting students right on
things which in themselves are no part of music, but which are elements
of character without which permanent success is imposs