tifying to the student.

_Sensations of Tingling or Vibration_

Descriptions of sensations of this class are much more coherent than
those just considered. A definite location is given to the feelings, in
the chest and in the head.

A feeling of trembling in the upper chest is usually held to indicate
that the chest cavity is working properly as a resonator. This
sensation is therefore the chief reliance of most teachers in "placing"
the lower tones, especially for low voices. Sensations in the nasal
cavities and head are utilized for acquiring control of nasal resonance,
for placing the upper notes of the voice, and for "bringing the voice
forward." Exercises for control of both cavities, on special vowels and
consonants, combine the two topics, "vowel position" and sensation.

_Singing in the Mask_

In recent years a method of instruction has been developed in France,
which is commonly called by its advocates "singing in the mask." The
basic idea of this method is that the singer must imagine his face to be
covered by a mask, and must "sing into this mask." This idea may seem
rather vague at first; but a few trials will show how easy it is for the
singer to persuade himself that he projects his voice into his face.

This method goes to the extreme in utilizing the sensations of vibration
in the nose and forehead. These sensations are analyzed, localized, and
described, down to the most minute detail. While other topics of
instruction are included,--breathing, registers, position of tongue,
larynx, palate, etc., everything else is subordinated to nasal
resonance. "Singing in the mask" is of course a purely empirical method,
and little has been attempted in the way of justifying it on scientific
principles.

* * *

All instruction based on the singer's sensations is purely empirical, in
the meaning ordinarily attached to this word in treatises on Vocal
Science. Theoretical works on the voice seldom touch on the subject of
sensations, nor do the vocal teachers generally make this subject
prominent when speaking of their methods.[6]

[Note 6: An exception to this statement is seen in the recently
published book of Mme. Lilli Lehmann, _Meine Gesangskunst_, Berlin,
1902. This famous artist and teacher devotes by far the greater part of
her book to a minute analysis and description of the singer's
sensations.]

Sensations occupy a rather peculiar position in modern methods. They are
a distinctly subsidiary eleme