uction, exercises of this character are usually
interspersed among the other materials of vocal methods.

CHAPTER VI

A GENERAL VIEW OF MODERN VOICE CULTURE

All the materials of modern methods have now been described. The subject
next to be considered is the manner in which these materials are
utilized in practical instruction. In other words, what is a method of
Voice Culture?

In the present state of Vocal Science, the subject of tone-production
overshadows everything else in difficulty. When once the correct vocal
action has been acquired, the student's progress is assured. Every other
feature of the singer's education is simply a matter of time and
application. But, under present conditions, the acquirement of the
correct vocal action is extremely uncertain. On account of its
fundamental importance, and more especially of its difficulty, the
subject of tone-production is the most prominent topic of instruction in
singing. The term "method" is therefore applied solely to the means used
for imparting the correct vocal action.

This use of the word is in accordance with the accepted theory of Voice
Culture. The general belief is that tone-production is entirely distinct
from vocal technique. Technical studies cannot profitably be undertaken,
according to the prevailing idea, until the correct management of the
vocal organs has been established. This idea is supposed to be followed
out in modern instruction. It is generally assumed that the voice is
brought under control through a definite series of exercises; these
exercises are supposed to follow, one after the other, according to a
well-defined system. The term "method" implies this systematic
arrangement of exercises. It indicates that vocal training is a matter
of precise knowledge and orderly progression.

This represents the accepted ideal of Voice Culture, rather than the
actual condition. The idea that the vocal management should be imparted
specially, as something preliminary to the technical training of the
voice, is not carried out in practice. Teachers generally are striving
to bring their systems into conformity with this ideal standard. They
use the expression, "placing the voice," to describe the preliminary
training in tone-production. But no successful system of this type has
ever been evolved. The correct management of the voice never is imparted
in the manner indicated by this ideal of instruction. Tone-production
continues, throughou