ontrol of the voice does not classify a method quite satisfactorily.
Without exception every teacher adheres to the prevailing idea, that the
voice must be controlled and guided in some direct way,--that the singer
"must do something" to cause the vocal organs to operate properly. All
the materials of instruction, mechanical and empirical, are utilized for
the sole purpose of enabling the student to learn how to "do this
something."

Several names are used by teachers to describe their methods. One
professes to teach a "natural method," another the "pure Italian school
of Bel Canto," a third the "old Italian method as illustrated by Vocal
Science," a fourth the "strict scientific system of Voice Culture." No
attention need be paid to these expressions, as they are seldom accurate
descriptions.

Vocal lessons are usually of thirty minutes' duration. Each student
generally takes two such lessons every week, although in some cases
three, four, or even more are taken. A description of a few typical
lessons will show how the materials of instruction are practically
utilized.

Example 1: The student takes a few preliminary toneless breaths. Then
follow, in the order given, a few short tones for practice on attack,
some sustained tones on the vowel _ah_, exercises on three, four, and
five notes, ascending and descending, a single tone followed by the
octave jump up and descending scale, this last rising by semitones
through several keys. In these exercises the student's attention is
directed at random to the correct use of the registers, to nasal
resonance, forward emission, etc. This consumes ten or twelve minutes of
the lesson time. More elaborate exercises on scale passages are then
sung, lasting another five minutes. These are followed by a vocalise or
two, and a couple of songs or arias, which fill out the thirty minutes.

Example 2: A few breathing exercises are practised, followed by single
tones and short scale passages, the whole lasting about five minutes.
Then the student is drilled for some ten minutes on "placing the head
tones," in the manner described in the section on special vowel and
consonant drills. These exercises are varied by swelling the high tone,
by changing the vowels, and by elaborating the descending scale
passages. The remaining fifteen minutes are devoted to vocalises and
songs.

Example 3: This is an advanced pupil, whose voice is supposed to be
fairly well "placed." Technical exercises of