es, anatomy, mechanics, and acoustics, are believed to hold
somewhere among them the secret of the voice. All investigation has
therefore been carried on along the lines of these three sciences. It is
on this account that modern methods are called scientific, and not
because they are in conformity with general scientific principles.
Before taking up the question whether the idea of mechanical vocal
control is well grounded in fact and reason, let us consider further the
influence of this idea on modern methods of instruction.

All instruction in singing is intended to teach the student to "do
something," in order that the vocal organs may be directly caused to act
properly. No matter how vague and indefinite the directions given, their
aim is always to inform the student what to do, how to guide the vocal
action. Even when used in a purely empirical way the directions for open
throat, etc., are always given in this spirit. That these directions are
utterly meaningless in the mechanical sense does not alter the fact;
nobody has ever found any other connection in which they would take on a
definite meaning.

In this regard the empirical directions are no more unsatisfactory than
the mechanical doctrines of the accepted Vocal Science. It was pointed
out that no means has ever been discovered for applying several of these
doctrines in practical instruction. The rules contained in the
theoretical works on Voice Culture for managing the registers and
vocal-cord action, for forward emission of tone, and for control of the
resonance cavities, are of no value whatever to the student of singing.
It will be asked, how does the conscientious teacher get over this
difficulty? How are the deficiencies of the scientific doctrines
supplied in instruction? In many cases the deficiency is absolutely
ignored. The student is simply told to "make the vocal cords act
properly," to "direct the tone against the roof of the mouth," to "bring
in the nasal resonance," etc., and no further help is given. That this
works severe hardship on the earnest student need hardly be mentioned.

Other teachers, as has been explained, rely on a description of the
singer's sensations, and on the use of several vowel and consonant
combinations, for imparting control of resonance and forward emission.
These means are purely empirical makeshifts, and as a rule they are not
sanctioned by the consistent advocates of scientific instruction. But
for acquiring contr