s with training in
the correct use of the voice. Every method of instruction in singing
must contain as its most important element some means for dealing with
the problem of tone-production.

No complete and satisfactory solution of this problem has ever been
found. Of this fact every one acquainted with the practical side of
Voice Culture must be well aware. As the present work is designed solely
to suggest a new manner of dealing with this question, it is advisable
to define precisely what is meant by the problem of tone-production.

In theory the question may be stated very simply. It is generally
believed throughout the vocal profession that the voice has one correct
mode of action, different from a wide variety of incorrect actions of
which it is capable;--that this mode of action, though ordained by
Nature, is not in the usual sense natural or instinctive;--that the
correct vocal action must be acquired, through a definite understanding
and conscious management of the muscular movements involved. The
theoretical problem therefore is: What is the correct vocal action, and
how can it be acquired?

On the practical side, the nature of the problem is by no means so
simple. In actual instruction in singing, the subject of vocal
management cannot readily be dissociated from the wide range of other
topics comprised in the singer's education. In much that pertains to the
art of music, the singer's training must include the same subjects that
form the training of every musician. In addition to this general musical
training, about the same for all students of music, each student must
acquire technical command of the chosen instrument. This is necessarily
acquired by practice on the instrument, whether it be piano, violin,
oboe, or whatever else. In the same way, vocal technique is acquired by
practice in actual singing. Practice makes perfect, with the voice as
with everything else.

But the voice is not invariably subject to the law that practice makes
perfect. In this important respect the singer's education presents a
problem not encountered by the student of any instrument. Given the
necessary talents, industry, and opportunities for study, the student of
the violin may count with certainty on acquiring the mastery of this
instrument. But for the vocal student this is not necessarily true.
There are many cases in which practice in singing does not bring about
technical perfection. The mere singing of technical exerc