ived from the observation of the direct sensations of tone.

The direct sensations of tone are never so vivid, so precise, nor so
reliable as the sympathetic sensations. In other words, the hearer is
better able to judge of the singer's throat action than the singer
himself. This may seem a paradoxical statement, but a brief
consideration will show it to be fully justified.

In the case of teacher and pupil, it will hardly be questioned that the
master hears the pupil's voice to better advantage than the pupil. This
is also true when a trained singer's tones are observed by a competent
hearer. The singer's direct sensations are highly complex. They include
the muscular sensations accompanying the exertion of the breathing
muscles, and these are usually so intense as to overshadow the
sensations due to the laryngeal adjustments. On the other hand, the
hearer is free to pay close attention to the sensations of throat
action, and therefore feels these much more keenly than does the singer.
On this account the direct sensations of tone are of vastly less value
in the study of the vocal action than are the sympathetic sensations.

CHAPTER III

EMPIRICAL KNOWLEDGE OF THE VOICE

Through attention paid to the sympathetic sensations of tone, the
listener may carry on mentally a running commentary on the throat
actions of all those whose voices are heard. Continuing to use the word
empirical in the sense thus far adopted, it may be said that the summary
of the impressions conveyed in the sympathetic sensations of tone
constitutes empirical knowledge of the voice. In other words, empirical
knowledge of the voice is an understanding of the operations of the
vocal mechanism, obtained through the attentive listening to voices.

Let us consider first the running commentary on the throat action,
mentally carried on by the listener. This mental commentary is an
inseparable accompaniment of the listening to the voices of others,
whether in speech or song. As we are concerned now only with the problem
of tone-production in artistic singing, our consideration will be
limited to the critical hearer's observation of the tones of singers.

Let us imagine two friends to be seated side by side in the concert
hall, listening to the performance of a violin sonata by an artist of
about mediocre ability. Suppose one of the friends to be a highly
trained musical critic, the other to be almost unacquainted with music
of this class. Let