ss this feeling in the
terms of muscular action. This attempt is never successful; the singer
cannot be brought to understand our meaning. Yet it is so clear in our
own minds that our inability to express it is extremely tantalizing. We
go on, constantly hoping to find a way to define the mechanical
processes so clearly indicated to the ear. We always feel that we are
just on the verge of the great discovery. The solution of the problem of
tone-production is almost within our grasp, yet it always eludes us.

It was stated in Chapter V of Part I that empirical knowledge of the
voice, based on the singer's sensations, is used to supplement and
interpret the doctrines of mechanical vocal guidance. This is in the
main true, so far as the vocal teacher is aware. But here again the
result of the sub-conscious character of empirical knowledge of the
voice is seen. As a matter of fact the real situation is the direct
reverse of that described in the chapter mentioned. The mechanical
doctrines are used in the attempt to interpret the empirical knowledge.
This fact is well brought out in the following passage from Kofler: "The
teacher must imitate the wrong muscle-action and tone of his pupil as an
illustration of the negative side." (_The Art of Breathing_, N. Y.,
1889.) Kofler does not touch on the question, how the teacher is able to
locate the wrong muscle-action of the pupil. He takes this ability for
granted; it is so purely an intuitive process that he does not stop to
inquire into the source of this information of the pupil's vocal action.
Through his sense of hearing he sub-consciously locates the faults in
the pupil's tone-production. His only conscious application of this
knowledge is the attempt to explain to the pupil the wrong
muscle-action. This he naturally tries to do in the terms of mechanical
action and muscular operation. Thus the mechanical doctrine is used in
the attempt to explain the empirical knowledge. Yet the teacher is
conscious only of citing the mechanical rule, and believes this to cover
the entire instruction.

In the preceding chapter it was seen that the perfectly produced vocal
tone may be considered in a variety of aspects. Each one of these
aspects is characterized by a fairly distinct set of sympathetic
sensations. Of faulty modes of throat action, as revealed by sympathetic
sensations, there is an almost infinite variety. Of this wide variety of
forms of throat tension the most prominent ar