control, a misuse of nasal resonance, or an improper action of
the vocal cords. In all these attempts to interpret sympathetic
sensations by means of mechanical doctrines the teacher naturally relies
on those doctrines in which he believes most firmly. Sympathetic
sensations are indeed sometimes cited in proof of certain theories of
breath-control, and also of nasal resonance. Both these topics are
worthy of separate attention.

_Sympathetic Sensations and Nasal Resonance_

One of the most widely accepted theories of the vocal action is that the
higher notes of the voice are influenced by reinforcing vibrations
located in the nose and forehead. Whether this idea was derived more
from direct than from sympathetic sensations need not be determined now.
It is at any rate certain that a perfectly sung tone gives to the hearer
the impression of nasal influence of some kind. The exact nature of this
influence has never been determined. It may be air resonance, or
sounding-board resonance, or both combined. Satisfactory proof on this
point is lacking. In the belief of the practical teacher, however, this
impression of nasal influence is the strongest argument in favor of
nasal resonance.

Turning now to the question of nasal quality, strictly speaking, tones
of this objectionable character always awaken the sympathetic sensations
of contraction somewhere in the nose. Why such a contraction should
cause this unpleasant sound of the voice is a profound mystery. Perhaps
wrong tension of the soft palate exerts an influence on the actions of
the vocal cords; or it may be that the form of the nasal cavities is
altered by the muscular contraction. This aspect of the vocal action has
never been scientifically investigated. The sympathetic sensation of
nasal contraction or pinching is at any rate very pronounced.
Curiously, this sympathetic sensation is cited as an argument in favor
of their respective theories, by both the advocates and the opponents of
nasal resonance.

_Sympathetic Sensations and Breath-Control_

Certain forms of exaggerated throat stiffness are frequently held to
indicate the need of breath-control. The faulty vocal action in question
is analyzed by the breath-control advocates substantially as follows:
"Owing to the outflow of the breath not being checked at the proper
point, the entire vocal mechanism is thrown out of adjustment. The
singer exerts most of his efforts in the endeavor to prevent the escape
of