arcia was the first teacher to attempt
to formulate a systematic scheme of instruction in singing. In the
works of Mannstein (1834) and of Marx (1823) an ambitious forward
movement on the part of many prominent teachers is strongly indicated.
But Garcia was the first teacher to apply scientific principles in
dealing with the specific problem of tone-production. He conceived the
idea that a scientific knowledge of the workings of the vocal organs
might be made the basis of a practical system or method of instruction
in singing. This idea of Garcia has been the basic principle of all
practical methods, ever since the publication of the results of his
first laryngoscopic investigations in 1855.

Before attempting to suggest a new means of dealing with the problem of
vocal management, it is well to ascertain how this problem is treated in
modern methods of instruction. It would not be easy to overstate the
importance assigned to the matter of tone-production in all modern
systems of Voice Culture. The scientific study of the voice has dealt
exclusively with this subject. A new science has resulted, commonly
called "Vocal Science." This science is generally accepted as the
foundation of all instruction in singing. All modern methods are to
some extent based on Vocal Science.

To arrive at an understanding of modern methods, the two directions in
which vocal theorists have approached the scientific study of the voice
must be borne in mind: First, by an investigation of the anatomy of the
vocal organs, and of the laws of acoustics and mechanics in accordance
with which they operate. Second, by an analysis of the traditional
precepts of the old Italian school in the light of this scientific
knowledge.

As the present work demands a review of modern methods from the
practical side only, it is not necessary to include a description of the
vocal organs. It will be sufficient to describe briefly the manner in
which scientific investigators of the voice treat the subject of the
vocal organs.

The vocal mechanism consists of three portions,--the breathing
apparatus, the larynx with its appendages, and the resonance cavities.
Vocal scientists apply their efforts to finding out the correct mode of
action of each portion of the mechanism, and to formulating rules and
exercises by which these correct actions can be acquired and combined
for the production of perfect tones. The analysis of the traditional
precepts also conforms to th