ce to the commands of the ear. This ability the
voice normally possesses; spoken language could not otherwise exist. The
voice can imitate a wide range of sounds. If the perfect vocal tone can
be shown to be included in this range of sounds, then the voice can be
trained by imitation.

Exceptional powers of vocal imitation are sometimes developed.
Vaudeville performers are by no means rare who can imitate the tones of
the oboe, the clarinet, the muted trumpet, and several other
instruments. Imitation of the notes and songs of birds is also a
familiar type of performance. This peculiar gift of imitation results in
each case from some special structure of the vocal organs. One performer
can imitate the reed instruments, another the lighter brasses, and so
on. Just what peculiar formation of the vocal organs is required for
this type of imitative ability need not be inquired here. All that need
be noted is, that the vocal organs must be so constructed as to be able
to produce the particular quality of sound. Given this natural ability
on the part of the vocal organs, the power to produce the tone quality
is developed by repeated attempts at imitation. The possessor of the
natural gift perfects this gift by practice. For practice in the
imitation of sounds to be effective it is necessary that the ear be well
acquainted with the tone quality to be reproduced. In addition, the
practice must be guided by the performer listening closely to the sounds
produced by the vocal organs, and constantly comparing these sounds to
the tones of the instrument chosen for imitation.

This vocal imitation of instruments is not a normal ability; the tones
of the oboe and trumpet do not lie within the range of qualities native
to the normal voice. But the quality of the perfect vocal tone is
unquestionably within the range of every voice so constituted as to be
capable of artistic singing. A fine natural voice normally produces
beautiful tones. It is only with this type of voice that Voice Culture
is concerned. Such a voice must be capable of producing the perfect
vocal tone. Can it learn to produce this quality of tone by imitation?

It cannot be questioned that the faulty tones of one voice can readily
be imitated by another voice. Any one endowed with normal powers of
speech can imitate a markedly nasal speaking voice. This is equally true
of a nasal tone in singing, and of a strongly throaty tone as well. The
more marked the fault of prod