own voice." (_Vollstaendiges Lehrbuch der
Gesangskunst_, Ferd. Sieber, 1858.) Dr. Mills goes further and advocates
the imitating of finished singers for the purpose of acquiring the
correct vocal action. "The author would recommend all students who have
begun a serious practical study of the registers to hear, if possible,
some singer of eminence who observes register formation strictly."
(_Voice Production in Singing and Speaking_, Phila., 1906.) Kofler even
declares that imitation is an indispensable element of instruction. "It
is just as difficult or impossible to learn to sing good tones without
hearing the teacher's pure model tone as it is difficult or impossible
to learn to speak without hearing." (_The Art of Breathing_, Leo Kofler,
1889.)

If the correct vocal action is to be acquired by imitation, of what use
are the mechanical doctrines of vocal management? Kofler seeks to
combine these two forms of instruction. "Physiological theories must go
hand in hand with the musical ear or the law of imitation."
Scientifically considered, this attempted combination of mechanical
vocal training and instruction by imitation is an utter absurdity. There
is no possibility of connection between vocal imitation and mechanical
vocal management. Reliance on the imitative faculty involves the utter
rejection of the mechanical idea. Compromise, or combination of the two,
is a logical absurdity. Imitation and attempted mechanical management of
the voice are absolutely incompatible. Any attempt consciously to direct
the muscular workings of the vocal organs is an interference with the
normal action of the voice. So soon as conscious mechanical management
of the voice is attempted throat stiffness results, and the voice is
hampered in the exercise of its instinctive faculty of imitation. It is
impossible to acquire the correct vocal action by the application of
mechanical rules, because a consistent following of mechanical doctrines
utterly prevents the vocal organs from operating normally, even though
the student try at the same time to guide the voice by the sense of
hearing.

A close scrutiny of the practices of modern vocal teachers reveals
convincing evidence that all their successes are due to a reliance,
conscious or unconscious, on the imitative faculty. Teachers are as a
rule not aware of the appeal to the instinct of imitation; neither
indeed do the students usually pay much attention to this feature of
their lessons.