Much of modern vocal instruction is dual in character.
When, for example, the teacher wishes to correct a marked fault in the
pupil's tone-production, he adopts this dual mode of imparting his
ideas. First, he explains to the pupil the (supposed) mechanical
operation; second, he imitates the pupil's faulty production and then
sings a correct tone to show how it should be produced.

For the teacher to sing the correct tone takes but a few seconds and
requires almost no thought. The mechanical explanation, on the other
hand, calls for much more of time, and of voluntary attention, from both
master and student. It thus follows that they both look upon the
mechanical rule as the important matter, and consider the teacher's
perfect tone as merely an illustration of the rule.

In most cases the student strives to apply the mechanical rule,
particularly in home practice between lessons. Under these circumstances
the voice does not respond satisfactorily. But it often happens that the
student pays little attention to the mechanical rule, and simply
imitates the teacher's voice. There being then nothing to interfere, the
student's voice naturally responds. The master ascribes this
satisfactory result to the application of the mechanical doctrine, while
in fact the result is due to the student's complete ignoring of the
doctrine.

Vocal imitation is often completely unconscious. Individuals vary
greatly, as regards the tendency to unconscious imitation. Of two
English lads coming to America at the age of fifteen, one may be found
ten years later to have entirely lost the English accent, the other may
retain it all his life. This difference in individual traits has much
to do with determining to what extent the vocal student may
unconsciously imitate correct models of singing. Other characteristics
are also influential in this regard. Some students so dislike to sing
mechanically that they neglect, in their home study, to practise their
exercises in the prescribed way. This is often due to an instinctive
abhorrence of harsh sounds. Other students are so gifted with the true
feeling for vocal melody that mechanical instruction makes no impression
on them.

As a general rule, the reliance on the imitative faculty in modern vocal
instruction is entirely unconscious on the part of both master and
pupil. Adherence to the mechanical idea excludes from the student's mind
all thought of any means of vocal guidance other than mechanica