a little booklet by J. Frank Botume,
entitled _Modern Singing Methods_. (Boston, 1885. The citations are from
the fourth edition, 1896.) Speaking of the meaning of the word method,
as applied to a system of rules for acquiring the correct vocal action,
this writer says: "If a teacher says, 'that tone is harsh, sing more
sweetly,' he has given no method to his pupil. He has asked the scholar
to change his tone, but has not shown him how to do it. If, on the other
hand, he directs the pupil to keep back the pressure of the breath, or
to change the location of the tone; if he instructs him in regard to the
correct use of his vocal cords, or speaks of the position of his tongue,
of his diaphragm, of his mouth, etc., he gives him method. The Italian
teachers of the early period of this art had so little method that it
can hardly be said to have existed with them. In fact, the word method,
as now used, is of comparatively modern origin. The founders of the art
of singing aimed at results directly; the manner of using the vocal
apparatus for the purpose of reaching these results troubled them
comparatively little. The old Italian teacher took the voice as he found
it. He began with the simplest and easiest work, and trusted to patient
and long-continued exercise to develop the vocal apparatus. In all this
there is no method as we understand the term. The result is aimed at
directly. The manner of getting it is not shown. There is no conscious
control of the vocal apparatus for the purpose of effecting a certain
result."

This sums up beautifully the external aspects of the old Italian method,
and of modern methods as well. It points out clearly the difference
between the old and the modern system. But it is a mistake to say that
the old masters followed no systematized plan of instruction. Tosi's
advice, already quoted ("Let the master provide himself with examples of
Sol-fa, leading insensibly from the easy to the difficult," etc.), shows
a thorough grasp of the meaning of methodical instruction. Once the real
nature of vocal training is understood, both Tosi and Mancini are seen
to describe a well worked out system of Voice Culture. The only
important difference between the old and the new system is this: one
relied on instinctive and imitative processes for imparting the correct
vocal action, the other seeks to accomplish the same result through the
mechanical management of the vocal organs. In this regard the advantage
is