al cords.

"The contractions of the muscles inside the larynx, including the vocal
cords, cannot be brought under direct voluntary control. But these
contractions can be regulated by the actions of other sets of muscles,
viz., those by which the larynx is connected with the skeletal framework
of the head, neck, and chest. These latter muscles can all be controlled
by direct volition. Each of these sets of muscles has its function in
tone-production. One set pulls the larynx backward, into the position
already described, against the backbone. Two other opposed sets hold the
larynx firmly in this position, one set pulling upward, the other
downward. Finally, and most important in their influence on the actions
of the vocal cords, a fourth set of muscles comes into play. These tilt
the thyroid cartilage forward or backward, and thus bring about a
greater or less tension of the vocal cords, independent of the
contractions of the muscles of the vocal cords themselves. In this way
is regulated the amount of the fleshy mass of the vocal cords exposed to
the expiratory blast. Correct tone-production results when exactly the
necessary degree of strength is exerted by each one of these four sets
of muscles."

For each of these groups of muscles Howard devised a system of exercises
and drills by which the singer is supposed to bring all the movements
involved under direct voluntary control. The parts thus exercised are
the tongue, the soft palate, the jaw, the fauces, and also the muscles
by which the larynx is raised and lowered in the throat, and those by
which the chest is raised. In teaching a pupil Howard took up each part
in turn. A sufficient number of lessons was devoted to each set of
muscles for the pupil (presumably) to acquire the necessary control of
each group.

Howard also paid much attention to the breath; he worked out the system
of high-chest breathing in a really masterly fashion. But his manner of
dealing with this subject did not differ from that of a great number of
other teachers.

Howard retired from active teaching about 1895. His theories of the
vocal action have never been generally accepted by vocal theorists, and
the number of teachers who now profess to follow his method is very
small. There are, however, many other masters whose methods, in their
main features, are patterned after Howard's. These latter teachers may
therefore be justly said to follow the Howard system, even though they
give him