s held sufficient proof of
the statement. "In every true chest tone the resonance can be distinctly
felt as a vibration (fremitus pectoralis) by the hand laid flat on the
chest." (_Die Kunst der idealen Tonbildung_, Dr. W. Reinecke, Leipzig,
1906.) It must be observed that this is by no means a satisfactory
scientific proof of the doctrine of chest resonance. This feature of the
subject is reserved for discussion later.

The doctrine of resonance is now generally accepted as one of the basic
principles of Vocal Science. It is stated, in substance, by almost every
authority on the voice that "The tone produced by the vibration of the
vocal cords, even when the laryngeal action is correct in every way, is
weak, of poor quality, and without character. This tone must be
strengthened and made of musical quality by utilizing the influence of
resonance." The subject of resonance is always treated in theoretical
works on the voice under the three heads of chest, mouth-pharynx, and
nasal resonance. To these a fourth is sometimes added,--the
sounding-board resonance of the bones of the chest and head.

_Mouth-Pharynx Resonance_

Considered strictly in its bearing on tone-production, the resonance of
the mouth-pharynx cavity does not receive much attention from
theoretical observers of the voice. The form assumed by this cavity is
of necessity determined by the vowel to be sung. Aside from its function
in the pronunciation of words, the influence of mouth-pharynx resonance
on the tones of the voice is seldom discussed by vocal scientists.

As a rule, vocal teachers pay little attention to this form of
resonance. The subject of enunciation is generally treated as distinct
from tone-production strictly speaking. While the correct emission of
the tone, in its passage from the vocal cords to the lips, is considered
a very important topic, this feature of tone-production has no
reference to resonance.

One exception must be made to the statement that no attention is paid to
mouth-pharynx resonance. This is found in an interpretation of the
empirical precept, "Sing with open throat." Several vocal theorists take
this precept literally, and hold that it describes a function of
mouth-pharynx resonance. According to their idea the cavity must be
expanded to the largest size possible, on the theory that a large
resonance cavity secures a proportionately greater reinforcement of the
tone. "The greater the size of the pharynx, whether th