rough practice or
natural gifts, the stronger in proportion is the tone." (_Die Kunst der
idealen Tonbildung_, Dr. W. Reinecke, Leipzig, 1906.) This theory is of
course rather loose and unscientific. Still this idea,--a literal
interpretation of the "open throat" precept,--receives much attention in
practical instruction.

Only one muscular action has ever been defined by which the throat might
be "opened." That is, the lowering of the larynx and the raising of the
soft palate. Many teachers therefore direct that the throat be "opened"
gradually in this way for the swelling of the tone. It is assumed that
the power of the voice is developed by singing with the larynx low in
the throat. This manner of instruction is, however, very loosely given.
The supposedly scientific interpretation of the "open throat" precept
shades off into a purely empirical application.

_Chest Resonance_

In no other topic of Vocal Science is the gap between theory and
practice more striking than in the doctrine of chest resonance. Vocal
teachers are in fair accord in believing the resonance of the air in the
chest to be the most important influence in imparting power and "color"
to the voice, and particularly to the lower notes of its compass.
Students of singing are in almost all cases urged to acquire a proper
command of chest resonance. But when it comes to telling the student how
to learn to govern the chest resonance, the teacher has practically
nothing to offer. No direct means has ever been found for causing the
air in the thorax to vibrate; this cannot be effected, so far as has yet
been determined, by any voluntary muscular action on the part of the
singer.

This being the case, intelligible instruction in the use and management
of chest resonance is hardly to be expected. Teachers of singing are
obliged to fall back on purely empirical instruction on this topic. This
usually takes the form of a description of the sensations experienced by
the singer when producing tones in the chest voice. How this description
of the singer's sensations is applied, is discussed in the following
chapter.

_Nasal Resonance_

The lack of connection between the theories of vocal scientists and the
practical methods of singing teachers is well illustrated in the subject
of nasal resonance. A striking feature of all the discussions concerning
the use or avoidance of nasal resonance is the fact that vocal theorists
base their opinions entirely on emp