irical observations. The use of nasal
resonance is condemned by almost every prominent authority on Vocal
Science. Yet the only reason ever advanced for condemning nasal
resonance is the fact that a tone of objectionable nasal quality seems
to "come through the nose." This fact cannot, of course, be questioned.
It is mentioned by Tosi, who speaks of the "defect of singing through
the nose," and is observed by everybody possessed of an ear keen enough
to detect the nasal quality of sound.

It is generally stated by vocal theorists that the nasal quality is
imparted to the tone by the influence of the resonance of the air in the
nasal cavities. In order to prove this assertion Browne and Behnke offer
the following experiment, (quoted in substance): "Hold a hand-mirror
flat, face up, just below the nostrils. Then sing a nasal tone; you will
note that the mirror is clouded, showing that part of the breath has
passed through the nasal cavities. Now sing another tone, free from the
fault of nasal quality; this time the mirror is not clouded, which
proves that no air has passed through the cavities in question."
(_Voice, Song and Speech._) This experiment is simplified by other
authorities, who direct that the nostrils be pinched by the fingers, and
then allowed to open by the removal of the pressure of the fingers. A
steady tone is meanwhile to be sung. It will be noted, according to
these theorists, that with the nostrils open the tone is nasal, and with
the nostrils closed the tone is not nasal. This proves to their
satisfaction that a tone passing in whole or in part through the nasal
cavities must be nasal in quality.

It must be noted here that these experiments are not in any sense
convincing. A tone of objectionable nasal quality can be sung equally
well with the nostrils either closed or open, and so can a tone free
from the nasal quality.

In theory, the mechanical prevention of nasal resonance is very simple.
It is necessary only to raise the soft palate in singing, and thus to
cut off the expired breath from passing into the nasal cavities. Most
vocal scientists advise that the singer hold the soft palate raised for
every tone.

Practical teachers of singing pay little attention to the theoretical
discussions concerning nasal resonance. The overwhelming majority of
teachers are firm believers in nasal resonance, and make it an important
feature of their methods. They believe that this resonance is the most
imp