euro-muscular mechanism. Such movements may be relatively simple or
highly complex. They all tend, when frequently carried out, to become
reflex, and to some extent unconscious or subconscious. Combinations
of reflexes when associated with consciousness become habits.
Movements only attain their highest perfection when they reach this
stage. It follows that the purpose of all musical practice should be
to establish those reflexes which attain the end, the ideal, and to
form correct habits. A poem properly recited or a song satisfactorily
sung implies a combination of certain reflexes or habits. Some of
these are in their main features common to all speech and song, but
many are peculiar to each example.

As phonation implies the use of the muscles (neuro-muscular
mechanisms) of the (1) respiratory organs, (2) vocal bands, (3)
resonance-chambers, and as these must all work in harmony, or be
"co-ordinated," it will be seen that speaking and singing are
physiologically highly complex. When, in addition, ideas and feelings
are associated, and determine the exact form of these co-ordinations,
the whole matter is seen to be still more complex. The emission of a
single tone implies (1) an idea--the nature of the sound as to pitch
and quality, (2) such an arrangement of all the parts of the mechanism
as will produce it. The former involves memory of the tone; the
latter, memories of former movements. Then, partly as a series of
voluntary acts and partly reflexly, according as the student is more
or less advanced, or the particular tone new or old in experience, do
the various neuro-muscular arrangements pass into orderly action. In
this process the ear is the chief guide, always in relation to
memories. When one uses the printed page, the eyes also guide--_i.e._,
the nervous impulses that pass in through these avenues determine the
outgoing ones that bring the muscles into action. In doing so they
rouse many others (associated nervous connections) which are highly
important when an artistic result is to be reached.

To consider a single case: Assume that the note [Illustration: a'] is
to be sung. The following are required: (1) Memory of this tone. (2)
Adaptation through eye and ear of all the neuro-muscular mechanisms
required for (_a_) bringing the vocal bands into the correct position
and degree of tension; (_b_) the proper shape, tension, etc., of the
resonance-chambers; (_c_) that use of the breathing apparatus suitable