lts, and I can testify to the greater readiness with
which analysis of a performance can be made after even moderate
advancement. The teacher who is wise will encourage the student to
hear those who excel, and to analyze the methods which successful
artists employ. The student can much more readily accomplish this than
detect the mental movements of the artist, though the two really go
hand in hand to a large extent.

The above are some of the advantages, but by no means all, of a method
of study of voice-production which I must claim is the only rational
one--certainly, the only one that rests on a scientific foundation.

It does not follow that such study, to be scientific, shall be made
repellent by the use of technical terms the significance of which the
reader is left to guess at, but finds unexplained. I fear such
treatment of vocal physiology has brought it into disrepute. The aim
of the writer will be to give a clear scientific treatment of the
subject, which shall not be obscured by unexplained technical terms,
and which shall be _practical_--capable of immediate use by student
and teacher. If he did not believe the latter possible he would not
think it worth while to attempt the former, especially as this has
often been done before, he regrets to say, badly enough.

Although the author has not now the tune to give regular lessons in
voice-production, he is frequently consulted, especially when abroad,
during his vacations, by speakers and especially singers who are
anxious to learn how they may increase their efficiency in the
profession by which they earn their livelihood and make their
reputation; and the reader may be gratified to learn how, in such
cases, the writer applies the principles he so strongly recommends to
others.

Let two or three illustrations suffice:

1. A tenor of world renown consulted him in regard to the position of
the larynx in singing, as he had a suspicion that his practice was not
correct, inasmuch as his voice seemed to be deteriorating to some
extent. The answer to his question need not be given here, as this
subject is discussed adequately in a later chapter.

2. The second was the case of a young lady, an amateur singer, who was
anxious to know why she failed to get satisfactory results. The author
heard her in a large room, without any accompaniment (to cover up
defects, etc.), and standing at first at some distance from her, then
nearer. Her tones were delightfully pure