In like manner, the deep breath and the "Oh!" that follow a
fear-inspiring sight, a very loud noise, or a severe pinch of the
skin, are examples of reflex action. They are quite independent of the
will, though in some cases they may be prevented by it.

This reflex nature of breathing throws much light on many matters of
great interest to the speaker and singer, some of which, as the
formation of good habits of breathing, will be considered later.
Unfortunately for the nervous debutant, his breathing is anything but
what he could wish it. The pale face and almost gasping respiration,
in the worst cases, are not unknown to the experienced observer. In
such cases the preventive (_inhibitory_) influence of certain ingoing
impulses is but too obvious. Such undesirable messages may pass in
through the eyes when the young singer looks out on the throng that
may either approve or condemn; or they may originate within, and pass
from the higher part of the brain to the lower breathing centre. The
beginner may have high ideals of art, and fear that they will be but
ill realized in his performance. His ideals in this instance do not
help but hinder, for they interfere with the regular action of the
breathing centre. A few deep breaths after the platform has been
reached greatly help under such circumstances. It is also wise for the
singer to avoid those songs that begin softly and require long breaths
and very evenly sustained tones. It is much better to begin with a
selection that brings the breathing organs into fairly active exercise
at once. One feeble, hesitating, or otherwise ineffective tone is in
itself a stimulus of the wrong kind, sending in unfavorable messages
which are only too apt to reach the breathing and other centres
concerned in voice-production; but of this subject of nervousness
again.

It is important to realize that sounds, whether musical or the
reverse, are produced by the outgoing stream of breath, by an
expiratory effort. Breath is taken in by the voice-producer in order
to be converted into that expiratory force which, playing on the vocal
bands, causes them to vibrate or pass into the rapid movements which
give rise to similar movements of the air in the cavities above the
larynx, the resonance-chambers, and on which the final result as
regards sound is dependent. Important as is inspiration to the speaker
and singer, expiration is much more so. Many persons fill the lungs
well, but do not understa