nly follow natural
effects, and larynx, palate and the rest will take care of themselves.
Do not complicate it with theories.

A new pupil went into the studio of a well-known teacher for a hearing.
She took with her a popular song--the only song which she knew. The
teacher cried "Trash," and would not even talk the matter over. This was
foolish, selfish and unreasonable.

Every voice which comes under our care includes the personality behind
the voice, and is of distinct and special interest. This pupil's
=environment= had undoubtedly been such that she was not further developed
and could hardly be expected to love and understand the music, which the
teacher was accustomed to perform or teach. However, many a singer, who
first brought the popular song, has developed into a successful church
and concert singer. This was not brought about by reprimands and unkind
criticisms of their short-comings, but by patient consideration and
gradual development. Give the pupil a chance to learn to perform good
music before you demand that they should appreciate it. A good teacher
will encourage questions. If there are any questions pertaining to the
study of voice culture that he cannot answer it is time he should know.

Unless a teacher is a perfect accompanist, so that he can keep his eyes
away from the keyboard, he should employ an accompanist, for the
teacher should =see= as well as =hear= the pupil sing the finished numbers.

And last, but not least, select a teacher who tries to understand you,
who makes you feel at ease, and who shows as much interest in your voice
as in your pocketbook.

ART FOR ART'S SAKE.

How many musicians live up to this much-abused term? In my travels here
and abroad I have found just two whose lives were entirely devoted to
"art for art's sake". They both reminded me of the last act of Beau
Brummell, and certainly did not suggest happiness. To fully live up to
"art for art's sake," one must necessarily have means, and you would be
surprised to know how few of those who are in position to live up to it,
do so. Singers, in whom you would expect to find a demonstration,--real
musicians, to whom the whole world has bent its knee,--will stand up
before an audience and sing a little popular waltz song, a la "After the
Ball,"--a song we would consider too inferior to allow one of our pupils
to sing. Is this "art for art's sake?" Where then should we look for a
demonstration, if not in the finis