hich it is founded do not change; but
constantly changing conditions necessitate a new application of these
principles. This necessity was acknowledged for poetry itself by Andre
Chenier:

"_Sur des pensees nouveaux, faisons des vers antiques._" (Let us
embody modern thoughts in classic verse.)

Music follows the great laws of development to which all things are
subject. It would be foolish, nay, impossible, to try to resuscitate
an old form of art. Foolish, because the art itself would have lost
all except its archaic charm or interest; impossible, because
conditions have so completely changed that the attempt would be merely
the galvanizing of a corpse, not its reanimation.

Similarly, the art of singing can be successful only in proportion as
it recognizes the existence of other conditions. These it meets by
observing the old principles, but changing their mode of application.

The education of the singer of to-day requires to be conducted on
broader and more comprehensive lines than in the past, on account of
the different conditions which have presented themselves.
Singing--that is, the alliance and utterance of Music and Poetry--is
one of the highest manifestations of the Beautiful, and is man's
supreme and greatest creation. Therefore, singing will not seek in
future to rival a mechanical instrument. It will, it is evident, give
to the poetic idea a prominent, though not a predominant, place. But
this poetic idea can be revealed to the listener only by a singer who
is master of all the technical phases of his art. These component
parts of his vocal education must of necessity comprise--as was laid
down in the opening chapter of this work--Pose of Voice, Technique,
Style, and Repertoire.

It has been demonstrated that the first of these elements is
essential, because the other stones of the complete structure cannot
be successfully laid on an insecure foundation. The singer must have
the second, or he will be unable to materialize his concept, like an
unskilled carver who possesses the necessary material and tools, but
lacks the technical ability to utilize either. He must possess Colour,
whereby his vocal palette is set with the varied tints necessary for
the different sentiments to be expressed; Accent, so that character
may be given to the music and appropriate emphasis to the text; and
Phrasing, in order that he may punctuate the music effectively and the
words intelligently.

Perfect master of these,