fort and by contraction
of the lung cells and of the throat. This of course means physical
restraint, and physical restraint prevents self-expression. Singing is more
psychological than physiological; hence the importance of free
self-expression. Direct physical effort produces physical effect;
relaxation produces depression.

All artistic tone is reinforced sound. There are two ways of reinforcing
tone. First, by direct muscular effort, the wrong way; second, by expansion
and inflation, the added resonance of air in the cavities, the right way.
This condition of expansion and inflation is the distinguishing feature of
many great voices, and is possible only through right bodily position and
action. These movements are used by many great artists, who develop them as
they themselves develop, through giving expression to thought, feeling, and
emotion, through using the impressive, persuasive tone, the fervent voice.
This brings into action the entire vocal mechanism, in fact all the powers
of the singer; hence these movements become a part of the great artist. He
may not be able to give a reason for them, but he knows their value. The
persuasive, fervent voice demands spontaneity and automatic form and
adjustment; these conditions are impossible without flexible, vitalized
movements. The great artist finds by experience that the throat was made to
sing and not to sing with; that he must sing from the body through the
throat. He finds that the tone must be allowed and not made to sing. Hence
in the most natural way he develops vitalized bodily energy.

Next in importance to absolute freedom of voice, which these movements
give, is the fact that through them absolute, automatic, perfect
breath-control is developed and mastered. These movements give the breath
without a thought of breathing, for they are all breathing movements. The
singer cannot lift and expand without filling the lungs naturally and
automatically, unless he purposely resists the breath. The conscious breath
unseats the voice, that is, disturbs or prevents correct adjustment, and
thus compels him to consciously hold it; but this very act makes it
impossible to give the voice freedom. Through these movements, through
correct position, we secure automatic adjustment, which means approximation
of the breath bands, the principle of the double valve in the throat, which
secures automatic breath-control. In other words, the singer whose position
and action are co