tion was seen in the attempt
consciously to direct the mechanical operations of the voice.

Equipped with a thorough understanding of the subject of throat
stiffness, the teacher is in no danger of permitting his pupils to
contract faulty habits of tone-production. Here the great value of the
empirical knowledge of the voice is seen. The slightest trace of
incipient throat stiffness must be immediately detected by the teacher
in the sound of the pupil's tones. To correct the faulty tendency in
the beginning is comparatively simple. By listening closely to every
tone sung by his pupils in the course of instruction, noting both the
musical character of the tones and the sympathetic sensations of throat
action, the master will never be in doubt whether a tendency to throat
stiffness is shown. In locating the natural faults of production the
teacher will also find his empirical knowledge of the voice a most
valuable possession.

CHAPTER IX

OUTLINES OF A PRACTICAL METHOD OF VOICE CULTURE

According to the accepted idea of Voice Culture, the word "method" is
taken to mean only the plan supposedly followed for imparting a correct
manner of tone-production. Owing to the prevalence of the mechanical
idea, the acquirement of the correct vocal action has become so
difficult as to demand almost the exclusive attention of both teachers
and students. Very little time is left for other subjects of vastly more
importance. Aside from the matter of tone-production, teachers do not
seem to realize the importance, or even the possibility, of
systematizing a course of instruction in singing.

Scientific Voice Culture is inconceivable without a systematic plan of
procedure. But this is not dependent on a set of rules for imparting the
correct vocal action. Eliminating the idea of mechanical vocal
management does not imply the abandonment of methodical instruction in
singing. On the contrary, Voice Culture cannot be made truly systematic
so long as it is based on an erroneous and unscientific theory of vocal
management. A vocal teacher cannot perfect a system of instruction until
he has done with the mechanical idea. Then he will find himself to be in
possession of all the materials of a sound practical method.

Most important of the materials of a practical method is a comprehensive
repertoire of vocal music. Every teacher should have at his command a
wide range of compositions in every form available for the voice. This
shou