and beautiful, but her
performance suggested rather the sound of some instrument than singing
in the proper sense. It was impossible to learn the ideas to be
imparted, as the words could not be distinctly made out; there was a
monotony in the whole performance, though, it must be confessed, a
beautiful monotony, and there was a total lack of that vigor and
sureness that both educated and uneducated listeners must be made to
feel, or there results a sense of dissatisfaction, if not even
irritation.

The beauty of tone was owing to a production that was to a certain
extent sound, and this explained why the voice carried well in spite
of its being small. This young lady was well educated, had heard much
good music, possessed a sensitive ear and a fine aesthetic taste, and,
perhaps most important of all, in this case at least, was able to
think for herself. She was very slight of body, with an ill-developed
chest, and, from her appearance, could not have enjoyed robust health.
It was at once evident that this was an admirable case by which to
test the views advocated. Accordingly, the author addressed the young
lady as follows:

"Your voice is beautiful in quality, and carries well; you observe the
registers properly; but your vocalization is feeble, and your singing
is ineffective. This is due largely to the lack of robustness in your
voice, but not wholly. You do not tell your story in song so that the
listener may know what you have to say to him. The imperfections in
your method of speaking, so common in America--an imperfect
articulation and a limp texture of voice--are evident in your singing;
you do not phrase well, and you paint all in one color. This is due
chiefly to your breathing and your attacks. One may observe that at no
time do you fill your chest completely. You use the lower chest and
the diaphragm correctly, but you rob yourself of one half of your
breathing power, and your chest is not at all well developed. You do
not use the parts above your voice-box with vigor and efficiency, and
you direct so much attention to the quality of the tone that you
neglect its quantity and the ideas to be expressed. You have been
correctly but inadequately instructed. Your teachers have evidently
understood registers practically, as few do, but they have only half
taught you breathing and attack. Their fidelity to that high ideal of
quality of tone as the final consideration wins my respect."

The writer thought, but