In her thoughtful _Philosophy of Singing_, Clara Kathleen Rogers, while upholding "registers," says that considered physiologically "the different registers of the voice should be regarded by the singer as only so many _modifications in the quality of tone_, which modifications are inherent in the voice itself." She then adds significantly: "These modifications are not brought about by conscious adjustments of the parts employed, as any interference with the parts will produce that obstacle to quality we call a 'break.'" One of the greatest of modern singers, Mme. Lilli Lehmann, in her interesting work, _How to Sing_, says: "Do registers exist by nature? No. It may be said that they are created through long years of speaking in the vocal range that is easiest to the person, or in one adopted by imitation." She speaks of three ranges of the voice, or, rather, three sections of the vocal range, as chest, middle, and head, saying, "All three form registers _when exaggerated_." After speaking of the hopeless confusion that results from clinging to the appellations of chest, middle, and head _register_, confounding voice with register, she concludes: "As long as the word 'register' is kept in use the registers will not disappear, and yet the register question must be swept away, to give place to another class of ideas, sounder views on the part of teachers, and a truer conception on the part of singers and pupils." The trend of recent thought on this subject is further shown in Ffrangcon-Davies' important work, _The Singing of the Future_, where, having in mind "the useless torture to which thousands of students have been subjected," he characterizes "breaks" and "registers" as "paraphernalia supplied by credulity to charlatanism"; and adds: "How many a poor pupil has become a practical monomaniac on the subject of _that break in my voice between D and D sharp_!" My own studies convince me that there is but one register, or, rather, no such thing as register, save as it applies to the compass of the voice; and that chest, middle, head, and all other registers are creations of false education. Training based upon the theory of many registers results in an artificial and unnatural division of the voice. THE VOICE AND INSTRUMENTS COMPARED