Modern thought on the subject of vocal cultivation has crystallized along well-defined lines. For one thing, it has emphasized in a striking way the problem of the management of the vocal organs. The fact is now clearly recognized that the voice has one correct mode of operating, as well as an almost limitless possibility of wrong or incorrect forms of activity. When the voice is correctly produced it can be used daily in large halls and churches without strain or undue fatigue. By judicious exercise, when rightly produced, the voice is greatly increased in volume and power; it acquires facility in the singing of difficult and elaborate music; its compass is increased, giving it command of a wider range of notes than is possessed by the untrained voice. Yet vocal cultivation demands the adoption of the correct management of the vocal organs. When the voice is correctly produced nothing more than judicious exercise is needed to bring it to the condition of technical mastery. But if the proper manner of producing tone is not acquired, then the exercise of the voice is fraught with peril to the vocal organs. Instead of the voice being benefited by practice the contrary result is almost inevitable. The use of a wrongly produced voice on an extended scale, involving, as it must, the daily attempt to produce tones powerful enough to fill a large space, strains and injures the vocal organs. This results in a weakening of the voice, in loss of control, in discomfort and pain to the singer, in a strained, harsh quality of tone, and finally, if persisted in long enough, in complete loss of voice. The difference between the correct use of the voice and any incorrect manner of producing tone is inherent in the organ itself. No one who wishes to sing can elude the problem which Nature thus propounds. On the contrary, the problem of vocal management must be solved some time in the course of a singer’s vocal studies or the technical command of the voice can never be attained. Vocal cultivation is that form of exercise of the voice which leads, through the correct management of the organ, to a command of all the voice’s resources of beauty, range, power, and flexibility.