In the first place, no one has ever thought of questioning the existence of an instinct of vocal imitation. On the contrary, this instinct is everywhere recognized. In childhood we learn to speak our mother tongue by imitating the speech of those about us. "Talking proper does not set in till the instinct to _imitate sounds_ ripens in the nervous system." (_The Principles of Psychology_, Wm. James, New York, 1890.) Vocal imitation would be impossible without the ability of the voice to produce sounds in obedience to the commands of the ear. This ability the voice normally possesses; spoken language could not otherwise exist. The voice can imitate a wide range of sounds. If the perfect vocal tone can be shown to be included in this range of sounds, then the voice can be trained by imitation. Exceptional powers of vocal imitation are sometimes developed. Vaudeville performers are by no means rare who can imitate the tones of the oboe, the clarinet, the muted trumpet, and several other instruments. Imitation of the notes and songs of birds is also a familiar type of performance. This peculiar gift of imitation results in each case from some special structure of the vocal organs. One performer can imitate the reed instruments, another the lighter brasses, and so on. Just what peculiar formation of the vocal organs is required for this type of imitative ability need not be inquired here. All that need be noted is, that the vocal organs must be so constructed as to be able to produce the particular quality of sound. Given this natural ability on the part of the vocal organs, the power to produce the tone quality is developed by repeated attempts at imitation. The possessor of the natural gift perfects this gift by practice. For practice in the imitation of sounds to be effective it is necessary that the ear be well acquainted with the tone quality to be reproduced. In addition, the practice must be guided by the performer listening closely to the sounds produced by the vocal organs, and constantly comparing these sounds to the tones of the instrument chosen for imitation. This vocal imitation of instruments is not a normal ability; the tones of the oboe and trumpet do not lie within the range of qualities native to the normal voice. But the quality of the perfect vocal tone is unquestionably within the range of every voice so constituted as to be capable of artistic singing. A fine natural voice normally produces beautiful tones. It is only with this type of voice that Voice Culture is concerned. Such a voice must be capable of producing the perfect vocal tone. Can it learn to produce this quality of tone by imitation?