It cannot be questioned that the faulty tones of one voice can readily be imitated by another voice. Any one endowed with normal powers of speech can imitate a markedly nasal speaking voice. This is equally true of a nasal tone in singing, and of a strongly throaty tone as well. The more marked the fault of production the more readily it is heard and the more easily it can be imitated. Let us imagine the case of a vocal teacher who undertakes to teach a gifted pupil by having the pupil imitate tones of faulty production, and gradually correcting the faults in the tones sung as a model for the pupil. The master is of course understood to have perfect command of his own voice. Suppose this master to begin the course of instruction by singing for the pupil tones of exaggerated throaty quality, and bidding the pupil to imitate these tones. Naturally, the pupil would have no difficulty in doing so. At the next lesson the master would very slightly improve the quality of the tones sung as a model for the pupil's imitation. The student would listen to these tones and model his daily practice accordingly. Just so soon as the student had succeeded in correctly reproducing this slightly less throaty tone the master would again set a slightly improved model. With each successive step the master might eliminate, one by one, the faults of his own tone-production. Following the same course, the pupil would also gradually approach a correct model of tone. Finally, all the faults of tone-production having been corrected, both of master and pupil, the latter would be called upon to imitate perfect vocal tones. It would necessarily follow either that the student would successfully imitate the master's perfect tones or that at some point in this progress the student's imitative faculty would be found lacking.