All the elements of instruction,--musical education, ear training, and the acquirement of facility in the use of the voice,--can be combined in the singing of melodious compositions. While the teacher should know the precise object of each study, this is not necessary for the student. Have the pupil simply sing his daily studies, with good tone and true musical feeling, and all the rest will take care of itself. Every vocal teacher will formulate his method of instruction according to his own taste and judgment. There will always be room for the exercise of originality, and for the working out of individual ideas. His own experience, and his judgment in each individual case, must guide the teacher in answering many important questions. Whether to train a voice up or down, whether to pay special attention to enunciation, when to introduce the trill, what form of studies to use for technique and ornament,--these are all matters for the teacher to decide in his own way. Above all else the teacher should seek to make the study of singing interesting to his pupils. This cannot be done by making the idea of method and of mechanical drudgery prominent. Singing is an art; both teacher and student must love their art or they cannot succeed. Everything the student is called on to do should be a distinct pleasure. To master the piano or the violin many hours of tedious practice are required. Students of singing are indeed fortunate to be spared the necessity of this tiresome work. In place of two or three hours' daily practice of scales and exercises, the vocal student need do nothing but sing good music. Much is required of a competent vocal teacher. First of all, he must be a cultured musician and a capable judge both of composition and of performance. Further, while not necessarily a great singer, he must have a thorough command of all the resources of his own voice. His understanding of the voice should embrace a fair knowledge of vocal physiology and of vocal psychology. His ear should be so highly trained, and his experience in hearing singers so wide, that he possess in full the empirical knowledge of the voice. The vocal teacher must be familiar with the highest standards of singing. He should hear the great artists of his day and also be well versed in the traditions of his art.