Notwithstanding the wide diversity of opinion on most topics connected with vocal training, there is one point on which all authorities agree. This is, that the voice must be consciously controlled. In all the conflict of methods, this basic mechanical idea has never been attacked. On the contrary, it is everywhere accepted without question as the foundation of all instruction in singing. The idea of mechanical vocal control is also the starting-point of all analysis of the vocal action. Every investigator of the voice approaches the subject in the belief that an exact determination of the muscular operations of correct singing would lead to an absolutely infallible method of training voices. The problem of tone-production is identical, in the common belief, with the problem of the vocal action. Three sciences, anatomy, mechanics, and acoustics, are believed to hold somewhere among them the secret of the voice. All investigation has therefore been carried on along the lines of these three sciences. It is on this account that modern methods are called scientific, and not because they are in conformity with general scientific principles. Before taking up the question whether the idea of mechanical vocal control is well grounded in fact and reason, let us consider further the influence of this idea on modern methods of instruction. All instruction in singing is intended to teach the student to "do something," in order that the vocal organs may be directly caused to act properly. No matter how vague and indefinite the directions given, their aim is always to inform the student what to do, how to guide the vocal action. Even when used in a purely empirical way the directions for open throat, etc., are always given in this spirit. That these directions are utterly meaningless in the mechanical sense does not alter the fact; nobody has ever found any other connection in which they would take on a definite meaning. In this regard the empirical directions are no more unsatisfactory than the mechanical doctrines of the accepted Vocal Science. It was pointed out that no means has ever been discovered for applying several of these doctrines in practical instruction. The rules contained in the theoretical works on Voice Culture for managing the registers and vocal-cord action, for forward emission of tone, and for control of the resonance cavities, are of no value whatever to the student of singing. It will be asked, how does the conscientious teacher get over this difficulty? How are the deficiencies of the scientific doctrines supplied in instruction? In many cases the deficiency is absolutely ignored. The student is simply told to "make the vocal cords act properly," to "direct the tone against the roof of the mouth," to "bring in the nasal resonance," etc., and no further help is given. That this works severe hardship on the earnest student need hardly be mentioned.