The old Italian method of instruction, to which vocal music owed its high condition, was purely _empirical_, i.e., the old singing masters taught only according to a sound and just feeling for the beautiful, guided by that faculty of acute observation, which enabled them to distinguish what belongs to nature. Their pupils learned by imitation, as children learn their mother tongue, without troubling themselves about rules. But after the true and natural way has once been forsaken, and for so long a period only the false and the unnatural has been heard and taught, it seems almost impossible by empiricism alone to restore the old and proper method of teaching. With our higher degree of culture, men and things have greatly changed. Our feeling is no longer sufficiently simple and natural to distinguish the true without the help of scientific principles. But science has already done much to assist the formation of musical forms of art. Mathematics and physics have established the principal laws of sound and the processes of sound, in accordance with which our musical instruments are now constructed. Philosophical inquirers have succeeded also in discovering the eternal and impregnable laws of Nature upon which the mutual influences of melody, harmony and rhythm depend, and in thus giving to composition fixed forms and laws which no one ventures to question. And more recently Professor Helmholtz, in his great work, “Die Lehre von den Tonempfindungen,” has given to music of all kinds a scientific ground and basis. But for the culture of the human voice in singing science has as yet furnished only a few lights. The well-known experiments of _Johannes Müller_ upon the larynx gave us all that was known, until very recently, respecting the functions of the organ of singing. Many singing masters have sought to found their methods of instruction upon these observations on the larynx, at the same time putting forth the boldest conjectures in regard to the functions of the organ of singing in the living subject. But they have thus ruined more fine voices than those teachers who, without reference to the formation of the voice, only correct the musical faults of their pupils, and for the rest let them sing as they please. This superficial treatment of science, and the unfortunate results of its application, have injured the art of singing more than benefited it, and created a prejudice against all scientific investigations in this direction among the most distinguished artists and teachers, as well as among those who take an intelligent interest in this department of music. It is a pretty common opinion that science can do little for the improvement of music, and nothing for the culture and preservation of the voice in singing. And the habit of regarding science and art as opposed to each other renders it extremely difficult to secure a hearing for the results of thorough scientific inquiry in this direction.