[17] Since the appearance of this book I have often been consulted by persons whose calling required them to speak in public, and whose vocal organs were no longer competent thereto. Here also I have found in most cases that there was an incorrect use of the registers, and that men especially form the lowest sounds with that forced enlarging of the windpipe already mentioned (that is, with the so-called _Strohbassregister_). Many have probably fallen into this unnatural and exhausting manner by attempting to speak or to sing loudly. Together with the incorrect use of the registers, there is also an incorrect management (_Leitung_) of the vibrating air, which so often renders speaking so difficult to public speakers. As, when the voice is not wholly directed to the front of the mouth, it does not move the external air quickly enough and so does not reach far, the speaker commonly tries to help himself by a greater expenditure of force. Misled by false views, speakers usually attempt by a great waste of breath and by exertion alone to produce an effect which can be realized only by skilful management of the most delicate and easily moved of all things, the air. IV THE ÆSTHETIC VIEW OF THE ART OF SINGING Having treated, in the two preceding divisions of this book, of the physiological and physical laws lying at the basis of singing tones, and of their practical application to the formation of the voice, we come now to the better known--the æsthetic--part of our task. The reader will bear in mind that as, in the preceding sections, our attention has been confined to what directly relates to the culture of the voice in singing, notwithstanding the strong temptation to transcend the limits which our present design prescribes, so in this section also the same purpose is kept in view, and it is not to be regarded as treating of the æsthetics of music in general.