It does not follow that such study, to be scientific, shall be made repellent by the use of technical terms the significance of which the reader is left to guess at, but finds unexplained. I fear such treatment of vocal physiology has brought it into disrepute. The aim of the writer will be to give a clear scientific treatment of the subject, which shall not be obscured by unexplained technical terms, and which shall be _practical_--capable of immediate use by student and teacher. If he did not believe the latter possible he would not think it worth while to attempt the former, especially as this has often been done before, he regrets to say, badly enough. Although the author has not now the tune to give regular lessons in voice-production, he is frequently consulted, especially when abroad, during his vacations, by speakers and especially singers who are anxious to learn how they may increase their efficiency in the profession by which they earn their livelihood and make their reputation; and the reader may be gratified to learn how, in such cases, the writer applies the principles he so strongly recommends to others. Let two or three illustrations suffice: 1. A tenor of world renown consulted him in regard to the position of the larynx in singing, as he had a suspicion that his practice was not correct, inasmuch as his voice seemed to be deteriorating to some extent. The answer to his question need not be given here, as this subject is discussed adequately in a later chapter. 2. The second was the case of a young lady, an amateur singer, who was anxious to know why she failed to get satisfactory results. The author heard her in a large room, without any accompaniment (to cover up defects, etc.), and standing at first at some distance from her, then nearer. Her tones were delightfully pure and beautiful, but her performance suggested rather the sound of some instrument than singing in the proper sense. It was impossible to learn the ideas to be imparted, as the words could not be distinctly made out; there was a monotony in the whole performance, though, it must be confessed, a beautiful monotony, and there was a total lack of that vigor and sureness that both educated and uneducated listeners must be made to feel, or there results a sense of dissatisfaction, if not even irritation. The beauty of tone was owing to a production that was to a certain extent sound, and this explained why the voice carried well in spite of its being small. This young lady was well educated, had heard much good music, possessed a sensitive ear and a fine aesthetic taste, and, perhaps most important of all, in this case at least, was able to think for herself. She was very slight of body, with an ill-developed chest, and, from her appearance, could not have enjoyed robust health. It was at once evident that this was an admirable case by which to test the views advocated. Accordingly, the author addressed the young lady as follows: