Principles and their expression in a few exercises--Analysis of the methods of tone-production--The sustained tone--Smoothly linked tones--The legato--The staccato and kindred effects--The mechanisms concerned--Perfection requires years of careful practice--The bel canto and the swell--The same exercises for singer and speaker--"Forward," "backward," etc., production--Escape of breath--The action of the soft palate--When to use "forward" and when "backward" production--Voice-placement--Nasal resonance, not nasal twang--Summary 207 CHAPTER XV. THE ELEMENTS OF SPEECH AND SONG. The subject may be made dry or the reverse--Vowels, consonants, noise--The position of the lips and the shape of the mouth-cavity in sounding the various vowels--How to demonstrate that the mouth-cavity is a resonance-chamber--Practical considerations growing out of the above--Speaker, vocalist, and composer--Bearing of these facts on the learning of languages--Consonants as musical nuisances--Their great variation in pitch--Bruecke's division of consonants--Tabulation of the same 218 CHAPTER XVI. FURTHER THEORETICAL AND PRACTICAL CONSIDERATION OF VOWELS AND CONSONANTS. The best vowel to use in practice--Necessary to practise all--The guttural _r_ and the lingual _r_--Consonants that favor nasality of tone--Overtones and fundamental tones--Relation of intensity and quality--The carrying power of a tone--Unusual distinctness in practice as related to ease--The registers of the speaking voice according to Madame Seiler--The range in speaking--Summary 230 CHAPTER XVII. THE HEARING APPARATUS AND HEARING IN MUSIC. Why this chapter is introduced--The essential mechanism of hearing--The part played by waves and vibrations--Divisions of the ear--The external ear in lower animals--The drum-head or tympanic membrane--The middle ear and its connections--Relation of the throat and the ear--The inner ear or labyrinth--The end-organ and its relations--The connection of the ear and various parts of the brain--The musician's ear--Relation of music and hearing--Lack of ear and inattention--The artist and the musician--The ear and the speaking voice--General musical training in relation to intonation, etc--The appreciation of music, and training to that end--The art of listening with close attention--Summary 236 CHAPTER XVIII. CONSIDERATION OF GENERAL AND SPECIAL HYGIENE AND RELATED SUBJECTS.