MY PURPOSE My purpose is to discuss simply, intelligibly, yet from a scientific point of view, the sensations known to us in singing, and exactly ascertained in my experience, by the expressions "singing open," "covered," "dark," "nasal," "in the head," or "in the neck," "forward," or "back." These expressions correspond to our sensations in singing; but they are unintelligible as long as the causes of those sensations are unknown, and everybody has a different idea of them. Many singers try their whole lives long to produce them and never succeed. This happens because science understands too little of singing, the singer too little of science. I mean that the physiological explanations of the highly complicated processes of singing are not plainly enough put for the singer, who has to concern himself chiefly with his sensations in singing and guide himself by them. Scientific men are not at all agreed as to the exact functions of the several organs; the humblest singer knows something about them. Every serious artist has a sincere desire to help others reach the goal--the goal toward which all singers are striving: to sing well and beautifully. The true art of song has always been possessed and will always be possessed by such individuals as are dowered by nature with all that is needful for it--that is, healthy vocal organs, uninjured by vicious habits of speech; a good ear, a talent for singing, intelligence, industry, and energy. In former times eight years were devoted to the study of singing--at the Prague Conservatory, for instance. Most of the mistakes and misunderstandings of the pupil could be discovered before he secured an engagement, and the teacher could spend so much time in correcting them that the pupil learned to pass judgment on himself properly. But art to-day must be pursued like everything else, by steam. Artists are turned out in factories, that is, in so-called conservatories, or by teachers who give lessons ten or twelve hours a day. In two years they receive a certificate of competence, or at least the diploma of the factory. The latter, especially, I consider a crime, that the state should prohibit. All the inflexibility and unskilfulness, mistakes and deficiencies, which were formerly disclosed during a long course of study, do not appear now, under the factory system, until the student's public career has begun. There can be no question of correcting them, for there is no time, no teacher, no critic; and the executant has learned nothing, absolutely nothing, whereby he could undertake to distinguish or correct them. The incompetence and lack of talent whitewashed over by the factory