The meeting of the teacher and student always takes place in the studio, and it is there that all vocal problems are solved. Let no one imagine that any vocal problem can be solved in a physics laboratory. Why? _Because not one of the problems confronting the vocal student is physical. They are all mental._ The writer has reached this conclusion not from ignoring the physical, but from making a comprehensive study of the vocal mechanism and its relation to the singer.
The anatomy and physiology of the vocal mechanism are absorbing to one who is interested in knowing how man, through untold centuries of growth has perfected an instrument through which he can express himself; but no matter how far we go in the study of anatomy and physiology all we really learn is what mind has done. If man has a more perfect and highly organized vocal instrument than the lower animals it is because his higher manifestation of mind has formed an instrument necessary to its needs.
When man's ideas and needs were few and simple his vocabulary was small, for language is the means by which members of the species communicate with each other. Whenever man evolved a new idea he necessarily invented some way of communicating it, and so language grew. A word is the symbol of an idea, but invariably the idea originates the word. The word does not originate the idea. The idea always arrives first. All we can ever learn from the study of matter is phenomena, the result of the activity of mind.
Thus we see that so called "scientific study" of the vocal mechanism is at best, but a study of phenomena. It creates nothing. It only discovers what is already taking place, and what has been going on indefinitely without conscious direction will, in all probability, continue.
The value attached by some to the study of vocal physiology is greatly overestimated. In fact its value is so little as to be practically negligible. It furnishes the teacher nothing he can use in giving a singing lesson, unless, perchance he should be so unwise as to begin the lesson with a talk on vocal mechanism, which, by the way, would much better come at the last lesson than the first. All we can learn from the study of vocal physiology is the construction of the vocal instrument, and this bears the same relation to singing that piano making bears to piano playing. The singer and his instrument are two different things, and a knowledge of the latter exerts very little beneficial influence on the former.