After all, the most important question for consideration is that of the
devices used to develop and train the voice. All depends upon whether the
writer, the teacher, and the pupil study Nature's laws through common-sense
methods or resort to artificiality. If the devices used are right, if they
develop vitality, emotional energy, if they avoid rigidity and depression,
then the singer need not know so much about principle and theory. But with
the teacher it is different. He must know what to think and how to think it
before he can intelligently impart the ideas to his pupils. Hence a system
based upon correct principle, theory, and device is absolutely necessary
for the teacher who hopes to succeed.

The following system, as formulated, is largely the outgrowth of my summer
work at Point Chautauqua, on Lake Chautauqua. There we have a school every
summer, not only for the professional singer and teacher, but for those who
desire to become such. Beside the private lessons we give a practical
normal course in class lessons. There the principles, the theory, and the
devices used are studied and worked out in a practical way by lecture, by
illustration, and by the study of all kinds of voices. Many who have taught
for years have there obtained for the first time an idea, the true idea, of
flexible vitalized movements, the devices demanded by nature for giving the
voice vitality, freedom, ease, etc. These teachers who are thus aroused
become the most enthusiastic supporters of, and believers in, our system of
flexible vitalized movements.

It is, therefore, through the Chautauqua work that I have been impressed
with the importance of placing this system in a plainer and more definite
way, if possible, before the vocal world.