A perfect psychic mechanism is as necessary as the physiological mechanism
for the production of perfect vocalisation, especially for dramatic
singing. A person, on the one hand, may be endowed with a grand vocal
organ, but be a failure as a singer on account of incorrect intonation, of
uncertain rhythm or imperfect diction; on the other hand, a person only
endowed with a comparatively poor vocal instrument, but knowing how to use
it to the best advantage, is able to charm his audience; incapable of
vigorous sound production, he makes up for lack of power by correct
phrasing and emotional expression. We see then that the combination of a
perfect physiological and psychological mechanism is essential for
successful dramatic singing, the chief attributes of which are: (1) Control
of the breath, adequate volume, sustaining power, equality in the force of
expulsion of air to avoid an unpleasant vibrato, and capability of
producing and sustaining loud or soft tones throughout the register. (2)
Compass or range of voice of not less than two octaves with adequate
control by mental perception of the sounds of the necessary variation in
tension of the laryngeal muscles for correct intonation. (3) Rich quality
or timbre, due partly to the construction of the resonator, but in great
measure to its proper use under the control of the will. Something is
lacking in a performance, however perfect the vocalisation as regards
intonation and quality, if it fails to arouse enthusiasm or to stir up the
feelings of an audience by the expression of passion or sentiment through
the mentality of the singer.

The general public are becoming educated in music and are beginning to
realise that shouting two or three high-pitched chest notes does not
constitute dramatic singing--"a short _beau moment_ does not compensate for
a _mauvais quart d'heure_." It would be hard to describe or define the
qualities that make a voice appeal to the multitude. Different singers with