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If the correct vocal action is to be acquired by imitation, of what use are the mechanical doctrines of vocal management? Kofler seeks to combine these two forms of instruction. "Physiological theories must go hand in hand with the musical ear or the law of imitation."
There are isolated cases of deformed soft palate with uvula so enormous that it cannot be raised. In such cases, one of which is instanced by Kofler, a surgical operation being out of the question, the patient simply has to give up singing. Enlarged tonsils, whether from inflammation or other causes, also have to be operated on, as their enlargement obviously hinders free voice-emission.
I think this is a survival of the time when song instruction in this country largely was in the hands of foreigners, mainly Italians. Naturally they preferred their own language, and naturally they failed to appreciate the genius of English. It is true, as Kofler says, that the Italian language presents few difficulties to the singer.
At the same time the higher note, still lying within the easy singing range, does not call for a strain but simply acts as a spur. Kofler gives six examples of easy singing ranges for as many voice-divisions, and adds to each the qualification "more or less," thus allowing for differences in individual voices. Mezzo-Soprano: E4-D5 " " " Alto: D4-C5 " " " Tenor: E3-E4 " " " Baritone: C3-C4 " " "
This fact is well brought out in the following passage from Kofler: "The teacher must imitate the wrong muscle-action and tone of his pupil as an illustration of the negative side." He takes this ability for granted; it is so purely an intuitive process that he does not stop to inquire into the source of this information of the pupil's vocal action.
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