It will be perhaps comparatively easy to advance the art of singing in America; for, as Humboldt says, not entirely without truth, the Germans require for every improvement two centuries—one to find out the need of it, and another to make it.
[2] It must be remarked that the diagrams here given are copies of reflected images, and therefore the upper side of the representation shows the front of the larynx, and the lower the farther side of the larynx.
[3] In recent works on laryngoscopy they are often described as continuations or parts of one of the principal muscles of the larynx.
[4] In recent French and English works upon laryngoscopy, the cuneiform cartilages are frequently mentioned, and sometimes confounded with the cartilages Wrisbergi.
[5] On this account the male voice should be trained by men and the female voice by women. For, as it is impossible for a man to give to a female pupil a correct perception of the tones of the head register and of the second series of the falsetto, with its peculiar female timbre, so is it impossible for a woman to sing and teach correctly the deep, sonorous chest tones of the male voice. Frederick Wiek, that admirable teacher, who perceives intuitively what is natural and true in instruction, has an excellent expedient. In his hours of instruction he avails himself of the aid of young women with practised voices, who sing every exercise to his female pupils until the latter are able to imitate them correctly.