▁the ▁ear , ▁and ▁there ▁is ▁good ▁reason ▁for ▁thinking ▁that ▁the ▁practice , ▁besides ▁being ▁unnecessary , ▁is ▁also ▁inj ur ious ▁to ▁a ▁vocal ▁organ ... ▁There ▁should ▁never ▁be ▁any ▁stra in ▁or ▁forcing ▁of ▁any ▁kind , ▁and ▁on ▁the ▁same ▁principle ▁is ▁the ▁rule ▁as ▁to ▁the ▁amount ▁of ▁breath ▁em itted , ▁which ▁should ▁always ▁be ▁the ▁smallest ▁quantity ▁possible ▁which ▁suff ices ▁to ▁produce ▁the ▁tone ▁required . ▁( How ▁to ▁Sing , ▁ 1 9 2 3 , ▁Chap . ▁ 1 4 , ▁V ocal ▁C ords .) ▁ ▁A ▁historical ▁debate ▁ ▁A ▁very ▁res ounding ▁condem n ation ▁of ▁the ▁coup ▁de ▁gl otte ▁as ▁a ▁singing ▁technique ▁was ▁given ▁by ▁Victor ▁Ma ure l , ▁in ▁a ▁public ▁lecture ▁at ▁the ▁Ly ce um ▁Theatre ▁in ▁July ▁ 1 8 9 2 . ▁The ▁debate ▁at ▁that ▁time ▁was ▁strong , ▁and ▁is ▁reported ▁luc id ly ▁in ▁several ▁phr ases ▁by ▁George ▁Bernard ▁Shaw . ▁The ▁technique ▁was ▁then ▁being ▁advoc ated ▁by ▁the ▁teacher ▁Charles ▁L unn ▁( who ▁trained ▁the ▁bar it one ▁Freder ic ▁Austin ) ▁and ▁to ▁an ▁even ▁greater ▁extent ▁by ▁Dr ▁J . W . ▁Bern hardt , ▁in ▁lect ures ▁and ▁pam ph lets ▁or ▁books ▁on ▁singing ▁method . ▁Shaw ▁noticed ▁the ▁t endency ▁of ▁the ▁technique ▁to ▁produce ▁co ars eness ▁in ▁the ▁middle ▁register , ▁and ▁attributed ▁the ▁fault ▁to ▁the ▁Gar cia ▁method , ▁and ▁to ▁the ▁teaching ▁of