▁the ▁Royal ▁Academy ▁of ▁Music . ▁ ▁In ▁ 1 8 9 2 - 9 3 ▁Shaw ▁and ▁L unn ▁cl ashed ▁public ly ▁over ▁the ▁impact ▁of ▁the ▁technique ▁on ▁such ▁sing ers ▁as ▁Th ér èse ▁T iet j ens , ▁Math ilde ▁March esi , ▁Nell ie ▁Mel ba ▁and ▁Charles ▁Sant ley . ▁L unn ▁claimed ▁that ▁the ▁attack ▁on ▁a ▁v owel ▁was ▁impossible ▁without ▁the ▁coup ▁de ▁gl otte : ▁Shaw ▁used ▁the ▁example ▁of ▁the ▁organ ▁pipe , ▁or ▁of ▁wh ist ling , ▁to ▁assert ▁the ▁opposite . ▁In ▁the ▁cases ▁of ▁Mel ba ▁and ▁Sant ley , ▁at ▁least , ▁the ▁living ▁example ▁left ▁no ▁doubt ▁that ▁this ▁was ▁not ▁an ▁integral ▁part ▁of ▁their ▁vocal ▁method . ▁ ▁References ▁and ▁further ▁reading ▁ ▁Manuel ▁Gar cia ▁( II ), ▁New ▁Comp end ious ▁Tre at ise ▁on ▁The ▁Art ▁of ▁Sing ing ▁( 2 ▁Part s ) ▁(? Lond on , ▁c 1 8 7 0 s ▁printing ). ▁J . ▁Gard iner , ▁A ▁Guide ▁to ▁Good ▁Sing ing ▁and ▁Spe ech ▁( C ass ell , ▁London ▁ 1 9 6 8 ) ▁- ▁Append ix . ▁L . ▁Man en , ▁Bel ▁C anto : ▁The ▁Te aching ▁of ▁the ▁Class ical ▁Italian ▁Song - Sch ools , ▁Its ▁Dec line ▁and ▁Rest oration ▁( O x ford ▁University ▁Press , ▁ 1 9 8 7 ). ▁H . ▁Ros ent hal ▁and ▁J . ▁War rack , ▁The ▁Conc