Copyright, 1899 BY EMIL SUTRO

Entered at Stationers' Hall, London.

The Knickerbocker Press, New York

"There is nothing in our composition either purely material or purely spiritual."—Montaigne.

CONTENTS

CHAPTERPAGE
I.—INTRODUCTION[1]
Comments of a Distant Reviewer[15]
Fragments[22]
Basic Law of Vocal Utterance[37]
The Voice of the Œsophagus and its Vocal Cords[41]
II.—THE HUMAN VOICE[44]
Introspection[50]
Making Parts Rigid[56]
Extirpation[59]
Movements of the Tongue[61]
Simple Sounds[66]
Posterior Surfaces[68]
Inspiration—Expiration[77]
Diaphragms[80]
III.—IMPRESSION—EXPRESSION[83]
The Phonograph[88]
Stuttering—Stammering[92]
Cathode of a Vocal Sound[103]
IV.—OUR MOTHER TONGUE[110]
National Traits of Character[112]
The American Nation[120]
Centripetal and Centrifugal[124]
Rotation of Centripetal and Centrifugal Action [130]
V.—NATIONALITY AND RACE DISTINCTIONS[137]
Idiomatic Expression[141]
Origin of Anglo-Saxon Race and Idiom.
Origin of German Race and Idiom.
Relationship Supposed to Exist as between the German and English Nations[148]
Language and Motion[151]
Difference in their Mode of Breathing as between Anglo-Saxons and Germans[159]
Rise and Fall, or Rhythm[160]
Stress[174]
VI.—PHYSIOLOGY OF VOICE IN RELATION TO WORDS[178]
Significance of the Term "School" of Singing[187]
Breathing[198]
Song, Singers, and Physiology[210]
INDEX[223]