[34] Browne and Behnke, in The Child's Voice, p. 75, state in reply to a questionnaire sent out to a large number of choir trainers, singers, et cetera, that seventy-nine persons out of one hundred fifty-two stated positively that singing through the period of puberty "causes certain injury, deterioration, or ruin to the after voice." In the same book are found also (pp. 85 to 90) a series of extremely interesting comments on the choirmaster's temptation to use a voice after it begins to change.
[35] On the other hand, the conductor sometimes shifts the responsibility for mishaps to the accompanist when the latter is in no wise to blame, as, e.g., when the organ ciphers or a page does not turn properly.
[36] Weingartner, On Conducting, p. 43.
[37] The complete list of works to be given by leading symphony orchestras during the entire season is usually decided upon during the preceding summer, and somewhat the same procedure might profitably be followed with a church choir or an amateur orchestra.
[38] Richardson, The Choir-trainer's Art, p. 156.