[Abdominal Breathing], employed by Martel, [4], [26];
lateral, [3].
(See also [Chest-abdominal breathing] and [Lateral abdominal breathing].)
Acoustics, [43];
experiments in, [46]-48;
Pascal on, [49].
Actor, enunciation of the, [19];
importance of deep breathing for, [19].
Adam's Apple, the male larynx, [9].
Age to begin study of voice, [77].
Ah-sound, narrow limits of, [18];
how produced, [22];
Lilli Lehmann on, [19];
place of, in practice, [57].
Air Cavities (see [Sinuses]).
Anxiety, a deterrent to beautiful singing, [85].
Application of Essentials, [79].
Appunn, on pitch of vowel sounds, [20].
Articulation, differing opinions concerning, [3];
relation of, to resonance, [51];
through upper lip, [72].
(See also [Pronunciation].)
Articulator, [6].
Artistry, [79].
Ascham, Roger, on voice culture through imitation, [77].
Aw-sound, lip position for, [22];
in exercises, [59], etc.
Beauty of Tone, a criterion of correct vocal action, [56].
Bell, on pitch of vowel sounds, [20].
Booth, Edwin, as a good speaker, [16].
Booth, Junius Brutus, impairment of his voice, [53].
[Breath Control], [23]-32;
importance of, in both speaking and singing, [23];
muscles of respiration in, [23];
the diaphragm in, [23];
muscles in, [24];
the lungs in, [25];
inspiration, [25];
expiration, [25];
correct method of, [25];
a cure for nervousness, [27];
necessity of exercises, [27];
economy a factor in, [30];
exaggerated, [30];
initial use of, [31];
exercises for, [33]-37;
of Farinelli, [37].
Breath Force, initial use of, [31];
reserve, [31];
wasted, [31].
Breath Mastery, meaning of, [32].
[Breathing], art of, [3];
an amplification of the daily habit, [5];
defined as singing, [23];
correct, [25], [28];
not differing in sex, [26];
vicious habits of, [26];
controlling deeply, [26];
tests of, [26];
nose versus mouth, [26];
regularity of, [26];
in obtaining power and largeness of tone, [27];
for high tones, [27];
relation of, to nervousness, [27];
rhythmic, [27];
necessity of exercises, [27];
illustrations of, [28], [29];
exercises in, [33]-37;
economy in, [30];
tests in, by Professor Mills, [30];
exaggerated control of, [30];
exhaustion, [31];
initial force in, [31];
reserve power in, [31];
mastery of, [32].
(See also [Abdominal breathing].)
Broschi, Don Carlo, breath control of, [36].
Browne, Dr. Lennox, on the laryngoscope, [3].
Browne and Behnke, on nasal resonance, [53].
Chest, expansion of and resonance, [49].
[Chest-Abdominal Breathing], [25];
illustrated in sleeping child, [25];
tests in, [26];
illustrated, [28], [29].
Chest Tones, former emphasis given to, [2];
wrongly termed, [5].
Clay, Henry, as a good speaker, [16].
Closed Tones, former emphasis given to, [2];
wrongly termed, [5].
Cryer, Dr. W.H., on the frontal sinus, [12].
Culture of the Voice (see [Voice culture]).
Deep Breathing, importance of, for the actor, [19].
(See also [Breathing].)
Deterrents to Beautiful Singing, [84], [85].
Diaphragm, in breathing, [19];
not a muscle of expiration, [23];
described, [23], [24];
in inspiration, [24];
in expiration, [24];
illustrated, [24], [29].
Difference Between Singing and Speaking, [17].
Ear, function of, in tone production, [57];
training of, [57].
Ee-sound, lip position for, [20];
in exercises, [57], [59], etc.
Effort, Tense, a deterrent to beautiful singing, [84].
Emotion, effect on tone quality, [7];
excess of, a deterrent to beautiful singing, [84].
Empiricists, where they have failed, [4].
Epiglottis, [10].
Essentials, application of, [79].
Ethmoid Bone, [8].
Ethmoidal Sinuses, illustrated, [7];
function of, [12].
Everett, Edward, as a good speaker, [16].
Exercises, Breathing:
necessity of, [27], [33];
preliminary suggestions, [33], [34];
attitude in taking, [34];
I, to show what a deep breath is, [34];
II, slow inhalation with sudden expulsion, [35];
III, sipping the breath, with quick exhalation, [35];
IV, for rib expansion, [35];
V, slow inhalation with slow expiration, [36];
VI, rapid inspiration with slow expiration, [36];
VII, Farinelli's great exercise, [36];
VIII, the cleansing breath, [37];
half breath, [37].
Exercises, Vocal:
I, to establish nasal and head resonance, [58]-61;
for speakers, [60], [61];
II, to establish head and nasal resonance, [61];
III, IV, V, upper resonance, [62]-64;
VI, to enlarge the throat and thus magnify the tone, [64];
VII, for production of the vowel sounds in proper focus, [65];
VIII, to enlarge the throat and focus the vowels, [66];
IX, quick changing notes without changing resonance, [67];
X, for agility, [67], [68];
XI, to develop the use of the lips and under jaw, [68], [69];
XII, for facility and quick vowel change, [69], [70];
XIII, ascending and descending scale, [71];
XIV, the long scale, [71];
additional, [72], [73];
repose as a preparation for, [80].
Expiration, muscles of, [23], [24];
under controlled pressure, [24];
described, [25];
the lungs in, [25];
illustrated, [28], [29].
Face, training muscles of, [15].
Farinelli, breath control of, [36].
Ffrangcon-Davies, on pronunciation, [18];
on registers, [39];
on function of ear in voice training, [57];
definition of singing of, [83].
Focusing the Voice (see [Voice placing]).
Forbes-Robertson, on diction, [19].
Formes, Carl, voice of, in declining years, [4].
Freedom in Singing, [84].
Frontal Sinuses, function of, [12];
illustration of, [7].
Garcia, Manuel, inventor of laryngoscope, [2];
use of laryngoscope, [2];
Sir Charles Stanley on, [3].
Gounod, on pronunciation, [19].
Half-Breath, Sembrich and, [37].
Hard Palate, function of, [12].
Harshness, an indication of tension, [56].
Head Cavities, a resonator for the voice, [6];
effect of, on resonance, [12].
Head Tones, in previous years, [2];
wrongly termed, [5].
Helmholtz, on pitch of vowel sounds, [20];
on acoustics, [43], [49].
Henderson, W.J., on pronunciation, [18].
High Tones, breath control necessary for, [27].
Holmes, Oliver Wendell, on Edward Everett's voice, [16].
Hyoid Bone, [8], [10].
I-sound, described, [21].
Impatience, a deterrent to beautiful singing, [84].
Inspiration, muscles of, [23], [24];
process of, described, [25];
illustrated, [28], [29].
(See also [Breath control] and [Breathing].)
Instrument, Musical, elements of, [43], [44].
Intensity, Involving Strain, a deterrent to beautiful singing, [84].
Kindergarten Teachers, instruction by, [78].
Koenig, on pitch of vowel sounds, [20].
Laryngoscope, and registers, [2];
Garcia the inventor of, [2];
usefulness of, [2];
limitations of, [3];
disappointing results of, [38];
not an instrument for the singer, [51].
[Larynx], moving, [3];
viewed through the laryngoscope, [3];
illustrated, [7];
description of, [8], [9];
relation of size of, to pitch, [9];
automatic action of, [38];
not alone the vocal organ, [50];
reflex action of, [51];
force of tone does not originate in, [75];
must be left uncramped, [75].
[Lateral Abdominal Breathing], [3], [25], [28].
Lehmann, Madame Lilli, on use of Ah, [19];
on registers, [39];
on nasal resonance, [54].
Life's Periods, [79].
Lind, Jenny, effects of wrong methods on, [4].
Lips, in articulation, [14];
position of, [20]-22;
illustrated, [21], [22].
Lungs, a motor for the voice, [6];
illustrated, [24];
described, [25];
overcrowding, [31].
Mackenzie, Dr. Morell, on the laryngoscope, [3];
on singing and speaking, [17].
Macready, Wm. Charles, as a good speaker, [16].
Martel, voice of, at seventy, [4].
Maxillary Sinuses, [7], [8], [12].
May, Dr., breathing tests made by, [26].
McKinley, M.S., on Garcia and the laryngoscope, [2].
Mental Discord, a deterrent to beautiful singing, [84].
Meyer, Edmund J., on resonance, [43].
Mills, Dr. Wesley, on breath measure, [30];
on ease of vocal action, [56];
on the function of the ear in tone production, [57].
Motor of the Vocal Instrument, [6].
Mouth, theory of its function, [1];
a resonator for the voice, [6].
Muscles of Respiration, [23].
Music Teachers, scientific, [4];
empirical, [4].
Nasal Cavities, as reinforcing agents in tone production, [2];
a resonator for the voice, [6];
illustrated, [7];
formation of, [8];
vibrations in, [8];
effect on resonance, [12];
Edward Everett's use of, [16];
as a resonator, [52], [53];
obstruction of, in Booth, [53].
Nasal Resonance, erroneous theories concerning, [1], [2];
Madame Rudersdorff recognized effect of, [2];
involved in head resonance, [52];
versus nasal tone quality, [53];
Lilli Lehmann on, [54];
Sembrich's study of, [54];
importance of, [54].
Natural Voice, what is meant by, [77].
Nervousness, a cure for, [27], [80].
Nostrils, relation of, to tone quality, [14].
O-sound, lip position for, [20];
illustrated, [21];
in exercises, [59], etc.
Oo-sound, lip position for, [20], [21];
in exercises, [59], etc.
Open Tones, [2], [5].
Oral Surgery, [2].
Oratorio, faulty diction in, [18].
Over-Conscientiousness, a deterrent to beautiful singing, [84].
Overtones, [45], [46].
Personality, effect on the voice, [83].
[Pharynx], function of, [10].
Phillips, Adelaide, voice of, in declining years, [4].
Pitch of Tone, influence of resonance cavities on, [12], [13].
Placing the Voice (see [Tone production]).
Power of Tone, dependent on resonant cavities and breath control, [27].
Principles Advocated, [5].
[Pronunciation], indifference of American singers to, [17];
W.J. Henderson on, [18];
change of attitude toward, [18];
importance of, to singer, [18];
relation of, to tone, [18];
Ffrangcon-Davies on, [18];
sing words rather than tones, [18];
Lilli Lehmann on, [19];
emotional power impossible without, [19];
Gounod on, [19];
Forbes-Robertson on, [19];
upper lip in, [19];
effect of smile on, [19].
Psychology of Vocal Culture, [82]-85.
Pterygoid Muscles, and the under jaw, [10].
Public Schools, voice training in, [78].
Reeves, Sims, voice of, [4].
Registers, [38]-42;
blending the, [2], [41];
not a natural feature of the voice, [2];
fallacy of theory of, [2];
a myth, [5];
the bête noire of vocalists, [38];
defined, [38];
Clara Kathleen Rogers on, [38];
Lilli Lehmann on, [39];
Ffrangcon-Davies on, [39];
of the organ, [40];
of voice and instruments compared, [40], [41];
an artificial creation, [41], [42].
Repose, as a Preparation for Vocal Exercises, [80];
how to induce, [80].
Resonance, differing opinions concerning, [3];
principle of, [5];
nasal and head cavities in, [12];
influence of resonance cavities on pitch, [12];
pitch of vowels in, [20];
and power, [27];
and breath force, [31];
in general, [43]-50;
development of science of, [43];
quality and power of, [44];
significance of, [45];
experiments to demonstrate, [46]-50;
induced, [47];
sympathetic, [47], [48];
density of air and, [47];
volume and character of tones dependent on, [49];
head and nasal, [51]-55;
relation of articulation to, [51];
focusing tone a matter of, [52];
effect of its absence, [54];
exercises to establish, [58]-72.
Resonator of the Voice, [6].
Respiration (see [Breath control] and [Breathing]).
Respiratory Muscles, a motor for the voice, [6];
described, [23], [28];
action of, [25];
illustrated, [24], [29].
Rogers, Clara Kathleen, on registers, [38].
Rudersdorff, Madame, and nasal resonance, [2].
Santley, Sir Charles, on Garcia and the laryngoscope, [3].
Scale of Vowel Sounds, [20], [72].
Self-Repression, a deterrent to beautiful singing, [84].
Sembrich, Marcella, and the half-breath, [37];
use of nasal resonance, [54].
Singing, subtlety of, [4];
obstacles to, [5], [74], [84];
versus speaking, [5], [17];
mission of singer, [18];
defined as breathing, [23];
age to begin, [77];
in public schools, [78];
by method, [79];
vibrato in, [80];
psychology of, [82]-85;
sublimated speech, [83];
defined by Ffrangcon-Davies, [83];
freedom in, [84];
deterrents to, [84].
[Sinuses], illustrated, [7];
pairs of, [8];
function of, [12].
Smile, Effect of, on pronunciation, [19].
Soft Palate, office of, [11], [52].
Speaking, obstacles to, [5];
tones of, identical with singing tones, [5];
difference from singing, [17];
expression in, [83].
Speaking Voice, misunderstood, [16];
connection with singing voice, [16];
how cultivated, [16];
identity with singing voice, [17];
and pronunciation, [18], [19].
Sphenoid Bone, [8].
Sphenoidal Sinuses, illustrated, [7];
pairs of, [8];
function of, [12].
Stage Elocution, criticism of Forbes-Robertson on, [19].
Teeth, function of, in use of voice, [12].
Throat, theory of sound in, [1];
a resonator, [6];
illustrated, [7];
relation to voice, [8].
(See [Larynx] and [Pharynx].)
Throat Stiffness, most frequent obstacle to good singing, [74];
effect on larynx, [74];
difficulty in recognizing one's own, [74];
throat consciousness a common cause of, [74];
induced by lack of breath mastery, [75];
American hurry begets, [75];
voice culture a struggle with, [75];
remedies for, [75], [76].
Timbre of Voice, defined and explained, [7], [8].
Tone, defined, [45];
analyzed [45];
experiments to determine composition and resonance of, [46]-50;
focusing of, [52];
vocal, a mental concept, [82];
whole man in, [83].
[Tone Production], largely a matter of resonance, [56];
effect of right thought on, [56];
judged by naturalness and beauty of result, [56];
function of the ear in governing, [57];
cultivating normal, [57];
exercises to aid in, [58]-73;
effect of throat stiffness on, [74];
natural, [77];
age to begin study of, [77].
Tone Quality, variety in, [6];
effect of emotion upon, [7], [75], [84];
relation of pronunciation to, [18];
how to secure purity of, [18], [19];
experiments to determine, [46]-50;
and resonance, [5], [44], [45], [49], [50];
cause of nasal, [52]-54;
beauty or harshness of, a criterion of judgment, [56], [57];
effect of throat stiffness on, [74]-76;
dependent on mind and ear, [82];
related to personality of singer, [83];
natural and unnatural, [85].
Tongue, as an articulator, [6];
illustrated, [7];
connection with larynx, [9];
position of, in speaking and singing, [13];
tongue consciousness, [14].
Under Jaw, [10];
in ascending the scale, [10].
Upper Lip, in pronunciation, [19];
in practising, [68];
in articulation, [72].
Uvula, office of, [11].
Ventricle in the Larynx, [8].
Vibrato, [80], [81].
Vibrator, of the voice, [6];
of instruments, [43].
Vitalizing Text with Tone, the singer's mission, [18].
Vocal Cords, vibrator for the voice, [6];
in the larynx, [8];
described, [9];
not the principal cause of tone, [44], [45], [49];
necessity of free action of, [51].
Vocal Instrument, discussion of, [6]-15;
beauty and complexity of, [6];
three elements of, [6], [7];
illustrated, [7];
relation of parts of, [8];
larynx, [8], [9];
vocal cords, [9];
epiglottis, [10];
pharynx, [10];
under jaw, [10];
soft palate, [11];
hard palate and teeth, [12];
nasal and head cavities, [12];
tongue, [13];
lips, [14];
nostrils, [14];
face, [15];
defects in, [85].
Vocal Tone, an audible mental concept, [82].
[Voice Culture], opinions concerning, [2];
wrong methods of a generation ago, [3], [4];
cannot be developed mechanically, [4];
principles advocated, [5];
the right way the easy way, [5];
resonance an important factor of, [5], [43], [45], [50], [52], [54];
should begin in childhood, [77];
learned by imitation, [77];
Roger Ascham on, [77], [78];
in public schools, [78];
artistry in, [78], [79];
three periods of, [79];
application of essentials of, [79];
repose as a preparation for, [80];
the vibrato in, [80];
psychology of, [82]-85;
personality in, [83];
freedom in, [84];
deterrents in, [84], [85].
[Voice Placing], [51], [52], [56]-73.
Voice Timbre, defined, [7], [8].
Vowel Sounds, [11], [18], [19];
singer's scale of, [20], [72];
each has its own pitch, [20];
lip position for, [20]-22;
placing of, [52];
exercises for practice, [58]-73.
Webster, Daniel, as a good speaker, [16].
Wheatstone, on pitch of vowel sounds, [20].
Willis, on pitch of vowel sounds, [20].
| THE MUSIC STUDENTS LIBRARY A series of Educational Text-books suited to the requirements of the average student and covering every essential branch of musical instruction. |
Note:—Unless otherwise specified, books are bound in cloth.
| PIANO | ||
| Burrowes' Piano Primer. Frederic Field Bullard, Editor. An enlarged edition with pronouncing dictionary. | Paper | 75 A |
| Ears, Brain and Fingers. Howard Wells. | 1 25 A | |
| Half Hour Lessons in Music. Mrs. Hermann Kotzschmar. Class work for beginners. Practical for teachers and mothers. Illus. | 1 25 A | |
| Interpretation of Piano music. Mary Venable. Studies in the meaning of printed signs used in music, and their bearing on the interpretation of standard works. | 2 00 A | |
| Natural Laws in Piano Technic. Mary Wood Chase. Presents the essential laws of a sound piano technic. | 1 50 A | |
| Piano Teaching: Its Principles and Problems. Clarence G. Hamilton, A.M. A practical book, written by a practical man to meet practical needs. | 1 50 A | |
| ORGAN | ||
| Primer of Organ Registration. Gordon Balch Nevin. Numerous illustrations and a Dictionary of Organ Stops. | 1 50 A | |
| VIOLIN | ||
| How to Master the Violin. Pavel L. Bytovetzski. A practical guide for students and teachers. | 1 25 A | |
| How to Study Kreutzer. Benjamin Cutter. What every violin teacher discusses and illustrates in the lesson room. | 1 25 A | |
| VOICE | ||
| ABC of Music. Auguste Mathieu Panseron. (Ed. by N.C. Page.) A standard primer of vocalization. | 1 50 A | |
| do. | Paper | 90 A |
| Commonplaces of Vocal Art. Louis Arthur Russell. The plain truths of vocal art presented in simple untechnical language. | 1 25 A | |
| English Diction for Singers and Speakers. LouisArthur Russell. For all who pretend to refined or artistic use of the English language. | 1 25 A | |
| French Diction for Singers and Speakers. WilliamHarkness Arnold. The elements of Frenchpronunciation are reduced to a few fundamental principles, readily mastered. | 1 25 A | |
| Head Voice and Other Problems. D.A. Clippinger. | 1 25 A | |
| PRACTICAL TALKS ON SINGING | ||
| Resonance in Singing and Speaking. Thomas Fillebrown, M.D. An exposition of fundamentals, with breathing and vocal exercises and illustrations. | 1 50 A | |
| Training of Boys' Voices. Claude Ellsworth Johnson. A practical guide to the correct "placing" of boys' voices. | 1 25 A | |
| Twelve Lessons in the Fundamentals of Voice Production. Arthur L. Manchester. Presents clearly the fundamentals illustrated by exercises. | 1 25 A | |
| EAR TRAINING, HARMONY AND COUNTERPOINT | ||
| Ear Training for Teacher and Pupil. C.A. Alchin. Designed to teach the pupil to think in tones, and so to sing, name, write, and play what he hears. | 1 50 A | |
| Intervals, Chords, and Ear Training. Jean Parkman Brown. Exercises and examples in rudimentary harmony and ear training for use in conjunction with piano study. | 1 25 A | |
| Harmony. Sir John Stainer, Mus. Doc. New edition of a standard text-book which presents the principles of harmony with conciseness and lucidity. | 1 50 A | |
| do. | Paper | 90 A |
| Harmony Simplified. Francis L. York. A practical text-book presenting in a concise manner the fundamental principles of harmony, with non-essentials omitted. | 1 50 A | |
| Manual of Harmony. Ernst Friedrich Richter. Trans. by J.C.D. Parker. A practical guide to the study of harmony. | 2 00 A | |
| Harmonic Analysis. Benjamin Cutter. Teaches one to analyze the harmonic structure of both classic and modern music. | 1 50 A | |
| Counterpoint. Sir J. Frederick Bridge. This book has freshness and plainness combined with thoroughness, and must commend itself to young students and teachers. | 1 25 A | |
| do. | Paper | 90 A |
| Counterpoint Simplified. Francis L. York. A concise text-book of formal counterpoint. (Sequel to author's "Harmony Simplified"). | 1 50 A | |
| Guide to Musical Composition. H. Wohlfahrt. Tr. by J.S. Dwight. On the invention of melodies, their transformation, development and suitable accompaniment. | 1 25 A | |
| FORM, INSTRUMENTATION AND ACOUSTICS | ||
| Instrumentation. Ebenezer Prout, Mus. Doc. A valuable guide and assistant to students who wish to gain a knowledge of the proper blending of orchestral instruments, their compass, capabilities, etc. | 1 50 A | |
| do. | Paper | 90 A |
| Lessons in Music Form. Percy Goetschius, Mus. Doc. A manual of analysis of all the structural factors and designs employed in musical composition. | 1 50 A | |
| Musical Forms. Ernest Pauer. The students of musical form, and especially those who study composition, will find this a very valuable and thorough work. | 1 75 A | |
| do. | Paper | 90 A |
| Sound and Its Relation to Music. Clarence G. Hamilton, A.M. A handbook of acoustics as relating to music. Based on the latest discoveries and experiments. | 1 50 A | |
| CONDUCTING, HISTORY, MUSIC APPRECIATION AND DEFINITIONS | ||
| Essentials in Conducting. Karl W. Gehrkens, A.M. On personal requirements, technic of the baton, interpretation, rehearsing, program making, etc. | 1 75 A | |
| Outlines of Music History. Clarence G. Hamilton, A.M. A compact, clearcut work for class use and the general reader. Fully illustrated. | 2 25 A | |
| Music Appreciation. Clarence G. Hamilton, A.M. Based on methods of literary criticism, this unique text-book is for those who wish to listen to music with quickened hearing and real understanding. With 24 portraits, 28 diagrams and over 200 music cuts. | 2 50 A | |
| Music Club Programs From all Nations. Arthur Elson. Outlines the various schools from all nations with a rich series of programs and over one hundred portraits. | 2 00 A | |
| Some Essentials in Musical Definitions. M.F. MacConnell. Covers the needed information on all points connected with musical theory, and therefore of special value to piano, singing, violin, and organ students. | 1 25 A | |
