Questions

This is a list of all the questions and their associated study carrel identifiers. One can learn a lot of the "aboutness" of a text simply by reading the questions.

identifier	question
20069	But of what avail would such a project be if, after all, one could not understand the words of his own language as they were sung?
20069	How can I go on so?"
20069	If one prima donna is good, she argued, why would not two be better?
20069	The Voice and Tone Production The question,"How is it done?"
12856	Why do not elocutionists sing as they talk or read?
12856	Why do not singers read or talk as they sing?
12856	Are we to feel and believe that with us progress is impossible, that we may not and can not keep up with the spirit of the age?
12856	Have you not been moved by the tones of the speaking voice?
12856	Is it possible this is true of all professions but ours?
12856	Is not this simply proof of the fact that ignorance cheapens and belittles that which wisdom views with awe and admiration?
12856	Possibly the trouble is with yourself-- who knows?_"PREFACE.
12856	Why not?
32023	An admirable plan is to keep boys on the alert listening for faults, asking those not singing,"Whose fault is that?"
32023	Considering the growing scarcity of this latter voice, why not use boy altos?
32023	How could it be possible to attempt it after labouring through such a programme as Canticles, Hymns, Psalms, Kyrie, and Amens?
32023	How is the alto part, in a church choir consisting of males, to be sung?
32023	How much more hard is it, then, for a boy who is by nature a fidget, and if healthy, brimming over with activity?
32023	How would you correct this fault in boys?"
32023	The butterfly and the humble bee... Metzler& Co. Davis, Miss... What is that, mother?
32023	What are the first signs of this change?
32023	What are their causes?
32023	What can an adult alto be expected to do in a case where the reciting note is close to his break?
32023	What method is employed in---- Cathedral for developing and strengthening the higher( head) register in boys''voices?"
30889	A student at one of our colleges came to me recently whose first question was"Can you teach me how not to sing with a''squeezed''throat?"
30889	And again, what provision is there in the pockets for the gradations of pitch?
30889	And how did this result come about?
30889	Can it be said that, as regards each individual voice, these notes are higher in a scale of excellence than the rest?
30889	Have I proved my assertion?
30889	How, I should like to know, could two such cavities be so tuned as under any circumstances to produce exactly the same tones?
30889	May I be permitted to acknowledge it to you?
30889	Now which folly is the greater-- that of doubling up the toes, or of crippling the body in its most vital parts?
30889	Then comes the question, Can any such registers be demonstrated in the vocal apparatus; and if so, what are the mechanisms by which they are produced?
30889	What is the result?
30889	What merit does their acquisition promise as a set- off to the deterioration of the voice and its inevitable ultimate failure?
30889	Why should these ever vanishing"top notes"be so much craved and striven for?
30889	Would not rather frightful discords be the inevitable result?
30889	_ APPENDIX TO THE TENTH EDITION_ DOES DIAPHRAGMATIC BREATHING APPLY EQUALLY TO WOMEN AS TO MEN?
30854	Is it weakness of intellect, Birdie,I cried,"Or a rather tough worm In your little inside?"
30854	At what age should singing- lessons begin?
30854	Briefly and plainly: How can I keep well?
30854	But why not, it may be asked, have the child taught and, when the period of mutation arrives, have the lessons suspended?
30854	For of what value to the singer is a correct method of taking in breath if all or part of the air passes out before the tone is produced?
30854	How long should the breath be retained before emission?
30854	How will you know the pitch of that great bell, Too large for you to stir?
30854	Not a new path, either, for in its last analysis what is hygiene but the science of prevention?
30854	What is the mucous membrane?
30854	Why?
30854	Why?
30854	Yet, what do we find here?
21400	(_ plus intransigeant, plus intraitable que_ Meyerbeer_ ou_ Wagner?).
21400	Again I ask, why did this world- famous singer perform this passage_ always_ in the same way?
21400	But what constitutes an artist?
21400	But what constitutes"expression"in singing?
21400	But why should either of these two factors be less essential to a singer than to an instrumentalist?
21400	CHAPTER III ANALYSIS OF STYLE What is Style?
21400	Che farò?
21400	Dove andrò senza il mio ben?
21400	Dove andrò?
21400	Here is an illustration of its effective use in the air"Connais- tu le pays?"
21400	In the first quoted of these two works, in the response for Double Chorus to the question,"Whether of the twain will ye that I release unto you?"
21400	What is the reason of this?
21400	Whom is it by?"
21400	Why do great artists always make the same effect and produce the same impression on their public?
21400	Why then this outcry against the same procedure in_ Der Freischütz_?
21400	[ Music:"Che farò senz''Euridice?"
19116	They whisper, they whisper--one must bend one''s thoughts to hear it; who can understand so soft a song?
19116	But what is the attitude of artists toward these tasks?
19116	But with what resources?
19116	Can not German tenors, too, learn to sing_ well_, even if they do interpret Wagner?
19116	Do registers exist by nature?
19116	Do they hear themselves, when they do this?
19116	Do they sit in the evening when they sing in a concert?
19116	How can this be done?
19116	How do I breathe now?
19116	How do I breathe?
19116	How is this to be attained?
19116	How shall I control them?
19116	How should he describe to others sensations in singing which he himself never felt?
19116	Is it not as if he undertook to teach a language that he did not speak himself?
19116	Is it not disrespectful toward our greatest masters that they always have to play hide and seek with the_ bel canto_, the trill, and coloratura?
19116	SECTION XIV ON VOCAL REGISTERS What is a vocal register?
19116	SECTION XXIV THE POSITION OF THE MOUTH( CONTRACTION OF THE MUSCLES OF SPEECH) What must my sensations be with the muscles of speech?
19116	SECTION XXV CONNECTION OF VOWELS How do I connect them with each other?
19116	The manager?
19116	We learn so much that is useless in this life, why not learn that which is of the utmost service to us?
19116	Wer wagt vermesse_n_, gleich der Propheti_n_ der Zukunft Nacht zu lichte_n_, wollt Ihr der Götter Pla_n_ vorschnell vernichte_n_?
19116	What, in brief, does it mean?
19116	What, then, can be expected of an untrained organ?
19116	When he himself does not hear, how shall he teach others to hear?
19116	Who is there to teach them to use their resources on the stage?
19116	Who to husband them for the future?
19116	Will they not learn, for the sake of this very master, that it is their duty not to use their voices recklessly?
19116	With the fresh voice alone?
19116	_ Niem._ Even if you are hoarse?
19116	_ Niem._ Indeed; and what do you practise?
19116	_ Niem._ Well, what are they?
19116	_ Niemann._ What do you do, then, when you are hoarse?
19116	or an instrument that he did not play himself?
19116	the director?
19880	Did you not run and shout as a child?
19880	: When should the individual who is sufficiently endowed musically begin to sing, or study public utterance practically in some of its forms?
19880	But the student, deeply impressed with the importance of the subject of registers, may ask:"How am I to distinguish between one register and another?
19880	By what means has Nature solved the problem of supplying more oxygen to parts in action than to those at rest?
19880	Do our modern usages not show a neglect of facts of vital moment still more marked?
19880	Granted that the ear can at once determine what register the pupil herself or another singer may be using, what other guide has she?
19880	How am I to know when I am singing with chest, middle, or head voice?"
19880	How can such a singer hope to retain either voice or a sound throat?
19880	How is it that one set of muscles acts with instead of antagonizing another set, as in any complicated series of movements, such as walking?
19880	How is the student to distinguish, in his choice, between Mr. A and Mr. B, in the case of two successful teachers, both of whom recognize registers?
19880	How is this instrument played upon and how are these cavities made actually into resounding chambers?
19880	How long should a singer practise at one time, and for how long during a single day?
19880	How many modern actors are capable of it?
19880	How many singers living can sing an ascending and a descending scale, in succession, with a perfect staccato, to mention no other effect?
19880	How many singers?
19880	How shall we train?
19880	If he shows natural ability for the use of the voice, should he be trained very early?
19880	Is it even enlightened?
19880	Is it necessary to point out that such wonderful development and control can only be attained after years of steady work by the best methods?
19880	Is not the result when attained worth the best efforts of the most talented individual?
19880	Should the child get his musical development through the use of his own musical instrument or another?
19880	Teachers will do well to encourage their pupils to hear the best singers; for do not students need inspiration as well as discipline?
19880	The author has been asked frequently such questions as the following:"When is the best time to practise?
19880	The question is how is this breathing best accomplished so that the instrument shall be most efficiently played upon?
19880	The student may ask:"Why not begin, as is often done, by the singing of scales?"
19880	What is the student to believe, and whom to follow?
19880	What so eloquent as the silence after a perfect stop-- a complete and satisfactory arrest of the tone?
19880	Why do we look in vain to- day for elocutionists such as Vandenhoff, Bell, and others?
19880	Why is it that actors and singers do not prepare themselves by as prolonged and thorough a vocal training as in a past time?
19880	Why is it that the stomach has enough and not too much blood?
19880	Why should students and teachers of voice- production be content to remain, in the advanced present, where they were hundreds of years ago?
19880	Why should the same not occur in the vocal teacher''s profession?
26477	( breaking in upon me abruptly) with what musty Questions are you going to disturb my Brains?
26477	A modern Singer of the good Stile, being asked, whether such and such Compositions would not please at present in_ Italy_?
26477	Am I the only Professor who knows that the best Compositions are the Cause of singing well, and the worst very prejudicial?
26477	And is it not worst of all, to torment the Hearers with a thousand_ Cadences_ all in the same Manner?
26477	And must we be deprived of these Charms, without knowing the Reason why?
26477	And who can forbear laughing?
26477	But since we are now speaking in Confidence and with Sincerity, who can sing or compose well, without our Approbation?
26477	But to what Purpose do I show this Concern about it?
26477	But to what Purpose does he appear?
26477	But what can one say?
26477	But whence does it proceed, that from this very_ Fa_,( that is from_ F_ or_ C_) I can not rise to the next Sharp, which is also a_ Semitone_?
26477	But who can blame them?
26477	But who would ever have imagined, that in the short Course of a few Years, she should be reduced to the fatal Circumstance of seeing her own Tragedy?
26477	But whose fault is this?
26477	But why must the World be thus continually deafened with so many_ Divisions_?
26477	Can I expect that these Reasons, with all their Evidences, will be found good, when, even in regard to Musick, Reason itself is no more in the_ Mode_?
26477	Can any thing be more absurd?
26477	Can its gentle Nature ever be guilty of a Crime?
26477	Can you have the Face to find Fault with us?
26477	Do n''t you perceive that those old- fashioned Crabbednesses are disgustful?
26477	From whence proceeds this Sterility, since every Professor knows, that the surest way of gaining Esteem in Singing is a Variety in the Repetition?
26477	Is there any that ever durst usurp the Glory of it?
26477	Is this Justice?
26477	No doubt, said he, they would, but where are the Singers that can sing them?
26477	Perhaps, you think that these overflowings of your Throat are what procure you Riches and Praises?
26477	Therefore consider, if some Professors of no small Skill have not this Pleasure for want of sufficient Application, what must the Scholar do?
26477	To my Misfortune, I asked one of this sort, from whom he had learned the_ Counterpoint_?
26477	What could they answer?
26477	What say you now to this,_ Master Critick_?
26477	What say you to that?
26477	What shall we say of the obscure and tedious Compositions of those whom you celebrate as the Top of the Universe, tho''your Opinion goes for nothing?
26477	What will he not say of him who has found out the prodigious Art of Singing like a_ Cricket_?
26477	Will there not be some other little Animal worth their Imitation, in order to make the Profession more and more ridiculous?
26477	Wou''d you know how?
26477	pray tell me; do not the Singers now- a- days know where the_ Appoggiatura''s_ are to be made, unless they are pointed at with a Finger?
26477	§ 17. Who would ever think( if Experience did not shew it) that a Virtue of the highest Estimation should prejudice a Singer?
26477	§ 21. Who could sing better than the Arogant, if they were not ashamed to study?
21957	But the important point is, how are we able to do the things we want to do?
21957	But what conveys this impression?
21957	Can all the expiratory force expended in tone- production show such a small result?
21957	Can any empirical knowledge of the voice be obtained by the mere listening to voices?
21957	Can it learn to produce this quality of tone by imitation?
21957	Could any point be located at which the student would be unable to imitate the teacher''s voice?
21957	Do you wish a little example?
21957	Does consciousness or volition come into play here?
21957	Does the hand raise itself?
21957	Does this mean that the singer is unconscious of the muscular contractions?
21957	First, what is muscular stiffness?
21957	How are the deficiencies of the scientific doctrines supplied in instruction?
21957	How are these efforts guided?
21957	How can a tone, merely a sound to which we listen, tell us anything about the condition of the singer''s throat during the production of the tone?
21957	How can any facts be observed about the voice other than by the study of the vocal mechanism?
21957	How can the"column of vocalized breath"be voluntarily directed in its passage through the pharynx and mouth?
21957	How did this critic know that the singer had pinched her glottis?
21957	How do we guide and control our muscular movements?
21957	How does the listener know this?
21957	How does your hand know that you wish to raise it?
21957	How is it caused?
21957	How is the correct vocal action to be imparted to the pupil if not by direct instruction to this end?
21957	How then are the muscles informed of the service required of them?
21957	How then did Tosi and Mancini know the manner in which a throaty tone is produced?
21957	If the correct vocal action is to be acquired by imitation, of what use are the mechanical doctrines of vocal management?
21957	In other words, what is a method of Voice Culture?
21957	Is a knowledge of anatomy of any assistance in the acquirement of skill in performing complex muscular actions?
21957	Is it necessary for the performance of a complex muscular action that the individual know what muscles are involved and how and when to contract them?
21957	Is it to be believed that an intelligent master would use these directions in any occult or cabalistic sense?
21957	It will be asked, how does the conscientious teacher get over this difficulty?
21957	That obstacle is what?
21957	The theoretical problem therefore is: What is the correct vocal action, and how can it be acquired?
21957	What are these laws?
21957	What change takes place in the voice as a result of correct training?
21957	What do we mean when we say that a singer''s voice is throaty?
21957	What effect has the voluntary contraction of all the muscles of any member, each opposed set exerting the same degree of strength?
21957	What is its effect on the tones of the voice?
21957	What is left of all the materials of modern vocal instruction?
21957	What is meant by saying that the muscular contractions are performed without conscious guidance?
21957	What is nasal resonance?
21957	What is this peculiar way in which the voice must be handled during the practice of singing?
21957	What leads these muscles in the shoulder and back to contract, when you will to raise your hand?
21957	What necessity is there of mechanical management of the vocal organs if the voice is to be guided by the ear?
21957	What then is the"forward tone"?
21957	What valid reason can be given for denying the corresponding ability regarding tone quality?
21957	Who does not recall his earliest attempts at"speaking a piece"in school?
21957	Why then does not the incorrectly used voice impress the hearer as issuing directly from the mouth, the same as the correctly produced tone?
21957	Yet who would undertake to describe in words the tone of the muted horn?
21957	_ The Discharge to the Muscles of the Nerve Impulse_ How then are the muscles informed that their contraction is called for?
19493	But how deep?
19493	But if a reform be ordered where shall it begin?
19493	But judging from the estimate each one puts upon himself how shall we reform a thing which is already perfect?
19493	But who shall say which overtones, and why the particular combination?
19493	But, someone inquires,"If the student is singing with rigid throat and tongue would you say nothing about it?"
19493	Can a tone be disagreeable and still be scientifically produced?
19493	Could it be possible that a beautiful tone could be produced contrary to the laws of science?
19493	Did the invention of the laryngoscope add anything of value to the voice teacher''s equipment?
19493	Does history support this argument?
19493	Does it affect tone quality?
19493	Does it please the ear?
19493	Does this constitute scientific voice production?
19493	Further, who shall decide which particular combination of fundamental and upper partials constitutes the perfect singing tone?
19493	Has any one the hardihood to assert that such knowledge prepares one for the responsible work of training voices?
19493	Has he put the emphasis on his work in the place where it is most important?
19493	Has he so completely expressed himself that the onlooker can not fail to find his meaning?
19493	How can he tell, save from the tone itself whether the pupil is producing it scientifically?
19493	How does it do it?
19493	How much of such knowledge can one use in teaching?
19493	How shall this be accomplished?
19493	INDIRECT CONTROL What is meant by indirect control?
19493	If his ear is reliable, why resort to a physical sensation as a means of deciding?
19493	If one holds a vibrating tuning- fork before a resonating tube, does he direct the vibrations into that resonating cavity?
19493	If so, is the ear reliable?
19493	Is it a scientific act to tell a pupil to hold his tongue down, as one writer argued recently?
19493	Is singing a lost art?
19493	Is there no way out of this maze of mechanical uncertainties?
19493	Is voice culture a sort of catch- as- catch- can with the probabilities a hundred to one against success?
19493	Is voice teaching any more accurate now than it was a hundred years ago?
19493	It will be readily admitted that the application of force is required to produce tone, but how much force?
19493	Of what importance is it?
19493	Perhaps if all of these discoveries could be combined they might produce something of value; but who will undertake it?
19493	THE FALSETTO Does the falsetto have any part in the development of the head voice?
19493	The scientist says:"Have I not studied the voice in action?
19493	To most of them voice culture is a physical process and as they are physically fit, why wait?
19493	What are the arguments?
19493	What are the principles of song construction?
19493	What does the teacher mean when he tells the pupil to place the tone in the head?
19493	What is its use?
19493	What is responsible for the change from the methods of the the seventeenth and eighteenth centuries?
19493	What is responsible for this?
19493	What is scientific voice production?
19493	What is the cause of these failures?
19493	What is this thing called art which takes such a hold upon the human race?
19493	What language would the child speak if it were never allowed to hear spoken language?
19493	What must he know?
19493	What will be the music of the future?
19493	When students look for a teacher the first thing they want to know is:"Can he build a voice?"
19493	When the student takes his first singing lesson what does the teacher hear?
19493	When there is little else but imitation going on in the world why deny it to vocal students?
19493	When you listen to a song and at its close say,"That is beautiful,"do you ever stop and try to discover why it is beautiful?
19493	Whence originated this so called scientific voice teaching?
19493	Who is responsible?
19493	Why is it so difficult and why do so few have it?
19493	Why is it that after two, three or more years of study so many upper voices are still thick, harsh and unsteady?
19493	Why should the upper part of the voice require such prodigious effort?
19493	Why?
19493	Why?
19493	Why?
19493	Will a knowledge of vocal physiology cure laryngitis?
19493	Will it prevent any one from singing"throaty?"
19493	Will this knowledge make him a scientific voice teacher?
15446	Again: I can think out the character and make a mental picture of it for myself, but how shall I project it for others to see? 15446 And have you a final message to the young singers who are struggling and longing to sing some day as wonderfully as you do?"
15446	And now, do you think I have answered your questions about tone production, breath control and the rest? 15446 And what are these requirements?"
15446	And what must the girl possess, who wishes to make a success with her singing?
15446	And who is your teacher?
15446	And you will surely rest when the arduous season is over?
15446	But when all these are mastered, what then? 15446 But who can tell?
15446	Do I always feel the emotions I express when singing a rôle? 15446 Do I prefer to sing in opera or concert, you ask?
15446	Have you a message which may be carried to the young singers?
15446	How could I stay away from America for such a length of time? 15446 How do I work?
15446	How do you preserve your voice and your repertoire?
15446	I hardly meant to say that in any sense the art of bel canto was lost; how could it be? 15446 In what way may I be of service to you?"
15446	Indeed not, will you forget me?
15446	My favorite operas? 15446 Shall you make a singer of the little lady?"
15446	Should you ever care to become a dramatic singer?
15446	Then the breathing, Madame, what would you say of that?
15446	Voice culture, voice mastery, what is it? 15446 What message have you, Madame, for the young singer, who desires to make a career?"
15446	Will you give some idea of the means by which you accomplish such results?
15446	Will you tell me how you learn a song?
15446	Would I rather appear in opera, recital or oratorio? 15446 You of course speak several languages?"
15446	''Do you really like the music of_ Marouf_?''
15446	''What, the Broken Tenor?''
15446	ARE AMERICAN VOCAL STUDENTS SUPERFICIAL?
15446	All this may be of interest as a matter of research, but must one go into such minutiae in order to teach singing?
15446	And even if one is accepted''for small parts,''what hope is there of rising, when some of the greatest artists of the world hold the leading rôles?
15446	And was this Farrar who stood before me, in the flush of vigorous womanhood, and who welcomed me so graciously?
15446	And when the girl has prepared several rôles where shall she find the opportunity to try them out?
15446	And why should not the executive artist reassure himself by having his music with him?
15446	Before parting a final question was asked:"What, in your opinion, are the vital requisites necessary to become a singer?"
15446	But what are they in your big country?
15446	But when these are mastered, what then?
15446	COLORATURA AND DRAMATIC"Would you be pleased,"I asked,"if later on your voice should develop into a dramatic soprano?"
15446	COLORATURA OR DRAMATIC"Do I think the coloratura voice will ever become dramatic?
15446	Can you comprehend the dense ignorance of many music students on these subjects?
15446	Can you fancy a place where there had never even been a concert?
15446	Can you give a little more light on this point?"
15446	Can you imagine a vocal teacher who can not sing himself, who is so to say voiceless, unable to demonstrate what he teaches?
15446	Can you think of a musician, especially a singer, without imagination?
15446	DOES THE SINGER HEAR HIMSELF?
15446	Does any one ever say to you--''How are you treating the world to- day?''
15446	Does not then all come from thinking-- from thought?
15446	Duval:"What is Vocal Mastery?
15446	HALF OR FULL VOICE?
15446	How can a singer expect the audience will take an interest in what she is doing, if they have no idea what it is all about?
15446	How can any other person tell you how that is to be done?"
15446	How can any other person tell you how that should be done?"
15446	How do we make tones, sing an aria, impersonate a rôle?
15446	How often people greet you with the words:''Well, how is the world treating you to- day?''
15446	In answer to my first question,"What must one do to become a singer?"
15446	In the face of the coming concert what did those people do?
15446	In times gone by had we not discussed by the hour every phase of Maurel''s mastery of voice and action?
15446	Indeed how can two people ever give out a phrase in the same way, when they each feel it differently?
15446	Indeed what can be done without intelligence?
15446	Indeed, can we ever rest satisfied, when there is so much to learn, and we can always improve?
15446	Is it not the birthright of every Italian to have a voice?
15446	Is not all done with the mind, with thought?
15446	Is there an actor on any stage to- day who can portray both the grossness of Falstaff and the subtlety of Iago?
15446	LEARNING A NEW RÔLE"How do I begin a new part?
15446	MEMORIZING"How do I memorize?
15446	Now, what is it I can tell you?
15446	People talk of finishing their vocal technic; how can that ever be done?
15446	Really of what use is backing anyway?
15446	SELF- STUDY"How did I learn to know these things?
15446	Shall the singer imagine she can pronounce a foreign tongue in any old way, and it will go-- in these days?
15446	THE COLORATURA VOICE"You love the coloratura music, do you not, Madame?"
15446	THE QUESTION OF HEALTH"And you would first know how I keep strong and well and always ready?
15446	THE START IN OPERA"How did you start upon an operatic career?"
15446	TONE PLACEMENT"Can you describe tone placement?"
15446	That is all very well; but what about the chest, the larynx, the throat, the head and all the rest of the anatomy?
15446	That is human nature, is n''t it?"
15446	The audiences are blamed for their apathy or indifference, but how can they be warmed when the singer does not kindle them into life?
15446	The test will be; do you feel rested and ready for work each morning?
15446	Then why are there so few American singers who are properly prepared for a career?
15446	VOCAL MASTERY As we stood at the close of the conference, I asked the supreme question-- What do you understand by Vocal Mastery?
15446	VOCAL MASTERY"What do I understand by Vocal Mastery?
15446	VOCAL MASTERY"What do I understand by vocal mastery?
15446	VOCAL MASTERY"What is Vocal Mastery?
15446	WHAT ARE THE ASSETS FOR A CAREER?
15446	WHAT BRANCHES OF STUDY MUST BE TAKEN UP?
15446	WHEN TO PRACTICE"No doubt you do much practice-- or is that now necessary?"
15446	Was there ever a more elegant courtly Don, a greater Falstaff, a more intriguing Iago?
15446	What are mere notes and signs compared to the thoughts expressed through them?
15446	What can be done without a musical nature?
15446	What can be done without it?
15446	What can even a whole hour''s talk reveal of the deep undercurrents of an artist''s thought?
15446	What do you consider the most important and necessary subject for the young singer, or any one who wishes to enter the profession, to consider?"
15446	What is the impression-- can it be defined?
15446	What then happens?
15446	What, in your opinion, goes into the acquiring of Vocal Mastery?"
15446	Where shall we find his like to- day?"
15446	Whether I have a little more voice, or less voice, what does it matter?
15446	Who is equal to the task?"
15446	Why do we hear of so few who make good and amount to something?
15446	Why should it take the singer such a long time to master the material of his equipment?
15446	Why should we not expect it?
15446	Will you believe we had to make over two thousand in order to secure the one hundred needed for the present series?
15446	Without these, plus musical reputation, how is one to succeed in one of the two opera houses of the land?
15446	You remember Lilli Lehmann''s talks about the''long scale''?
15446	You think my voice sounds something like Patti''s?
33358	But,persisted the young American,"_ Why did he go to the back before he sang?_""Oh!"
33358	Is there one among them, for instance, who can enunciate her own language faultlessly; that is, as the stage demands? 33358 Who on earth have you been listening to?"
33358	Why must I go to the back first?
33358	A voice?
33358	Before our national elections I am asked,"Which one of the candidates do you believe will make the best President?"
33358	Blind imitation is, of course, bad, but how is the student to progress unless he has had an opportunity to hear the best singers of the day?
33358	But how good must that voice be?
33358	By practicing breathing exercises?
33358	COMMON SENSE IN TRAINING AND PRESERVING THE VOICE DAME NELLIE MELBA HOW CAN A GOOD VOICE BE DETECTED?
33358	Can I digress long enough to say that I think that everybody should sing?
33358	Can any one who knows anything about the art of singing fail to realize how absurd this is?
33358	Could not a shoemaker or a blacksmith take a few lessons and become a great singer?
33358	Did you ever hear of any one forming a party for the express purpose of listening to the crowing of a rooster?
33358	Do you wonder that I guard them carefully?
33358	Do you wonder that I lay stress upon good health?
33358	Does this not make the point clear?
33358	ERNESTINE SCHUMANN- HEINK THE ARTIST''S RESPONSIBILITY Would you have me give the secret of my success at the very outstart?
33358	Even in many of his piano pieces, such as_ Warum?_,_ Träumerei_ or the famous_ Slumber Song_, the lyric character is evident.
33358	FLORENCE EASTON What is the open door to opera in America?
33358	GERALDINE FARRAR What must I do to become a prima donna?
33358	He asked,"Is there anything else she can do?"
33358	He used to say, after accompanying himself in the aria of Cherubino the Page, from the 1st act,"Is n''t that Spring?
33358	How can a girl breathe when she has squeezed her lungs to one- half their normal size?
33358	How could I help profiting by such excellent experiences?
33358	How do American women begin their studies?
33358	How does a bird learn to sing?
33358	How does the animal learn to cry?
33358	How does the lion learn to roar?
33358	How is she to determine this?
33358	How is the student to know when he is straining the voice?
33358	I began to ponder, why were some of my records poor and others good?
33358	IS THE ART OF SINGING DYING OUT?
33358	If I could do it one time-- why could n''t I do it all the time?
33358	If they do not understand, why sing words at all?
33358	In a blare and confusion of noises, like bedlam broken loose, what chance has a child to develop good taste?
33358	Is n''t that the joy of life?
33358	Is n''t that very simple?
33358	Is n''t that youth?
33358	Is there an open door, and if not, how can one be made?
33358	It is perfectly easy for me, a contralto, to sing C in alt but do you suppose I sing it in my daily exercises?
33358	JULIA CLAUSSEN WHY SWEDEN PRODUCES SO MANY SINGERS The question,"Why does Sweden produce so many singers?"
33358	Need I say more than that I practice deep breathing every day of my life?
33358	Once while we were performing_ Rosenkavalier_ he came behind the scenes and said:"Will this awfully_ long_ opera never end?
33358	Or do they believe that the singing teacher must also provide a musical and general education?
33358	Or the donkey learn to bray?
33358	The director was amazed and blustered:"Why?
33358	The girl who wants to sing in opera must have one thought and one thought only--"what will contribute to my musical, histrionic and artistic success?"
33358	Then he came in the room and said to me,"How much do you get here for teaching and playing?"
33358	They approach their work with the question,"Will this go?"
33358	WHAT MUST I GO THROUGH TO BECOME A PRIMA DONNA?
33358	WHAT MUST THE SINGER HAVE?
33358	WHAT WORK SHOULD THE GIRL UNDER EIGHTEEN DO?
33358	WHEN TO BEGIN The eternal question,"At what age shall I commence to study singing?"
33358	What about the nineteen- twentieths?
33358	What chance has the student?
33358	What could be simpler than this?
33358	What difference does it make whether I buy Castile soap in a huge Broadway store or a little country store, if the soap is the same?
33358	What difference does it make whether you ruin your stomach, liver or kidneys by too much alcohol or too much roast beef?
33358	What has become of them?
33358	What is the first consideration of the singer?
33358	What is the result?
33358	What is the stroke of the glottis?
33358	What might these men have been had they not been under the benign influence of music?
33358	What must the singer have?
33358	What should the girl starting singing avoid?
33358	What then is"good singing"as the Italians understand it?
33358	When you hold your hand out freely before you what is it that keeps it from falling at your side?
33358	Where is musicianship needed more than in the case of the singer?
33358	Who may go through that door and what are the terms of admission?
33358	Who needs a sounder mind than the artist?
33358	Whoever hears of Marietta von Leclair in these days?
33358	Why does not some enthusiastic American leader take up a campaign for more opera in America?
33358	Why does this dearth exist?
33358	Why not be patient?
33358	Why not vocalize the melodies upon some vowel?
33358	Why not wait a little while?
33358	Why should she wait a whole year with silly tones when she knows that she can sing a great aria with only a little more difficulty?
33358	Why?
33358	Why?
33358	Why?
33358	With a good teacher to keep watch over the breathing and the quality,"what more can one have?"
33358	Would it not be better to do away with the speculator at the door and pay say$ 10.00 for a seat that now costs$ 7.00?
33358	exclaimed the excited Italian;"Why he go back?
37662	Can you jump immediately from a lesson to the desk and write one of your magazine articles?
37662	What is your ambition regarding your music?
37662	What is your ambition?
37662	A necessary faculty to success gone, is it?
37662	A question more to the point is"How can the racing from studio to studio be stopped?"
37662	Are not we becoming new- fashioned?
37662	Are not we much like them?
37662	Are singers less able to portray in art than is the cartoonist?
37662	Are these things trivial?
37662	Are we to come down into soberness and somberness to preserve these bodies of ours?
37662	Are you placing your hat on your head?
37662	Are you sharpening a pencil just now?
37662	Are you sure?
37662	As soon as they have that should they leave that teacher?
37662	Besides, is it not much more comfortable to have the real than the counterfeit?
37662	But can mind stand such things-- can mind keep itself in touch with the source of what is Good, in such conditions?
37662	But does it pay, financially?
37662	But may we not be at fault in our idea?
37662	Can not, however, even these necessary demands be somewhat reduced for the sake of attending to the ego within, more fully?
37662	Can your heart glow with the beautiful sunset?
37662	Concentration of thought, say you?
37662	Could n''t it have been said in two-- one, or less?
37662	Did it do us any good?
37662	Did we learn any lesson?
37662	Do we not have it?
37662	Do we not use up our strength in useless effort?
37662	Do you joy over the song of the bird?
37662	Do you know what is to be done?
37662	Do you recall"All things work together for good?"
37662	Do you want advice, a helping hand?
37662	Does it mean nothing?
37662	Does it mean what it says?
37662	Does that mean anything?
37662	Each morn, a man( one man, or how many think you?)
37662	Has it ever occurred to you to wonder what becomes of all the music students-- how many are there?
37662	Has the spring blossom a message of delicacy to you?
37662	Have they ability enough to fill such position, and could they hold the position if they obtained it?
37662	Have you any?
37662	Have you cleared the mind of the cobwebs-- the two different things per second which can come into it?
37662	Have you followed?
37662	Have you?
37662	How about circumstances and their influences?
37662	How about that mistake over which you have been mourning?
37662	How does he do it?
37662	How is the action when we act naturally?
37662	How long, ask you, will it take to become an artist?
37662	How many of our readers have done that?
37662	How many of us care to attend a concert, an opera of the light vein, or that of a brass band, as perhaps we once did?
37662	How many successful singers in grand opera have appeared during the last ten years?
37662	How many, though, of those who go to the teacher with the ambition to study for the choir would feel contented to take such a place as that?
37662	How often does every one of us make the"mistake of a lifetime?"
37662	How, then, about desire for refinement?
37662	How, when, or for what purpose?
37662	If the others expand, will not that?
37662	Is a musician less keen of perception and adjustment to circumstances than the dentist and photographer?
37662	Is any mind lacking these?
37662	Is he really so?
37662	Is it for good or ill?
37662	Is it not possible that if you had what you think would have been yours had you taken a different course, you would be worse off than you are now?
37662	Is n''t that wasteful?
37662	Is n''t this true?
37662	Is your ambition equal to it?
37662	Managers of concerts in various sections of the country ask the very first thing,"Where does he sing?"
37662	May such not apply to study?
37662	Me?
37662	Mind or body?
37662	Shall I tell you of some of the ambitions which students have, and say a word about them?
37662	That it will not come at your bidding?
37662	The very first question to ask of an applicant for vocal lessons is"what is your ambition?"
37662	Then why ca n''t we all hold the breath?
37662	Thousands attempt to be"Patties,"but who has reached her height?
37662	To return to the first question, what is your ambition?
37662	To whom?
37662	Was it a mistake?
37662	Was it the body, fighting against disease and death which thus responded?
37662	Was that necessary?
37662	We can ask"what becomes of the pins?"
37662	Well, reader,"What is_ your_ ambition?"
37662	What are muscles, where are they, how can they be managed?
37662	What are"all things?"
37662	What becomes of all the ambitious youths and maidens who study singing?
37662	What does it mean?
37662	What governs the air and gives the vibration?
37662	What has become of the"ninety and nine?"
37662	What has happened?
37662	What has the body done in the hour before reaching Niagara?
37662	What is the"we?"
37662	What is to become of them, and how many ever amount to anything?
37662	What prevents success, and is there false success?
37662	What produces voice?
37662	What say you?
37662	What shall be done about such persons?
37662	What would you become?
37662	Which from this definition, is more tangible?
37662	Which leads me to ask the question, can there not be such a thing as an overdose of music, just as there is an overdose of drug?
37662	Which would any father prefer, poverty or a wrecked family?
37662	While at first glance the teachers appear right, may they not be wrong?
37662	Who can not take one minute out of each hour in the day for preparing the mind and body for greater strength and activity?
37662	Who can tell?
37662	Who is there capable of discussing the nature of this great goddess?_"= Beethoven=.
37662	Who said"One thing at a time"was obnoxious to him?
37662	Who shall say but that another step may be taken or has been taken, in dropping the use of drugs and medicines entirely?
37662	Who thought, outside of a very small circle, only forty years ago, that the music of Wagner would become the most popular of any age?
37662	Who will take thought for himself and break loose, if but for a few weeks, and postpone the time of breaking down?
37662	Whose fault was it that so many were there, and that so many are there all the time?
37662	Why is it that the busy teacher draws the most pupils?
37662	Why not carry them all out?
37662	Why will students take lessons year after year and not sing any better than they did soon after they began?
37662	Why?
37662	Will we not make another"mistake of a lifetime"to- morrow, if we have the chance?
37662	Will you explain it again?''
37662	Will you try that?
37662	You and I help to waste, do we?
37662	You ca n''t?
37662	You waste five minutes( only five?)
7824	''How do you_ do_?'' 7824 Am I really taller, Rosin?
7824	And how''s our sweet little lady to- day? 7824 And she let you have it?"
7824	And you''ll sing us a little song now, dearie, wo n''t you? 7824 Are you doing His work now?"
7824	Are your dandelions very troublesome this morning, dear sir?
7824	Blind from birth?
7824	Brother Gray- frock, how do you do?
7824	But how can you go alone, Vesta, my poor girl? 7824 Did she play well, Rosin?"
7824	Do I look well?
7824	Do you suppose they''ll eat any better for being talked to and sung to as if they were persons?
7824	Do you think they''ll hear news of Melody?
7824	Dollars? 7824 Goin''--Hevin''some kind o''trouble with his eyes, ai n''t he?"
7824	Have you many such constitutions in your practice, Brown?
7824	I hope your health''s been pretty good lately? 7824 Is my hair very nice and curly, Rosin, and do my eyes still look as if they were real eyes?"
7824	Is n''t it out early? 7824 Melody,"he said tenderly, taking the child on his knee,--"little Melody, how are you?
7824	Miss Vesta, I hope your health''s good?
7824	No Yankee ever played dance- music in that fashion; I made bold to say to her, as we were playing together,''Etes- vous compatriote?'' 7824 Oh, Doctor,"cried Melody, shrinking as if the words had been addressed to her,"how could you say that?
7824	Oh, do n''t you remember sweet Alice, Ben Bolt, Sweet Alice, whose hair was so brown?
7824	Oh, do n''t you remember sweet Alice, Ben Bolt? 7824 Oh, that''s all, is it?"
7824	Oh, what is the matter with Ned?
7824	Perhaps you do not mean to be unkind,--Mrs. Brown says you do not; but then why_ are_ you unkind, and why will you not take me home?
7824	Pigeon- wings?
7824	Pretty well for a country child, eh?
7824	She does not want to grow? 7824 This lovely child is your own niece, Madam?"
7824	To the world?
7824	Twelve years this very month, Vesta, is n''t it,said Dr. Brown, kindly,"since the little one came to you?
7824	Very well, I feel this summer; do n''t I, Vesta? 7824 What can the child have, if she spends her life here?
7824	What did he do, poor soul?
7824	What did the bride wear? 7824 What do you see?
7824	What has crossed you this morning, Sister?
7824	What is it, Rejoice?
7824	What song would you like, Doctor?
7824	What troubles the child?
7824	What''s she doin''now? 7824 Where do you s''pose she is, Rejoice?"
7824	Where do you s''pose she is? 7824 Who shall tell him?"
7824	Whose wagon squeaks like that?
7824	Why ca n''t I stay a little girl? 7824 Why, Mr. De Arthenay,[ Footnote: Pronounced Dee arthenay] is this you?"
7824	You came out to shoot me, because you thought I was coming to carry off Melody, eh? 7824 You said that six years ago, do you know it?
7824	You were very particular, Mr. Bascom, were n''t you?
7824	You, Mr. De Arthenay? 7824 You, Rosin?"
7824	''Bring that child here?
7824	''Did you ever hear of such a thing in your life?''
7824	''Do, Madam?''
7824	''How dared you come home without it?
7824	''Rejoice, what are you thinking of?''
7824	''What have you been doing to this child, Phffibe?''
7824	''What sa- ay?''
7824	''Where have you been, my long, long love, this seven long years and more?''
7824	''Where is the child?''
7824	''Why, where do you suppose?''
7824	''_ How_ do you do?''
7824	A New England burying- ground,--who does not know the aspect of the place?
7824	A flutter of wings, a rustle of leaves,--was it a fairy alighting on the old cedar- tree?
7824	A little girl is needed here, is n''t she?
7824	Again, could they ever forget how she saved the baby,--Jane Pegrum''s baby,--that had been forgotten by its frantic mother in the burning house?
7824	And how are the hens this morning, dearie?"
7824	And now his eyes look terrible, and he seems dretful''pindlin''; oh, dear me, what shall I do if my poor little Neddy goes blind?''
7824	And now?
7824	And where have you been, Mr. De Arthenay, all this time?
7824	Any other news in Joppa, Mr. De Arthenay?
7824	Are n''t you ashamed?''
7824	Are you in singing trim this morning?"
7824	Bascom?"
7824	But Rejoice,--what do you suppose it is for Rejoice?
7824	But did she have everything?
7824	But is not another name more fitting even than the fantastic one of his adoption?
7824	But now, what change was coming over her?
7824	But now, what picture was this that the stranger had conjured up?
7824	But what was this?
7824	But what was this?
7824	But where_ have_ you been?"
7824	But you do n''t think-- you do n''t think Ned will really be blind?"
7824	Come, I am ready; what shall we have?"
7824	Could anything be more exasperating?
7824	Did she give it to you at the first asking, hey?"
7824	Did you hear the sound of wheels?
7824	Do n''t tell me that Myra has a daughter old enough to be married: Or is it a son?
7824	Do n''t you think so, Rejoice?"
7824	Do people still play"Rosin the Beau,"I wonder?
7824	Do you believe in calls, Melody?"
7824	Do you remember how she caught her little gown on that fence- rail?"
7824	Do you remember what a wild night it was?"
7824	Does a thought come to her mind of the youth who loved her so, or thought he loved her, long and long ago?
7824	Does seem hard to wait, does n''t it?
7824	Does she want to see me?"
7824	Ever since it was first written and sung( who knows just when that was?
7824	Gettin''well, is he?"
7824	Go and get it this minute, do you hear?''
7824	God knew what the right thing was: would He not speak for her?
7824	He knew, good Dr. Brown, that he himself was a musical nobody; he knew pretty well( what does a doctor not know?)
7824	Her thoughts were lifted up on the wings of the music, and borne-- who shall say where, to what high and holy presence?
7824	Her voice used to go down when she stopped speaking, like this,''How do you_ do_?''
7824	Hey?"
7824	How are you feeling, dearie?"
7824	How d''you know''t was me comin'', I''d like to know?
7824	How do you account for that, now, hey?"
7824	How does she sing?"
7824	How is Rejoice this morning, Vesta?
7824	How is the wife, and the children, and how is the stout young man?"
7824	How''s Mandy, Eben?"
7824	How''s that boy of''Bind Parker''s,--him that fell and hurt his leg so bad?
7824	How''s the baby that poor soul left?''
7824	I am God''s child; and do you think I do not know the work my Father has given me to do?"
7824	I think we liked the same things a good deal, Susan, do n''t you?
7824	I''d like to have a little talk with her; kind o''open her eyes to what''s before her,--her mind''s eye, Horatio, eh?
7824	Instead of this, what part was this he was really playing?
7824	Is it a spirit?
7824	Is it time to make the cake now, Aunt Vesta, or shall I get my knitting, and sing to Auntie Joy a little?"
7824	Is n''t it about time for them to be coming?
7824	Is she in good health, may I ask?"
7824	Is she in the house, I say?"
7824	Is the little lady in the house, ma''am?
7824	It would not be possible for you to make me do it, so why do you try?
7824	Know anything of Shakspeare, ma''am?
7824	Look at Alice and Alfred, over there with the baby; bound to have the first sight of them, are n''t they, standing on the wall like that?
7824	Look at the way she takes that child up, now, will ye?
7824	Nay, but who is this, leaning over the old stone- wall, listening with keenest interest,--this man with the dark, eager face and bold black eyes?
7824	Now she looked so tired: how was it that he had never seen how tired she looked?
7824	Now, Mis''Penny, where do you s''pose, where do you s''pose that child is?"
7824	On the old bush behind the barn?"
7824	One of them-- I''ll name no names,''tis kinder not-- found that she wanted to marry a hero( what girl does not?
7824	Providential, was n''t it, his happenin''along just in the nick o''time?
7824	Put her down, do you hear?"
7824	Ready now?
7824	Really much taller?"
7824	Shall I bring you a glass of water?"
7824	She sang, too, as she went, a song the doctor had taught her:--"Who is Silvia, and what is she, That all our swains commend her?
7824	So you heard old Rosin, did you?
7824	Support you, do I say?
7824	Suppose I bring the table out here, Melody; how would you like that?"
7824	Sweet Alice, whose hair was so brown?
7824	The dishes are all washed, and there''s nothing more to do, is there, Auntie?
7824	The two women hurried in, and found her sitting up in bed, her eyes wide, her arm outstretched, pointing-- at what?
7824	There she lay; and yet-- was it she?
7824	Was it, could it be possible that this should be done for her sister''s sake?
7824	Was she singing about them, this child?
7824	Was that rude, Aunt Vesta?"
7824	Well, you''re a curus child, that''s what''s the matter with you.--Where d''you say you was goin''?"
7824	What began it all?
7824	What is prayer, if this be not it?
7824	What is she doing, Vesta?"
7824	What is the song now?
7824	What is this man doing here?
7824	What should she do?
7824	What sound was this in her ears?
7824	What was a poor impresario to do?
7824	What was right?
7824	What were the wrong words, and how should she know whether they were of God or the Devil?
7824	What wonder was this?
7824	Where was this, now?
7824	Where were you, Melody?
7824	Who cares about anybody else when it is so hot?
7824	Who taught Melody to dance?
7824	Why ca n''t they let her do what the doctor tells her, and not keep wanting her to try all kinds of nonsense?"
7824	Why does he eye the blind child so strangely, with looks of power, almost of possession?
7824	Why is Miss Vesta so fond of the grim old ballad?
7824	Why, what should we do with it?
7824	Why, you have to support her, do n''t you?--and hard work, too, sometimes, perhaps-- her and maybe others?"
7824	Wonderful, was it not?
7824	Would not God answer for her?
7824	Yes, Rejoice is used to waiting, surely; what else is her life?
7824	You are not growing up, are you, little Melody?"
7824	You heard how fast I was coming, when you did hear me; did n''t you, Rosin dear?"
7824	You remember Myra Bassett, Miss Vesta?"
7824	You sense that, do you?"
7824	You want to go in''n''see Rejoice?
7824	[ with a falling inflection which was the very essence of melancholy]; and now her voice goes up cheerfully, at the end,''How do you do?''
7824	but then,"--and her face brightened again,--"he_ is n''t_ going to be blind, you see, so what''s the use of worrying about it?
7824	said the child;"they ought to be happy while they do live, ought n''t they, Auntie?
7824	she cried, smiling as the wagon drove up;"will you take me on a piece, please?"
7824	she moaned, covering her face with her hands, and rocking to and fro,--"oh, who shall tell him that the light of our life and his is gone out?"
7824	so that''s the way you find out things, is it, Mel''dy?
7824	what did she hear?
7824	what was it?"
7824	would n''t it draw?
16658	Is not singing taught in the public schools? 16658 ***** But what did Dominie say after the performance was over? 16658 And not all night too? 16658 And what kind of instructors teach singing here? 16658 Are they waltzes for children? 16658 Are you not aware that the public wish not only to listen, but to see something strange? 16658 Are you very strict, Herr Dominie? 16658 Are you willing to remain ignorant of the magnificent modern style of voice? 16658 Bessie, can you say your letters after me? 16658 But I hear you say,What is the use of worrying to pick up all those stray minutes, like lost pins?
16658	But did she not begin to climb the ladder at the bottom?
16658	But do n''t you study your pieces?
16658	But do people like it?
16658	But do you not play any scales and études?
16658	But do you play that whole heap?
16658	But does it not make your fingers ache to play such difficult music?
16658	But does not your teacher attend to having your piano always kept in tune?
16658	But how do you find parents who sympathize with your ideas and with your lofty views?
16658	But how then is it to be learned?
16658	But is your teacher satisfied with the tuning of your piano?
16658	But what did you do meanwhile?
16658	But what pieces are you studying with the Etudes?
16658	But what pieces, for instance?
16658	But what shall I play, mamma?
16658	But when are they then to have their piano lessons?
16658	But when are we to look for it?
16658	But when is the child to find time for the necessary practice of the piano lessons?
16658	But where are the notes all this time?
16658	But where are we to find suitable singing- professors, and who is to pay them a sufficient salary?
16658	But who is the frantic musician who is venting his rage or this piano?
16658	But why has the acquirement of this technique been usually unsuccessful?
16658	But will not your son play to us?
16658	But you have something else on your mind?
16658	Can you count 3,--1, 2, 3?
16658	Can you not go forward with the advancing age?
16658	Critics have often asked, Why does Jenny Lind sing so coolly?
16658	Did it sound unnatural to you,--mannered?
16658	Do n''t you like her natural expression?
16658	Do n''t you make her exert herself too much?
16658	Do n''t you make your daughters play it then?
16658	Do n''t you see, Lizzie, there are three flats in the signature?
16658	Do n''t you think she looks in good health, madam,--tall and strong for her years?
16658	Do our vocal composers make too great a sacrifice to their creative genius in making a study of those things which are essential?
16658	Do they improve or destroy the voice?
16658	Do you always give such a preliminary description before you begin a piece with a pupil?
16658	Do you do this when neither your teacher, nor your father or mother is present to keep watch over you?
16658	Do you feel inclined now, Madam, to execute with me the duet from"The Creation,"between Adam and Eve?
16658	Do you hear the difference?
16658	Do you imagine that our intelligent age can not discern your hidden satire?
16658	Do you imagine that the fingers of pupils sixteen years old can learn mechanical movements as easily as those of children nine years old?
16658	Do you like this gentle violet blue, this sickly paleness, these rouged falsehoods, at the expense of all integrity of character?
16658	Do you never say,"Nobody is listening"?
16658	Do you not also play such brilliant music?
16658	Do you not feel the special charm and the fine effect which is produced by the left hand playing alone, and no less by the right hand extended?
16658	Do you not frequently use the time for practising, when you have already been at work studying for five or six hours?
16658	Do you not perceive also that my appearance of ill- health produces a great musical effect?
16658	Do you not perceive that in this way you induce your pupils to strain and force their voices, and that you mislead them into a false method?
16658	Do you not see that I am standing with one foot in the future?
16658	Do you not think that the taste for a beautiful interpretation may be early awakened, without using severity with the pupil?
16658	Do you not think, with firmness and decision, you could have set Mrs. N. on the right track?
16658	Do you pursue the same course with longer and more difficult pieces?
16658	Do you suppose I do this from affection?
16658	Do you take enough healthy exercise in the open air?
16658	Do you think we should continue in the same course, Herr Dominie?
16658	Do you understand me, gentlemen?
16658	Do you wish your daughter to learn to jingle on the piano, in order to become musical?
16658	Does she always sew and knit without being reminded of it?
16658	Does she like playing?
16658	Does she like to go to school every day?
16658	Does she like to play?
16658	Does your daughter of thirteen years old always practise her exercises without being required to do so?
16658	For what do you have lungs if you are not to use them?
16658	From whom have you learned all this?
16658	Has my lecture been too long to- day?
16658	Has not the girl a great deal of talent?
16658	Has she talent?
16658	Have given themselves a great deal of trouble?
16658	Have you heard the famous Camilla Pleyel play Kalkbrenner''s charming D minor concerto?
16658	Have you no understanding of the construction of the piano?
16658	Have you the requisite knowledge for it?
16658	How can you educate artists and_ virtuosos_, when you yourself are so little a_ virtuoso_?
16658	How else can you begin, except by laying a proper foundation for a better style?
16658	How else will they be able to produce an effect?"
16658	How is it possible for a child to climb a ladder when not only the lower rounds, but a great many more, are wanting?
16658	How is it, Mr. Feeble, that she does not combine serious studies with her playing?
16658	How many hours a day do you make her practise?
16658	How many promising voices do these institutions annually follow to the grave?
16658	How much do your daughters practise?
16658	How?
16658	Hummel, Mendelssohn, Chopin, or Schumann?
16658	I am constantly asked,"How many hours a day do your daughters practise?"
16658	If she had not played at all?
16658	If the throat is really worn out, may it not perhaps be owing to the teacher, and to his mistaken management?
16658	In reply to these and similar questions, I will ask, Why does she wish always to remain Jenny Lind?
16658	Is it necessary for me to explain how such a rude accompaniment must interfere with the effort to sing firmly and delicately?
16658	Is it so?
16658	Is n''t she sickly?
16658	Is not Lizzie a good pupil?
16658	Is not it so?
16658	Is not that touching?
16658	Is not your teacher here this evening?
16658	Is that in your power?
16658	Is this to be acquired by playing the notes?
16658	Is your beautiful voice and your talent to disappear like a meteor, as others have done?
16658	JOHN S. After tea will not Miss Emma play to us?
16658	Just how old is she now?
16658	Let this be the answer to the strange question, Do your daughters like to play?
16658	Lizzie strikes_ e_ in unison and the same in the bass, and exclaims:"There, mamma, did n''t I tell you so?
16658	MRS. S. Does she speak French?
16658	MRS. S. Have you not yet sent your younger daughter to school?
16658	MRS. S. You acknowledge, then, that formerly you had to force her to it?
16658	Mrs. Gold, were those delicious_ fermate_ of your own invention?
16658	My dear friend, how have you managed to make piano- playing so utterly distasteful to little Susie?
16658	My friend, do you not think that views like these will assist in the training of young and inexperienced teachers, who are striving for improvement?
16658	My mamma, who is also musical, and used to sing when papa played the flute, said,"What ridiculous little things are those?
16658	Now just how old is your daughter Emma?
16658	Now what is the next key above_ f_?
16658	Now, Herr Dominie, how do you like my method?
16658	Now, I demand of all the defenders of this new style, wherein is this superior beauty supposed to consist?
16658	Now, Mr. Dominie, will not your daughter Emma play us some little trifle?
16658	Of what use are the notes to a singer, if he has no attack, and does not understand the management of the voice?
16658	Of what use is mere unskilful, stupid industry?
16658	Perhaps you have a different one?
16658	Pray what else have you on your mind?
16658	Pray where is there the most singing?"
16658	Probably that is what you call"devilish modern"?
16658	Richard Wagner agrees with me, when he says,"Why, then, write operas to be sung, when we no longer have either male or female singers?"
16658	Sing in your own plain way: what is the use of this murmuring without taking breath?
16658	So this is your daughter who is to give a concert to- morrow?
16658	So you were obliged to play only solos?
16658	The girl is only eighteen years old: is she beyond salvation?
16658	The horse his father gave him has made him quite strong._)***** I may be asked,"But how did Stock play?"
16658	Then what do these societies amount to?
16658	Truly, she plays differently; but is it more finely?
16658	Was that accidental?
16658	Weber, Beethoven,& c.,--who has not heard all about them?
16658	Well, my young ladies, how many hours do you think all those minutes would make in a year?
16658	Well, you are satisfied now with Emma''s state of health?
16658	What are you studying now, Mr. Stock?
16658	What do you mean by that?
16658	What does that mean?
16658	What follows from this?
16658	What gain is it to art?
16658	What healthy ear can endure such enormities in tone formation, such tortures in singing?
16658	What is all this growling and buzzing?
16658	What is it that we hear in almost every house?
16658	What school- master has not been surprised at this facility, and what good old aunt has not laughed at it?
16658	What shall I do in the next lesson?
16658	What would Father Strauss say to this affected, unmusical performance, that bids defiance to all good taste?
16658	When did your daughter begin to play?
16658	When may I have another lesson?
16658	When the stiff fingers are fifty or sixty years old, and the expression is imprisoned in them, so that nothing is ever to be heard of it?
16658	Where are they to learn it?
16658	Where did he learn piano- playing?
16658	While this is your mode of accompanying the études, how then do you accompany the aria, the song?
16658	Who are at the head of these institutions and societies?
16658	Who expects superlative excellence from the age in which he lives, and who dares to attack it, in its most vulnerable parts?
16658	Who finds fault now with their musical culture, with their sound taste, or their want of love for classical music?
16658	Who has not listened to performers and singers who were otherwise musical, but whose sentiment was either ridiculous or lamentable?
16658	Who is it who sing in the schools?
16658	Who was the lady who sang the solo in yonder singing academy?
16658	Will you allow her now to play Chopin''s two nocturnes, Opus 48?
16658	Will you allow me first to replace this broken string?
16658	Will you be good enough to play me something, Miss Lizzie?
16658	Will you do me the favor, Miss, to play something on the piano?
16658	Will you not go on, Mrs. Gold?
16658	Would it not have been easier and more to the purpose, if you had used both hands?
16658	You have been playing now for six or eight years: are you repaid for the trouble, if it only enables you to prepare embarrassments for others?
16658	You like it better the oftener I play it?
16658	You pay some attention to adaptability to the piano or the violin: why are you usually regardless of fitness for the voice?
16658	You quite understand now the difference between the high sharp tones and the low deep ones?
16658	You say, Is not time worth gold, and yet we are offered lead?
16658	_ Answer._ But how would they have obtained their celebrity, if this were not the true, correct, and pure mode of singing?
16658	_ Answer._ What, then, is the effect of your culture?
16658	and did you think it wooden, dry, dull?
16658	and how is it that the instruction which you have given her for the last three years actually amounts to nothing?
16658	and that to excite the feeling for music, to a certain degree, even in early years, is in fact essential?
16658	do you not practise any exercises?
16658	or do you hope that the soft air of Italy will in time restore a voice once ruined?
16658	or shall she grow more musical by learning to play finely?
16658	this sweet, embellished, languishing style, this_ rubato_ and dismembering of the musical phrases, this want of time, and this sentimental trash?
16658	what do you think of it?"
16658	what must I hear?
16658	who can describe the effect of this melancholy march?
16658	who told you that?
16658	why does she always sing Amina, Lucia, Norma, Susanna,& c.?
16658	why does she choose operas in which she can give the most perfect possible image of her own personality?
16658	why does she endeavor to preserve her voice as long as possible?
16658	why does she first regard the singing, and only afterwards the music, or both united?
16658	why does she not select for her performances some of the later German or even Italian operas?
16658	why does she not sing grand, passionate parts?