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 |
---|---|
19138 | BREATH MASTERY What then does perfect control of the breath mean? |
19138 | CHAPTER IX THROAT STIFFNESS What is the most frequent obstacle to good singing, the difficulty with which pupil and teacher most contend? |
19138 | If the singer''s breathing is nothing but an amplification of normal, healthy breathing, why dwell upon it, why not let it develop of itself? |
19138 | Lilli Lehmann, in her interesting work,_ How to Sing_, says:"Do registers exist by nature? |
19138 | WHEN IS THE VOCAL ACTION CORRECT? |
19138 | What more than anything else mars the singing of those we hear in drawing- rooms, churches, and the concert room? |
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?" |
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?" |
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? |
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? |
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?) |