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
21653	What would be said to teachers who tried to teach children to read and write without letting them spell and read aloud?
14185	He called on his young American pupil one day and asked him what he had in hand?
14185	Shall its future be threatened by lack of permanent income?
30412	Are they executed as they should be?
30412	Does it not inform us, among other things, that the copyists of former times were veritable collaborators?
30412	How are such works executed?
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?
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?"
19499	What is the meter- signature?
19499	Example: How large are the following intervals?
19499	Example: What is the measure- sign?
19499	The answer to the question:"What is that note?"
19499	What is its meaning?
19499	_ Measure and Meter_"What is the measure- sign?"
33900	Can any of these methods be employed without damaging the musical meaning?
33900	Could the essence of Wagner''s music be divorced from its orchestration?
33900	Does it follow that these composers do not_ know how_ to orchestrate?
33900	Here the question arises, what should those intentions be?
33900	Is the fanfare flourish suitable to the range of a trumpet?
33900	Obviously, I could not hope to cover so large a field; besides, of what value would such a treatise be to the student?
33900	Should it be written for two or three trumpets in unison, or doubled by other instruments?
33900	Was Brahms ignorant of orchestration?
16225	After all, machines get out of order, so why not the most complicated machine of all-- the human mind?
16225	And to what conclusion does this lead us?
16225	Can the child be_ really_ trained in this way?
16225	Has not every new presentment of every subject in the school curriculum been greeted with the same chorus of depreciation at first?
16225	How is the application to be directed?
16225	What are the chief problems which she will have to face?
16225	Who would think of learning poetry by heart by the process of repeating it aloud a hundred or more times?
16225	Why should music, the latest arrived of the subjects on the regular curriculum, fare differently?
42918	("Ma Signori, perchè tantes questione?").
42918	A broadly humorous but very melodious trio of the doctors follows,"Sirs, what means this Quarrel?"
42918	As Lakmé appears at the shrine, she sings a restless love song,"Why love I thus to stray?"
42918	is she not a Beauty?"
42918	sancta Justitia, I shall go raving"; the long duet for Van Bett and Ivanoff,"Shall I make a Full Confession?"
42918	the dramatic quintette,"Must so soon the Sunshine vanish?"
42918	who goes there?"
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?
12903	What else is our life than a series of preludes to that unknown song of which the first solemn note is struck by death? 12903 And what soul, sorely wounded, does not, emerging from the tempest, seek to indulge its memories in the calm of country life? 12903 But in the quick flight of themes, how are we to catch the subtle meaning? 12903 But-- is this a jest of our poet? 12903 For, if music is the most subjective expression of the arts, why should its highest form be used to dramatize a drama? 12903 How far is the music literally graphic? 12903 If we care to know the pranks exactly, why not turn to the text? 12903 In all this division of musical dialect, in the shattering of the classic tower among the diverse tongues of many peoples, what is to be the harvest? 12903 Indeed, what else could be the mood of relief from the horrors of hell? 12903 Is he dreaming at life''s border Of his childhood golden days? 12903 Is it that in the memory lies the reality, or at least the realization? 12903 Loud sings a solemn phrase; do we catch an edge of wistful regret? 12903 Or is there a hint of ancient Highland in the drone of alternating horns and bassoons? 12903 Or must we prayerfully believe that a Providence will make the best prevail? 12903 Shall the house through thee be drown''d? 12903 Why should we omit so melodious a work as Moskowski''s_ Jeanne d''Arc_,--full of perhaps too facile charm? 12903 Will enough Never please thee? 22392 But how am I to know which comes first?"
22392	For unless I give my hearers what is in the text, what can I give them?
22392	Henderson,_ What Is Good Music?_( chapters XIII and XVII).
22392	If the latter, shall it be of the operatic type, involving action, scenery, and costumes, or shall it be of the cantata or oratorio type?
22392	In other words, is it well to give a down- beat on 1, two small beats toward the left for 2, while 3 and 4 are treated in the ordinary way?
22392	In reply to the question"Where do you locate the source of expression in singing?"
22392	Or is there no remedy, and must we go on, either enduring tortures artistically, or suffering spiritually?
22392	Shall the program consist of miscellaneous selections or of a connected work?
22392	Shall we give him a set of specific directions for making his chorus or orchestra sing or play more loudly or more rapidly or more dramatically?
22392	The question therefore comes to this: Does the sustained, the cantilena, predominate, or the rhythmical movement?
22392	Would not that be nonsense?
22392	[ Sidenote: LENGTH] Our third question in making a program of musical works is, how long shall it be?
22392	[ Sidenote: SHALL WE BEAT THE RHYTHM OR THE PULSE?]
22392	[ Sidenote: THE REMEDY] What is to be the remedy for this state of affairs?
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?"
30560	Is the music conveying a logical message to me, or is it merely a sea of sound?
30560	Answer the question I''ve put you so oft: What do you mean by your mountainous fugues?
30560	But how about the tune when it is in the_ bass_ as is the case so frequently in Beethoven''s Symphonies or in Wagner''s Operas?
30560	But why all this pother?
30560	Every man was asking himself and his comrades the question posed by the most popular novel of the day:''What shall we do?''
30560	For what is music without dissonance?
30560	For who can limit the combinations of sound and rhythm, or forecast the range of the human imagination?
30560	How could it be otherwise?
30560	In regard to any work of large dimensions the final test is this: can we sing all the themes and follow them in their polyphonic development?
30560	It was characteristic of the Romantic unrest of the German mind to question everything-- especially"Why am I not more happy in love?"
30560	Schumann''s well- known comment is apropos--"How is gravity to clothe itself if jest goes about in dark veils?"
30560	The first question, in the presence of an elaborate work of music, should never be,"Do I like it or not?"
30560	The mood of dreamy contemplation with which the Slow Movement begins can not be translated into words; why attempt it?
30560	The question, therefore, faces us: how shall we learn this mysterious language so as readily to understand it?
30560	WARUM?
30560	What, now, in this connection can be said of America?
30560	Why expect the work of any one composer to manifest all possible merits?
30560	[ Footnote 188: Perhaps the whirligig of time may restore them; who can say?]
30560	but"Do I understand it?"
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?
14968	After an exceedingly humorous trio("Cosa sento?
14968	After she leaves with Leporello, Don Giovanni sings a serenade("Deh?
14968	As a whole, the opera is melodious, forceful, full of snap and go, and intensely dramatic, and is without a dull moment from the prologue("Si può?
14968	Assad beneath a solitary palm- tree laments the destiny which pursues him("Whither shall I wend my weary Steps?").
14968	But what would the"Harmonicon"have said, had it had Wagner''s instrumentation before it?
14968	Eagerly he asks,"Shall I find in Walhalla my own father Wälse?"
14968	Entsetzen?")
14968	Eurydice chides him("Am I changed or grown old that thou wilt not behold me?").
14968	Hab''ich dich wieder?").
14968	Has it come to this,--that faithless the faithful must fail thee?"
14968	He has saved the King''s honor: will the King destroy his?
14968	His scene opens with a prayer("Gerechter Gott") for the aversion of carnage, which changes to an agitated allegro("Wo war ich?")
14968	In reply to his question,"Who art thou?"
14968	In the next scene we have a trio("Wie?
14968	Knowest thou, friend, How far I shall need thee?
14968	Or, is it reality?").
14968	Senta then appears accompanied by Eric, who seeks to restrain her from following the stranger in a very dramatic duet("Was muss ich hören?").
14968	She lays her flowers at the base of the shrine and sings a restless love- song("Why love I thus to stray?").
14968	Soon follows Lakme''s bell- song("Where strays the Hindoo Maiden?
14968	The act closes with the joyful song of Orpheus:"Will pitying Heaven with wondrous Favor restore mine own?"
14968	The first scene contains a vigorous aria for the hero("Wohl an so mög es sein"), which leads up to a fiery terzetto("Adriano du?
14968	The fourth act contains a grand duet between Eleazar and the Cardinal("Hört ich recht?
14968	The fourth act is short, its principal numbers being the introduction, terzetto and chorus("Wer war''s der euch hierher beschied?
14968	The next number is a trio for soprano, alto, and tenor("And must I then dissemble?
14968	The second scene is a most elaborate love- duet between the guilty pair, the two voices at first joining("Bist du mein?
14968	The third scene is a quintet for Papageno, Tamino, and the Queen''s three attendants("Wie ihr an diesem Shreckensort?
14968	With passionate earnestness he asks,"Shall Siegmund there embrace Sieglinde?"
14968	was?
14968	what do I hear?").
14968	why art thou sleeping?
19354	****** CONTENTS OF THE PHRASE.--The question may arise, what is it that makes a phrase,--the rhythm, harmony, or melody?
19354	****** The question naturally arises: What tones are chosen to provide material for this continuation of the rhythm?
19354	Are the tone- lines in a composition of equal importance?
19354	By what is the presence of form in music shown?
19354	By what means are the measures indicated,( 1) to the reader;( 2) to the listener?
19354	By what time- value is it most commonly indicated?
19354	How does this prove the necessity of form?
19354	How is it applied in music?
19354	In what respect does music resemble architecture or drawing?
19354	Is this not a Five- Part Song- form?)
19354	Setting aside all critical discussion with reference to the question,"What is good music?"
19354	To what does the further multiplication of the beats give rise?
19354	Upon what does the importance of a tone- line depend?
19354	What are cadences?
19354	What are the conditions of a good melody?
19354	What are the two vital requisites upon which the enjoyment of an art creation depends?
19354	What do discriminating listeners recognize in music?
19354	What does Form in music mean?
19354	What does the term rhythm signify?
19354	What is Time, as applied to music?
19354	What is a compound measure?
19354	What is a simple measure?
19354	What is the beat?
19354	What is the best general name for a melody?
19354	What is the difference between the sounds of music and those of language?
19354	What is the great problem of the art- creator?
19354	What is the measure?
19354	What is_ tempo_?
19354	What object does it fulfil in music form?
19354	What purpose do they serve in music?
19354	What purpose does Unity serve?
19354	What purpose does Variety serve?
19354	What significance is to be attached to the principal tone- line?
19354	When is a composition faulty in form?
19354	When is the rhythm irregular?
19354	When is the rhythm regular?
19354	Where is the chief melody usually placed?
19354	Why do measures differ in size?
19354	_ Scherzo_; same sonata,_ Funeral march_( also the_ Trio_; what is its form?).
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?
22793	Do you believe that it is Lawful and Laudable for us to change the customary way of singing the psalms? 22793 Is it possible for Fathers of forty years old and upward to learn to sing by rule; and ought they to attempt at this age to learn?
22793	Whether you do believe that singing in the worship of God ought to be done skilfully? 22793 A dramatic scene ensues, composed of inquiries as to the Prophet''s mission by the People, a short chorus by the latter(What shall we do then?")
22793	A tender and at times fervid solo("Lord, who hath believed our Report?")
22793	Abraham rebukes him("How, Mortal, canst thou reach His Presence?").
22793	And their reason is: Because it is not permitted to a women to speake in the Church, how then shall they sing?
22793	As he looked over the pages of the''Requiem''for the last time, he said, with tears in his eyes:''Did I not tell you I was writing this for myself?''"
22793	As the disciples ask,"Lord, is it I?"
22793	Could it be possible that this man had dared to join my enemy, the director, and Cherubini''s friends, in plotting and attempting such rascality?
22793	For the third time Jesus declares himself, followed by the stirring, furious chorus,"Why hear ye him?"
22793	I did not add another word.... Had he done it on purpose?...
22793	In answer to his question,"Which shall we first bewail, thy Bondage, or lost Sight?"
22793	The Jews answer in a very dramatic chorus("Whence hath this Man his Wisdom?").
22793	The celestial chorus above, accompanied by harps and trumpets, inquire,"But who is he, the King of Glory?"
22793	The dialogue between Jesus and the Woman is then resumed, leading to a solo by the latter("Art Thou greater than our Father Jacob?").
22793	The dialogue form is again renewed, this time by Elkanah and Hannah, leading to a beautiful duet between them("Wherefore is thy Soul cast down?").
22793	The dramatic scene of the raising of her son ensues, comprising a passionate song by the mother("What have I to do with thee?")
22793	The idea occurred to him after a sleepless night, during which, as he informed a friend, the words,"Will the night soon pass?"
22793	The scene opens with the plaint of Mary Magdalene,"Where have they laid him?"
22793	The tenor, who may be regarded as the Narrator, calls upon the Watchman,"What of the night?"
22793	The voice from heaven("Saul, Saul, why persecutest thou Me?")
22793	The voices move on in stately manner until the words,"Simon, son of Jona, lovest thou me?"
22793	The wondering chorus of the People,"Is not this he whom they seek to kill?"
22793	Who will take the next step forward in the twentieth, and give to this noblest form of musical art still higher expression?
22793	are not all these who speak Galileans?"
22793	thou that didst declare"), and the mocking cries of the priests("Can he now save himself?
22793	what shall we then be pleading?"
22793	will the Night soon pass?"
32248	Art thou not it that hath cut Rahab and wounded the dragon? 32248 Eli, Eli, lama sabacthani?"
32248	*****"Then Jessie said,''The slogan''s dune, But can ye no hear them noo?
32248	6, quartet("Who hath seen the Troubadour?
32248	And let the Prince of Ill Look grim as e''er he will, He harms us not a whit; For why?
32248	And why prefer Acis to my embraces?"
32248	Are you Christian monks or heathen devils, To pollute this convent with your revels?"
32248	As it comes to an end he continues his song("Heavenly Tones, why seek me in the Dust?
32248	Before she enters she sings an aria, of a tranquil, dreamy nature("Whither away, my Heart?
32248	Do you not think that this might develop into a new style of cantata?
32248	For why, rejecting the Cyclop, dost thou love Acis?
32248	Huntsman, who gave thee the Diamond Ring?
32248	In the next two numbers, an adagio("To whom can I turn me?
32248	Is this a tavern and drinking- house?
32248	It is followed by Mephistopheles''serenade("Why dost thou wait at the Door of thy Lover?
32248	It is followed by the tenor recitative and aria,"Why hast Thou, O my God, in my sore Need so turned Thy Face from me?"
32248	Know ye not it is forbidden By the edicts of our foemen?"
32248	Mazeppa( 1862); The Page(?).
32248	O dinna ye hear The slogan far awa?
32248	Say, who can lift the deathly blight That covers king and lord and knight, To give them back to life and light, And awake them?"
32248	The MacGregors?
32248	The Queen appeals to him,"What seest thou, O King?"
32248	The cantata has no overture, but opens with a choral introduction("Where is the Maiden of Mortal Strain?").
32248	The catastrophe accomplished, the work closes with the sad lament of Galatea for her lover("Must I my Acis still bemoan?")
32248	The chorus intervenes with a reflective number("What thinks she now?
32248	The chorus,"Why, my Soul, art thou vexed?"
32248	The last scene opens with a joyous chorus of the people("Say, have ye heard the Tidings of Joy?
32248	The musical setting of the question,"What sought they?"
32248	The next melody, an_ allegro vivace_,--"What see I?
32248	The next number is an effective alto solo("Art thou not it which hath dried the Sea?")
32248	The second part opens with the curse of the prefect, a very passionate aria for bass("What mean these Zealots vile?
32248	The second("Thou Delphic Rock, who can he be?")
32248	The sentiment of the latter is expressed by the following verse:--"What mean this revel and carouse?
32248	Then follows a full chorus beginning with male voices in unison("Why, my Soul, art thou cast down?
32248	Then who shall call the branches bare, When gems like those are sparkling there?"
32248	Wrapt not in Eastern balms, But with thy fleshless palms Stretched, as if asking alms, Why dost thou haunt me?''"
17474	Did n''t they? 17474 How?
17474	Look where? 17474 What?
17474	Whom? 17474 Are such garlands worth the sacrifice of artistic honor? 17474 Are they not his? 17474 Can he recognize them with sufficient distinctness to seize upon their manifestations while music is sounding? 17474 Che do-_ been killed, you or the old one? 17474 Did man sing before he spoke? 17474 Did n''t they?
17474	Do they then antedate articulate speech?
17474	Does he recognize that musical tones are related to each other in respect of time and pitch?
17474	How far is it essential that the intellectual process shall go?
17474	If it were possible for the critic to withhold them and offer instead a modest sprig of enduring bay, would not the musician be his debtor?
17474	Is he therefore to be pitied?
17474	Is not their appearance in a public print proof of the shrewdness and soundness of his judgment?
17474	Is the picture or the statue a good copy of the object sought to be represented?
17474	Or to Coleridge''s"_ loud_ bassoon,"which made the wedding- guest to beat his breast?
17474	Or to Mrs. Harriet Beecher Stowe''s pianist who played"with an airy and bird- like touch?"
17474	Son qui per_ Le- po- rel- lo, where are you?
17474	The more delightfully it is put by the writer the more the reader is pleased, for has he not had the same idea?
17474	This book being for the untrained, the question might be put thus: With how little knowledge of the science can an intelligent listener get along?
17474	To win their influence in favor of good art, think you?
17474	Who shall bid the restless waves be still?
17474	Who would look at a painting and rest satisfied with the impression made upon the sense of sight by the colors merely?
17474	[ Sidenote:_ A place for rhapsody._][ Sidenote:_ Intelligent rhapsody._] Is there, then, no place for rhapsodic writing in musical criticism?
17474	_ Le- po- rel- lo, o- ve sei?
17474	_ mor- to, voi, o il vec- chio?
17474	and you, Sir?
17474	cried Gluck;"when did the Greeks ever dance a chaconne?"
17474	e vo- i?
17474	that these colossal compositions were never heard by Handel from any chorus larger than the most modest of our church choirs?
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?
1487	Then where are you hiding the ring that you had from me?
1487	All they want to know is; Am I orthodox?
1487	Am I correct in my revolutionary views?
1487	Am I reverent to the revolutionary authorities?
1487	And now, what forces are there in the world to resist Alberic, our dwarf, in his new character of sworn plutocrat?
1487	But how is such respect to be implanted in them if they are unable to comprehend the thought of the lawgiver?
1487	But how, enquires Loki, is he to guard against the hatred of his million slaves?
1487	He asks, shall he find his father there?
1487	His three questions are, Who dwell under the earth?
1487	How dare he indulge in those scandalous and illicit transitions into a key that has not one note in common with the key he has just left?
1487	How is the rebel to be disarmed?
1487	How is the world to be protected against it in the meantime?
1487	How now can Brynhild, being what she is, choose her side freely in a conflict between this hero and the vassal of Fricka?
1487	How, after the Kaisermarsch, could Wagner go back to his idealization of Siegfried in 1853?
1487	I am as conspicuous in English Socialism as Bebel is in German Socialism; but do you suppose that the German Social- Democrats tolerate me?
1487	I gave him no ring-- er-- do you know him?"
1487	Is it aria, or recitative?
1487	Is there no cabaletta to it-- not even a full close?
1487	Let Loki surround this mountain top with the appearance of a consuming fire; and who will dare penetrate to Brynhild?
1487	Mozart, asked for an explanation of his works, said frankly"How do I know?"
1487	Shall he find a wife there?
1487	Shall he meet his sister there?
1487	The professors, when Wagner''s music is played to them, exclaim at once"What is this?
1487	WAGNER''S OWN EXPLANATION And now, having given my explanation of The Ring, can I give Wagner''s explanation of it?
1487	Was it knocked out by somebody whose way you obstructed?"
1487	What does he want with six drums and eight horns when Mozart worked miracles with two of each?
1487	What is Wotan to do?
1487	What is left to him then but to curse the love he can never win, and turn remorselessly to the gold?
1487	What is that race, dearest to Wotan, against which Wotan has nevertheless done his worst?
1487	What will she, the Law, say to the lawless pair who have heaped incest on adultery?
1487	Who dwell on the earth?
1487	Why do you wear such a big hat; and what has happened to one of your eyes?
1487	Why not, says Erda then, go to the daughter I bore you, and take counsel with her?
1487	Why should it not rise from the god to the Hero?
1487	Why should it stop there?
1487	Why was that discord not prepared; and why does he not resolve it correctly?
1487	Why, then, you may ask, do I say that I am bound to Germany by the ties that hold my nature most strongly?
1487	Will they not steal from him, whilst he sleeps, the magic ring, the symbol of his power, which he has forged from the gold of the Rhine?
1487	Wotan compliments him on his knowledge, and asks further with what sword Siegfried will slay Fafnir?
1487	Wotan hails him as the knowingest of the knowing, and then hurls at him the question he should himself have asked: Who will mend the sword?
1487	and Who dwell in the cloudy heights above?
16488	Are you cold? 16488 Do they never tell you to go and play somewhere else?"
16488	Do you not know how late it is? 16488 Do you not understand?
16488	Do you say that?
16488	Golaud is here?
16488	I am not going to kill you.--You hope to see something in my eyes without my seeing anything in yours? 16488 I will not have you touch me, do you understand?"
16488	Is it the light that trembles so?
16488	Is it you, grandfather?
16488	It is the struggle of motherhood against...."At this moment?--At once?
16488	Must I tell you what you know already?
16488	No, no; we were not guilty,she replies;"why do you ask me that?"
16488	Since when have you loved me?
16488	They do not say anything?
16488	They kissed each other?--But how, how did they kiss?
16488	What are they doing? 16488 What are you doing here?"
16488	What child?
16488	What is that noise?
16488	What is the matter?--Is he drunk?
16488	Where are they going to sleep to- night?
16488	Where are you going?
16488	Who?
16488	Why do they not speak any more?
16488	Why do you tremble so?
16488	Why does she sail to- night?... 16488 Why, yes, I loved him-- where is he?"
16488	Will you let me take your hand?
16488	You know not what I am going to tell you?
16488	You know not why I must go? 16488 You love me?
16488	Are they near each other?"
16488	Are you afraid of my old lips?
16488	Are you sure?"
16488	Arkël turns suddenly:"What is the matter?"
16488	By what have I been suddenly awakened?
16488	Did she love Pelléas?
16488	Do you see down into the abyss, Pelléas?"
16488	Do you suppose I may know something?"
16488	If I had, why should I not speak it?
16488	Is it not rather a shadow of some struggle, similar to that of Jacob with the Angel?"
16488	It seems to me-- it seems to me-- well, then, it is this: I ask you if you loved him with a guilty love?
16488	Mélisande displays agitation:"What shall we say if Golaud asks where it is?"
16488	Shall I close the windows?"
16488	She may be saying her prayers at this moment.... Tell me, Yniold, she is often with your uncle Pelléas, is she not?"
16488	Shepherd!--where are they going?--Where are they going to sleep to- night?
16488	Were you-- were you both guilty?"
16488	Who has aroused me all at once?
16488	Why does she stretch her arms out so?--what does she wish?"
16488	Will you not understand?
16488	You know not that it is because[ he kisses her abruptly] I love you?"
16488	cries the anguished Golaud...."They kiss each other sometimes?"
16488	she says;"why does he not come to me?"
16488	why do they not speak any more?
16488	why do you go away?"
16488	you love me too?"
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?
34610	Are you musical?
34610	Did he not strike the final note? 34610 Did not Wagner put a full stop after the word''music''?"
34610	Do you know why you like it?
34610	Want a job?
34610	What are you doing?
34610	A vocalist can sing an air, but can you imagine a vocalist singing through an entire programme without accompaniment?
34610	After each concert, at supper, this conversation invariably takes place: Paderewski:"Well,''Doctor,''it sounded all right to- night, did n''t it?"
34610	And I wonder-- did or did not Elena learn to play the monochord?
34610	And what song has more of that valuable quality we call"atmosphere"than Liszt''s version of"Kennst du das Land?"
34610	And why not?
34610	Are the''Ring,''''Tristan''and''Parsifal''not to be succeeded by an eternal pause?
34610	But, you may ask, is there not in all sonatas this psychological inter- relationship of the several movements?
34610	Considering how closely related are the laws of acoustics and optics, is a"Piper of Dreams"so visionary?
34610	Did not even so broad- minded a composer as Schumann say,"The trouble with Wagner is that he is not a musician"?
34610	For are not his tone poems literally tone dramas?
34610	Have we not been told again and again that there is?
34610	He:"Are you going to the concert to- night?"
34610	Heresy?
34610	How is this scene treated in the score?
34610	How many people, when singing this, have realized that they were being initiated into that mysterious thing known as counterpoint?
34610	If Clara and a thought of Clara play the chief rôle, what becomes of_ Kreisler_ and_ Kater Murr_?
34610	In order to be great must music be"classic,"heavy and dull, and badly written for the instrument on which it is to be played?
34610	Indeed, the title of the familiar song"What Is Home Without a Mother?"
34610	Instrument?
34610	Is there something still to be achieved in music as in other arts and sciences?"
34610	Liszt expressed it exactly when he said:"You see that tree?
34610	Opera is the glorification of the voice and the deification of the singer.--Do we not call the prima donna a_ diva_?
34610	She:(_ Looking out and seeing that it still is raining hard_)"Do they play anything by Richard Strauss?"
34610	The only question to be considered is, how has he become so?
34610	The question naturally suggests itself, did Bach''s influence cease with his death?
34610	These words of the poet Bembo to his daughter Elena-- are they so wholly lacking in application to our own day?
34610	What is the difference between classical and modern music?
34610	When shall we have music that can be seen?
34610	When, in response to calls for the composer, Richard came out, some one in the audience asked:"What has that boy to do with the symphony?"
34610	Who hearing the noble subject of''I will sing unto the Lord,''led off by the tenors and altos, does not long to reinforce their voices with his own?
34610	Who knows but that the music of the future may be visible sound-- the work of a piper of dreams?
34610	Who would have thought there was so much to a pianoforte recital?
34610	Why deny so obvious a fact, especially when it is easy enough to explain?
34610	Why ignore facts?
34610	Would we so consider it now?
34610	[ Music illustration: Frisch weht der Wind der Hei- mat zu: mein i- risch Kind, wo wei- lest du?]
34610	might, without any undue stretch of imagination, be changed to"What Is Home Without a Pianoforte?"
3770	And you, Gerald?
3770	Anybody about?
3770	Ca n''t you make a peephole through the bamboo?
3770	Mamma,Turiddu said to her,"do you remember that when I went away to be a soldier you thought I would never come back?
3770	What do you see, Frederick?
3770	What for?
3770	What god is mightier than Love?
3770	Why do n''t you go and say these nice things to Lola?
3770	Why?
3770	A man?
3770	And where did she get her chameleonlike nature?
3770	But everything appeals to the ear?
3770	But who shall hymn the blindness of Manoah''s son after Milton and Handel?
3770	But why are only the slums of Naples deemed appropriate for dramatic treatment?
3770	But why yield to such fancies and fears?
3770	Can such scenes be mimicked successfully enough to preserve a serious frame of mind in the observer?
3770	Does he doubt Nedda''s fidelity?
3770	Does he know when the robins nest in America?
3770	Does he suspect?
3770	Had she taken dancing lessons from one of the women of Cadiz to learn to dance as she must have danced to excite such lust in Herod?
3770	If Berlin, then why not New York?
3770	Is Samson a Hebrew form of the conception personified by the Greek Herakles?
3770	Is Turiddu not going to mass?
3770	Is it that?
3770	Is she amusing herself with quoits, or the jeu du crapaud, or pitch and toss?
3770	Is the story only a parable enforcing a moral lesson which is as old as humanity?
3770	It may be heretical to say so, but is it not possible that Lord Chamberlain and Critic have both taken too serious a view of the matter?
3770	Jasmin, say about eighteen, and already more of a woman; and when Loti says,"Why not her?"
3770	May not one criticise Goethe?
3770	Old friends are no longer noticed, eh?"
3770	Pourquoi nous annoncer Nabuchodonos-- or Quand c''est Nabuchodonos-- cuivre?
3770	Pretty birds, where are you going?
3770	St. Chrysostom set the fashion and Milton followed it:-- But who is this?
3770	The blow has scarcely been struck before a multitude of spirit- voices call his name and God thunders the question:"Where is Abel, thy brother?"
3770	The maidens who had come upon the scene with Dalila( are they priestesses of Dagon?)
3770	To the wise woman the ambassadors put the questions: Who shall be this ruler and by what sign shall they recognize him?
3770	Was she a monster, a worse than vampire as she is represented by Wilde and Strauss?
3770	Was she an innocent child, as Flaubert represents her, who could but lisp the name of the prophet when her mother told her to ask for his head?
3770	What is a Pagliaccio?
3770	What is he?
3770	What is it you say?
3770	What poetic field was open to him then?
3770	What though Harlequin steals his Columbine?
3770	What would M. Mendes say if he were accused of having taken the plot of"La Femme de Tabarin"from the"Drama Nuevo,"which dates back to 1830 or 1840?
3770	Where does Salome come from, anyway?
3770	Why not"Blanche"or"Arabella"?
3770	Why not?
3770	Yet might not even a geisha feel a genuine passion?
3770	You really do intend to kill me?"
3770	grumbled Lola when her husband prepared to go out;"where are you going in such a hurry?"
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?
40849	What, then, does this eternal conflict, and victorious heroism storming through, mean?
40849	--or something deeper?
40849	2, might be designated the finale of finales(?)
40849	7th so treated-- so inspiredly?
40849	8, itself?
40849	A certain violence seems done to us; we feel"Is not this rather an incongruous intercalation?"
40849	And why should a Beethoven disparage his early works?
40849	And why?
40849	Beethoven''s episodes, as here, are of course, interesting; but, because episodes(?)
40849	But, and perhaps even more importantly, the question arises-- Might not the music itself have been better?
40849	But, if perfect_ in_ itself, it would be more perfect_ by_ itself--(?)
40849	Contrast it certainly is, and excellent in itself; but, had it not been better to have left it out altogether?
40849	Could he kill himself almost, to be sure of immortality?
40849	Did he ever clutch at the vanishing skirts of the Almighty?
40849	Do composers often write their finale when they are jaded?
40849	Do we find them in Mozart?
40849	Does he speak from inspired depths, almost painful?
40849	Had he a glimmering of atheism?
40849	Had he aim, consciously, or unconsciously?
40849	Have we not essentially the same clamour and glamour?
40849	Have we not here, indeed, an epitome of the olden time, with its knights, monks, revels, and all?]
40849	How shall I characterize this exquisite prelude?
40849	I recollect reading, some one exclaimed, in natural rapture on hearing this andante of andantes( the only rival of the sonata theme in A flat--?)
40849	If the ineffable adagio-- prelude of preludes(?
40849	If your"as a whole"theory is good for a movement, why not for a symphony?
40849	In the first place, what shall we say about the peculiarly original Beethoven''s reflection at the outset of Hadyn and Mozart?
40849	Mozart, says the German essayist, means operas rather than symphonies: well, and what did he make of them?
40849	Nay, in the second part-- those wonderful strokes of genius where the chord of the sub dominant(?)
40849	No doubt he was impressed( and rightly) with the feeling that an Ode to Joy demanded a grandiose introduction; but he made an elementary mistake(?)
40849	Not_ his_ serenity, but Beethoven''s rather, presupposes, like the sun of summer, and calm heart of nature, all the storms fought out(?)
40849	O death, where is thy sting?"
40849	Or was it( probably it was, for reality is painfully prosaic,) in some back attic-- such as where Shakespeare perhaps wrote_ his_ symphonies?
40849	Primevally was the architectural( least original, and slowest of all the arts--?
40849	Prospero, whose sublime spirit shines and rules in this inaugural adagio-- adumbration of Chopin(?)
40849	Race is mixed in every man-- who can resolve it?
40849	See, also, especially the passage further on, in G flat( should it not be_ andante_?)
40849	Shakespeare over- tops him; but who else?
40849	That one, also, who struggled in the womb-- what was he but a type of man in the all- comprising womb of nature?
40849	That, inevitably, as the world in its giant history proceeded from Nothingism( for how many ages?)
40849	The divine resolution to sacrifice self for all that( the A major motive?)
40849	The scherzo and finale("a sort of Bacchus triumph"--?)
40849	The scherzo( to take that next), forces upon us once more the question-- how far did Beethoven, in composing, draw upon his early treasures?
40849	The third(?)
40849	The_ p_ on the chord C E G rather surprises us-- we expect a forte(?)
40849	Was there, as in Beethoven, a soul of earnestness in him?
40849	What do we not deplore?
40849	What does it mean?
40849	What had it done for Beethoven?
40849	What man would wish for the_ dolce far niente_ of the Fool''s Paradise?
40849	What_ e.g._, would the sea, would light be, without that?
40849	When will her servants be worthy of her?
40849	When will she suffer the veil to be completely drawn away, and reveal herself in her full beauty?
40849	Who fore- ordered this collocation and sequence?
40849	Who or what moved him to his wonderful"progressions?"
40849	Who suggested these harmonious mysteries?
40849	Why this halting between the pastoral and warlike?
40849	_ Apropos_ of Wagner, does not this"Poco Sostenuto"call to mind that Wizard of the South''s famous morçeaux in"Lohengrin,"in the same key?
40849	_ Apropos_, it struck us that, if we like the warlike figure, this grand battlepiece( by Rubens?
40849	have we not Teutonic brilliance rather than Oriental?)
40849	was not_ that_ a royal piece of Iconoclasm?
40849	when will the singers begin?"
15604	''What do you think makes a great player?'' 15604 A beautiful tone?
15604	And where did you capture the themes?
15604	But, madame, we have an appointment with M. Pugno; will you not be good enough to see if he is not here after all?
15604	Do you know these Technical Exercises of Brahms? 15604 Have you not seen many changes in the aims of students, and in the conditions of piano teaching in New York, during the years you have taught here?"
15604	Is it to be inferred that you do not approve of scale practise?
15604	One of the German music papers announced that you are about to leave Berlin, and have accepted an offer elsewhere-- was it in Spain?
15604	You ask if I think students can obtain just as good instruction here as in Europe? 15604 ''How do I know you comprehend my meaning,''he asks,''that you understand what I am talking about, if you say nothing?'' 15604 ''Why do n''t you play the work for the composer when he comes?'' 15604 ''Why not?'' 15604 ( 1) What means do you favor for gaining power? 15604 ( 10) What gymnastic exercises do you suggest? 15604 ( 2) What do you do for weak finger joints? 15604 ( 3) Do you approve of finger action? 15604 ( 4) Do you approve of technic practise outside of pieces? 15604 ( 5) What do you consider the most vital technical points? 15604 ( 6) What means do you advise to secure velocity? 15604 ( 7) How do you keep repertoire in repair? 15604 ( 8) How do you keep technic up to the standard? 15604 ( 9) The best way to study chords? 15604 2? 15604 ABOUT MEMORIZINGOn the subject of memorizing who can lay down rules for this inexplicable mental process, which will hold good for every one?
15604	And having mastered it, what do they consider the vital essentials of piano technic and piano playing?
15604	And why not?
15604	As I neared the last page, the question suddenly occurred to me, what had I done with that doubtful passage?
15604	As a rule the editing of piano music is extremely inadequate, though how can it really be otherwise?
15604	Can I so project this piece that the picture is alive?
15604	Can it ever be laid away on the shelf and considered complete?
15604	Do n''t you see how impossible it is to give two performances of the piece which shall be identical in every particular?
15604	Do you advocate this?"
15604	Do you know Breithaupt?
15604	Has it ever occurred to you what infinite pains people will take to avoid thinking?
15604	He should understand every point and be able to_ do_ the thing, else how can he really show the manner of the doing?
15604	How are they to learn what is best in music unless we are willing to give it to them?
15604	How can I play the piece twice exactly alike?
15604	How can he always play the same way when he does not feel the same?
15604	How can we feel thus?
15604	How few students, uninstructed in their principles, ever play good chords?
15604	How is it possible, with a series of dots, lines, dashes and accents, to give a true idea of the interpretation of a work of musical art?
15604	How much time does the artist really require for study?
15604	I can say,''play loud here-- soft there''; but how far do such directions go toward an artistic conception of the piece?
15604	If I recommend them to managers or institutions, should not my word count for something?
15604	If he simply seeks for uniformity where does the inspiration come in?
15604	Instead, then, of playing_ with_ a piece, why do you not at once begin to make it your own?
15604	Is the technic of an art ever quite finished?
15604	Is this the position taught by the_ Vorbereiters_, or favored by Leschetizky?"
15604	Is this understood in America?
15604	It occurred to me to ask how you yourself secure a beautiful tone on the piano, and how you teach others to make it?"
15604	MEMORIZING"How do I memorize a composition?
15604	Must it not always be kept in working order?
15604	No two people have the same hands, physique or mentality; so why should they all be poured into the same mold?
15604	Now, what do you think I can do for you?"
15604	Once, when I was playing a Nocturne, he called to me from the other end of the room:''Why do you always play that note with the fourth finger?
15604	One can not foresee how the future will judge the music of to- day; what will it think of Schönberg?
15604	Ought I not to know what my students can do, and what is required of a concert artist?
15604	POWER WITHOUT EFFORT"How do I teach them to acquire power with little effort?
15604	POWER"How do I gain power?
15604	So with études; instead of playing_ at_ so many, is it not better to perfect a few and bring them up to the highest degree of completeness?
15604	That is a wide subject; how can it be defined?
15604	The main thing is: Do I understand the meaning and spirit of the composition, and can I make these clear to others?
15604	The point which most concerns us is: How shall one practise so as to make the most of the time and accomplish the best results?
15604	The question should be: What has the player in himself, what can he accomplish?
15604	The questions had been borne in upon me: By what art or influence has this teacher attracted so large a following?
15604	Was it the manner of moving the keys, the size of hand, the length of finger, or the great strength possessed by the player?
15604	What did they not have to go through to master their instrument?
15604	What do I do to accomplish this?
15604	What does it matter if his work is not''liked''by some?
15604	What had my home piano in common with this wonder?
15604	What if we heard the Chromatic Fantaisie a score of times?
15604	What is it which brings to her side not only the society girl but the serious art- student and young teacher?
15604	What is the difference?
15604	What is the result?
15604	What modern piano sonata have we to- day, to compare with his?
15604	What was the reason of it all?
15604	What was the reason?
15604	What was the secret?
15604	What études, if any, shall we use, and what technical material is the most useful and effectual?
15604	Whence came his fearless velocity, his tremendous power?
15604	Why did all the efforts at piano playing I had hitherto listened to sink into oblivion when I heard this master?
15604	Why does one child learn to swim almost immediately, while another can not master it for a long time?
15604	Why should he always depend on the exercises made by others?
15604	Why should he not learn to know many less hackneyed pieces, which do not so frequently appear on concert programs?
15604	Why should not the child form a concept of_ forte_ and_ piano_, and so get away from the deadly monotony of_ mezzo_?
15604	Why then should the pianist exhaust himself and give out his whole strength merely in the daily routine of practise?
15604	Why was there not one way?
15604	XXII WILHELM BACHAUS TECHNICAL PROBLEMS DISCUSSED"How do I produce the effects which I obtain from the piano?"
15604	not, Whose pupil is he?
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?
5724	A chaconne?
5724	A spatula on the right elbow?
5724	But why go on? 5724 Did n''t they?"
5724	Everybody says what?
5724	Hast thou,quoth Mephistopheles,"sworn thyself an enemy to God and to all creatures?
5724	How in the name of all the gods are you going to make of it an opera for Italian singers, as B. tells me you are? 5724 How likest thou thy wedding?"
5724	Knowest thou Faust?
5724	What if he should have talent for music?
5724	What shall I do with the song?
5724	What,she asks,"must I do to learn so sweet and gentle an idiom?"
5724	When did the Greeks ever dance a chaconne?
5724	White or black?
5724	A cavalier?"
5724	And had he not composed a canzonetta for her?
5724	And how long has he been imprisoned?
5724	And how long has he been imprisoned?
5724	And if so, will he speak a cruel farewell and doom her to death within the waters of the river?
5724	And the Lord said unto Satan, Whence comest thou?
5724	And the reason?
5724	Are you, too, a traitor, Kurwenal?
5724	But in"Oper und Drama"he says:"Is it possible to find anything more perfect than every piece in''Don Juan''?
5724	But the letter giving word of the assignation?
5724	But there is a fly in the ointment, Why has Figaro been so busily measuring the room?
5724	But whence the money?
5724	Can any one say, after hearing this"Canzonetta sull''aria,"that it is unnatural to melodize conversation?
5724	Did Figaro imagine it was because of his own pretty face that the Count had promised her so handsome a dowry?
5724	Does Pamina live?
5724	Ein fahrender Scolast?
5724	Friend or foe?
5724	Gretel sings an old German folk- song, beginning thus:--[ Musical excerpt--"Suse liebe suse was raschelt i m stroh?"]
5724	Had he not often told her to ask him what she pleased, when kissing her in secret?
5724	Has he not been making love violently to her for a space, sending Don Basilio to give her singing lessons and to urge her to accept his suit?
5724	He hears Isolde''s voice, and his wandering fancy transforms it into the torch whose extinction once summoned him to her side:"Do I hear the light?"
5724	He rails against the whole sex in the air, beginning:"Aprite un po''quegl''occhi?"
5724	He thanked her gallantly and queried: Was the pretty sight a May Day celebration?
5724	How about that letter?
5724	How do such notions get into the minds of the people?
5724	If there was no such future, was the fact not proof of the failure of the Wagnerian movement as a creative force?
5724	Is that your game, my lord?
5724	Is there a purposed resemblance here to the words of consecration in the mass?
5724	It rings out fortissimo when the mystic chorus, which stands for the Divine Voice, puts the question,"Knowest thou Faust?"
5724	Kurwenal, have you no eyes?
5724	Melot''s accomplice?
5724	Now, why was the questioning of Lohengrin forbidden?
5724	Shall she never see them more?
5724	Shall we call this Death?
5724	She has been stricken, but what is that to his danger of everlasting damnation?
5724	Then Satan answered the Lord, and said, Doth Job fear God for nought?
5724	Then he had heard all that the Count had said to Susanna?
5724	Was the fault mine or the singers''?
5724	Was there ever such exquisite dictation and transcription?
5724	What does it mean?
5724	What flag flies at the peak?
5724	What if he should be the leader singled out to crush the rebellion, and be received in triumph on his return?
5724	What saith the Scripture?
5724	What would prayer avail him?
5724	What, asks the Black Huntsman, is the proffered victim''s desire?
5724	When shall night vanish and the light appear?
5724	When will European writers on music begin to realize that musical culture in America is not just now in its beginnings?
5724	Where?
5724	Who is at the helm?
5724	Who is the little man?"
5724	Why else does he devour her with his eyes when serving her at table?
5724	Why should Boito have made his Rhinelanders dance a step which is characteristically that of the Poles?
5724	Why?
5724	Will he come?
5724	Will she aid in the deliverance?
5724	Will she come?
5724	Will she never come?
5724	Will the shepherd never change his doleful strain?
5724	Would it bring back youth and love and faith?
5724	Would she sing?
5724	Would they rob his soul of its eternal welfare?
5724	Would you connoisseurs in music like counterpoint?
5724	Yet could she wish for the defeat and the death of the man she loves?
5724	[ Musical excerpt-- Susanna:"sotto i pini?"
5724	but"What ails thee, uncle?"
5724	morir so giovane"?
5724	wo eilst du hin?")
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?
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?)
40540	And for whom are you looking?
40540	And that path?
40540	And you? 40540 Are not even the beasts here sacred?"
40540	Are you jealous?
40540	At what price?
40540	But, Gutrune, to whom I gave him, how would we stand with her if we so avenged ourselves?
40540	Ca n''t you hear her say she wo n''t go with you?
40540	Can you not see that I can scarcely speak?
40540	Come away?
40540	Do you know what you have witnessed?
40540	E deggio!--e posso crederlo?
40540	Elsa,gently asks the_ King_,"whom name you as your champion?"
40540	For whom?
40540	Hagen, wise one, have you no counsel?
40540	He who has sat at a heavenly banquet, does not break the bread of mortals.... Don Giovanni, will you come to sup with me?
40540	How came it on your finger? 40540 I wonder,"_ Nancy_ whispered so that none but her mistress could hear,"if he is going to run in the races himself?"
40540	I?--I love you?
40540	If you doubt me,argues_ Nedda_,"why not let me leave you?"
40540	Is the shadow of this tree so fatal?
40540	Is this a painter''s brush or a mahlstick?
40540	Kurwenal, can you not see it?
40540	Love you?
40540	N''est- ce plus ma main que cette main presse?... 40540 No, no, Turiddu, rimani, rimani, ancora-- Abbandonarmi dunque tu vuoi?"
40540	Surely you do n''t suspect her?
40540	The old refrain; why wakes it me? 40540 The sword?
40540	The whole of it?
40540	Was Wälse your father?
40540	What can he mean?
40540	What do you want?
40540	What have you to tell me?
40540	What is it?
40540	What is worse than one flute?
40540	What matters it?
40540	What of my son?
40540	What?
40540	Which?
40540	Who can prove it?
40540	Who hears us?
40540	Who will be the slayer?
40540	Who''s there?
40540	Who,asks the_ Wanderer_,"can weld its fragments?"
40540	Who? 40540 Why not?
40540	Your name and story?
40540	Your price?
40540	_ Come away?_ Did n''t these girls let you know plainly enough a short time ago that they would n''t hire out to you?
40540	_ Come away?_ Did n''t these girls let you know plainly enough a short time ago that they would n''t hire out to you?
40540	_ Elsa_,the_ King_ asks once more,"whom have you chosen as your champion?"
40540	_ Go?_ No, indeed,he added with emphasis.
40540	( Am I then by heaven forsaken?).
40540	( Duet,_ Rosina_ and_ Figaro_:"Dunque io son, tu non m''inganni?"
40540	( Hast thou known sorrow?
40540	( What restrains me at this moment?
40540	("Is it no longer my hand, your own now presses?...
40540	):[ Music: Chi mi frena in tal momento?]
40540	--Am I his love, or dost thou mock me?)
40540	Am I no longer Manon?")
40540	And his glance; has it never before rested on her?
40540	And his voice?
40540	And the music?
40540	And then as if answering to a would- be master''s question of"What can you do?"
40540	And what is it?"
40540	And what is that?
40540	And why not?
40540	And_ Don Giovanni_?
40540	And_ Rhadames_?
40540	As- tu pleureé?"
40540	Bris''s_ summons,"Who goes there?"
40540	But how can_ Mime_ teach him?
40540	But is not that the barber approaching with his love- song?
40540	But where?
40540	But who comes there?
40540	But who will take him in the face of the storm that is coming up?
40540	But with what eyes has_ Kezal_ looked upon_ Wenzel_ that he praises his excellences so loudly?
40540	But_ Rigoletto_?
40540	Can he not hear?
40540	Can one, for instance, imagine the music of"Tristan"wedded to the story of"The Mastersingers,"or_ vice versa_?
40540	Can the little singer explain his longing?
40540	Can_ Kruschina''s Marie_ love this stutterer and coxcomb?
40540	Chi troncò dell''ire il corso?"
40540	Dare he trust his eyes?
40540	Do I head the race of the Gibichungs with honour?"
40540	Est- ce toi, Marguerite?
40540	Finally, his task with the brushes over, he points to the basket and asks,"Are you fasting?"
40540	Has he taken nothing from the hoard?
40540	Has the race of the Gibichungs fallen so low in prowess?"
40540	Has_ Æneas_ forgotten his task?
40540	Hast thou wept?).
40540	Have n''t you seen_ Faust_ after_ Faust_ keep his hat on while making love to_ Marguerite_?
40540	Have you a wife?"
40540	His daughter still up?
40540	How can you forsake me?).
40540	How did_ Figaro_ come by it?
40540	How long has he loved her?
40540	How long will a woman like_ Elsa_--as sweet as she is beautiful, but also as weak-- be able to restrain herself from asking the forbidden question?
40540	How shall she warn him of the certain death in store for him?
40540	How shall the Rhinegold be restored to the_ Rhinedaughters_?
40540	If Siegfried does this in your stead, and brings her to you as bride, will she not be yours?"
40540	In answer to the question from the mystic choir,"Knowest thou Faust?"
40540	In reply he frames but one question:"When I enter Walhalla, will_ Sieglinde_ be there to greet me?"
40540	Is he coming with them?
40540	Is her lover safe?
40540	Is it for a last farewell?
40540	Is it his excited fancy that makes him hear the door of the inner chamber softly open and light footsteps coming in his direction?
40540	Is it not the_ Baron Douphol_ for whom he,_ Alfred_, has been cast off by her?
40540	Is it really you?"
40540	Is not the unbeaten Twenty- first Regiment of Grenadiers among them?
40540	Is she, a princess, to find a successful rival in her own slave?
40540	Is the weird light in their eyes the last upflare of passion before the final darkness?
40540	Is this the reason_ Rhadames_, young, handsome, brave, has failed to respond to her own guarded advances?
40540	Is_ Mélisande_ a Melusine- like creature?
40540	Jealous?
40540	May I say that he even gave to the voice a human clang it hitherto had lacked, and in this respect also advanced the art of opera?
40540	May he not as unexpectedly depart?
40540	N''est- ce plus Manon?"
40540	New in this scene is the= Gutrune Motive=:[ Music]"Gunther, your sister''s name?
40540	Not metal enough?
40540	Notwithstanding the popularity of two airs in"Mignon"--"Connais- tu le pays?"
40540	O Fiora, say, with whom hast thou been speaking?"
40540	Of what use is the warning of an old Hebrew?
40540	Or rather have not chains been wound about the twain of which they yet have no anticipation?
40540	Or, if it is not the ring"--again she addresses_ Gunther_--"where is the one you tore from my hand?"
40540	Or, is it one of those works more famous than effective; and is that why, at this point I am reminded of a passage in Whistler''s"Ten O''clock"?
40540	Qui va là?
40540	Scarcely speak?
40540	Scene of_ Don Diego_ and_ Don Rodrigo_:"Rodrigue, as- tu du coeur?"
40540	Shall she become the slave of a Greek?
40540	She herself is here caring for_ Johannes_ who is ill. How has_ Matthias_ become an evangelist?
40540	She left_ Des Grieux_ for wealth and the luxuries it can bring--"Tell me, does not this gown suit me to perfection?"
40540	Should n''t it be Iphigenia in Champagne?)
40540	Softly_ Scarpia_ asks her,"What say you?"
40540	That mole?
40540	The Isolde Motive;--then what?
40540	The ditty is"Que fais- tu, blanche tourterelle"( Gentle dove, why art thou clinging?).
40540	The melodic leading of the upper voice in the accompaniment, when_ Eva_ asks:"Could not a widower hope to win me?"
40540	The question therefore arises:"Why are these works not performed with greater frequency?"
40540	The scene, beginning with the chorus,"Who is this mortal?"
40540	The sword?"
40540	Then the_ Wanderer_ asks:"What sword must_ Siegfried_ then strike with, dealing to_ Fafner_ death?"
40540	Then, turning to where she lies, he asks:"Where were you wandering when our leader lost the Sacred Spear?
40540	Then_ Tonio_ pokes his head through the curtains,--"Si può?
40540	There is an exchange of affection, almost paternal on his part, almost filial on hers, in their duet,"As- tu souffert?
40540	They lead_ Brangäne_ to exclaim:"Where lives the man who would not love you?"
40540	This is the= Motive of Vengeance=:[ Music]"What troubles Brünnhilde?"
40540	Was her father slain?
40540	Was it even treated in such a way as to mitigate the defects it might present in this connection?
40540	Was there ever a love scene more thrilling than that between_ Siegmund_ and_ Sieglinde_?
40540	What can be said of the ordinary opera libretto beyond Voltaire''s remark that"what is too stupid to be spoken is sung"?
40540	What can mortals accomplish that the gods, who are far mightier than mortals, can not accomplish?
40540	What could be more in the spirit of Weber than the ringing_ Parsifal_ motive, one of the last things from the pen of Richard Wagner?
40540	What does the music answer as it enfolds them in its wondrous harmonies?
40540	What does the young man want of her?
40540	What have you done with it?"
40540	What he sees so clearly can not_ Kurwenal_ also see?
40540	What is in the chest?
40540	What is more moving than the phrase''Laissez- vous toucher par mes pleurs''?
40540	What is the matter with her then?
40540	What of the sorely stricken man feebly extended there?
40540	What strange affinity has brought them together under the eye of the pitiless savage with whom she has been forced into marriage?
40540	What would be the critical verdict if"Hamlet"were now to have its first performance in the exact form in which Shakespeare left it?
40540	When?
40540	Whence came he?
40540	Where am I?"
40540	Which is the right couple?
40540	Who goes there?
40540	Who is he?
40540	Who is he?
40540	Who is_ Mime''s_ wife?
40540	Who were these women over whose lives ennui never seemed to have hung like a pall?
40540	Who will march against him?
40540	Who will undertake the further education of the American public in this respect?
40540	Who''ll try her?"
40540	Whom shall he call Mother?
40540	Whose is it?"
40540	Why my sword do I not straightway draw?
40540	Why should_ Dido_ not do likewise?
40540	Why were you not here to help us then?"
40540	Why"happily"?
40540	Why?
40540	Will it accept?
40540	Will not_ Mimi_ join them?
40540	Will she follow him to the bleak land of his birth?
40540	Will she now wantonly destroy the wondrous spell of moonlight and love?
40540	Will the gods be saved through them, or does the curse of_ Alberich_ still rest on the ring worn by_ Brünnhilde_ as a pledge of love?
40540	Will you now come with us?"
40540	With a coquettish toss of the head and a significant glance she asks,"Where is the flower I threw at you?
40540	Would she triumph over her rival?
40540	Would you close the window, cousin?
40540	Yet, who is this?
40540	[ Music] What of the boat, so bare, so frail, That drifted to our shore?
40540	_ Edgardo_:"Chi mi frena in tal momento?
40540	_ Isolde_ chides her-- is it not some lovely, prattling rill she hears?
40540	_ Linda''s_ parents are to remain in undisturbed possession of the farm;--but where is she?
40540	_ Lysiart''s_ recitations and aria("Where seek to hide?
40540	_ Mime''s_ second question is:"What race dwells on the earth''s back?"
40540	_ Mime_ finally asks:"What race dwells on cloudy heights?"
40540	_ Mime_ then asks:"What is the race born in the earth''s deep bowels?"
40540	chi mi dice mai quel barbaro dov''è?"
40540	hast thou any fresh tidings?"
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?
28026	But what is the use of saying all this? 28026 But why seek difficulty when there is so much that is quite as beautiful and yet not difficult?
28026	Franz Liszt-- ah, you see I bow when I mention the name-- you never heard Franz Liszt? 28026 Have you ever been in a foreign art gallery and watched the copyists trying to reproduce the works of the masters?
28026	What is your favorite type of aëroplane?
28026	( Why should the immorality of the artist''s life be laid at the doors of fair Bohemia?)
28026	ARE PIANISTS BORN OR MADE?
28026	After all, the greatest thing in the artist''s life is W- O- R- K. II ARE PIANISTS BORN OR MADE?
28026	Are other great schools of pianoforte playing likely to arise?
28026	Are stimulants good or bad?
28026	Are there not as fine teachers here in America as in Europe?
28026	But how many musicians can do this?
28026	But who ever heard of a music student making a regular business of learning the profession as would a doctor or a lawyer?
28026	By what device may pianism descend to a lower level?
28026	Can Liszt be regarded as a pianistic composer in the same sense as that in which Chopin is considered pianistic?
28026	Can a pianist''s playing be distinguished by touch?
28026	Can missed practice periods ever be made up?
28026	Can one be overexact in playing?
28026	Can one who for years has waged a battle for the American teacher and American musical education answer this question without bias?
28026	Can the teachers in America be blamed if the parents and the pupils fail to make as serious and continued an effort here?
28026	Can we who trace the roots of our lineage back to barren Plymouth or stolid New Netherland judge the question fairly and honestly?
28026	Did Liszt follow a method in teaching or was his work eclectic?
28026	Did you ever stop to think how continually this is employed?
28026	Do celebrated virtuosos use scales regularly?
28026	Do great pianists devote much time to writing upon piano technic?
28026	Do n''t you think I am a lucky boy?
28026	Do not the same exercises occur in thousands of pieces but in such connection that the mind is interested?
28026	Do you fear the grind, the grueling disappoints, the unceasing sacrifices?
28026	Do you think that came in a day?
28026	Do you wish to make music?
28026	Do you wonder that I drink to forget it?"
28026	Does a trained ear help in the acquisition of touch?
28026	Does he find fame and fortune waiting for him next morning?
28026	Does music resemble poetry?
28026	Does piano study cultivate concentration?
28026	Does the technical material of to- day differ greatly from that of forty or fifty years ago?
28026	Does the virtuoso hamper himself with details of technic during a performance?
28026	Does the work, the time, the expense frighten you, little miss at the keyboard?
28026	Godowsky, der ist wirklich ein grosser Talent_--how has he attained his wonderful rank?
28026	Graft?
28026	Has Russian music influenced the progress of other musical nations?
28026	Has piano playing progressed since the time of Hummel?
28026	Have not students contented themselves with two lessons a week since time immemorial?
28026	Have the compositions of the most original composers been the most enduring?
28026	Have the possibilities of the art of musical composition been exhausted?
28026	How are examinations conducted in Russia?
28026	How can I express more emphatically the necessity for the pianist being a man of culture, artistic sensibilities and of creative tendencies?
28026	How can we expect the pupil to make rapid progress if the start is not right?
28026	How did Rubinstein regard the theory of touch?
28026	How do the muscles of the shoulder come into action in piano playing?
28026	How does Russian musical progress in composition differ from that of other musical nations?
28026	How does weight playing differ from the high angular playing of the Czerny epoch?
28026	How else can he become familiar with the personal individualities of the great composers?
28026	How have the changes in the structure of the instrument affected pianistic progress?
28026	How is one''s playing affected by health?
28026	How is phrasing related to breathing?
28026	How is the matter of digital technic regarded in Russia?
28026	How long does the virtuoso practice each day?
28026	How long must one study before one may make a_ début_?
28026	How long will it take the world to comprehend his message if he really has one?
28026	How may complex musical problems be solved mentally?
28026	How may errors arise in the use of the terms of expression?
28026	How may finger strength be cultivated?
28026	How may individuality be developed through poetry?
28026	How may machine- like playing be avoided?
28026	How may master works be born again?
28026	How may one be helped in learning the musical language?
28026	How may one find the bearing of one movement upon another?
28026	How may piano study be compared with the polishing of beautiful jewels?
28026	How may the compositions of Rubinstein and Glinka be regarded?
28026	How may the mechanics of playing be distinguished from the larger subject of technic?
28026	How may the piano become a barrier between the student and musical expression?
28026	How may the pupil''s elementary work be made more secure?
28026	How may the right tempo be established?
28026	How may the student break the veil of conventions?
28026	How may variety in piano playing be achieved?
28026	How must real musical understanding be achieved?
28026	How must superficial pupils be treated?
28026	How should a very talented child''s practice time be divided?
28026	How should one seize opportunities to improve?
28026	How should practice time be divided?
28026	How should the arm feel during the act of touch?
28026	How should the child''s general education be conducted?
28026	How should the fingering of a new piece be studied?
28026	How should the fingers rest in legato playing?
28026	How should the mechanical difficulties of the piece be studied?
28026	How should the public appearances of talented children be controlled?
28026	How should the sense of hearing be employed in piano playing?
28026	I the master?
28026	In what does the Russian teacher of children take great care?
28026	In what period of time should a very talented child master the elementary outlines of technic?
28026	In what spirit should all studies be played?
28026	In what way was Edward MacDowell''s individuality marked?
28026	Is a great virtuoso obliged to practice years in order to secure results?
28026	Is analysis natural to children?
28026	Is any time spent in music study really wasted?
28026	Is it advisable to isolate difficulties and practice them separately?
28026	Is it any wonder that beginners lose interest in their work, and refuse to practise except when compelled to do so?
28026	Is it artistic?
28026	Is it musical?
28026	Is it really necessary to go to Europe to"finish"one''s musical education?
28026	Is it really necessary to instruct our little folks to think that everything must be done in a"cut and dried"manner?
28026	Is listening important in pianoforte playing?
28026	Is music a part of the daily life of the child in the Russian home?
28026	Is one ever warranted in altering a masterpiece?
28026	Is scale study indispensable?
28026	Is the ability to identify a chord by hearing more important than the ability to identify it by sight?
28026	Is the piano an expressive instrument?
28026	Is the utmost concentration necessary in all piano playing?
28026	Is your ambition to play scales, octaves, double notes and trills?
28026	Lucky Nathan,--have you not a thousand brothers who may never see a contract?
28026	May one memorize"backwards"?
28026	May time be wasted with unprofitable studies?
28026	More sacrifice for Nathan''s mother and father,--but what are poverty and deprivation with such a goal in sight?
28026	Must the pupil continually help himself?
28026	Must the student know the characteristics of the instrument for which the composer wrote?
28026	Need the practice of scales be mechanical and uninteresting?
28026	Of what value is the teacher if he is not to apply his knowledge with the discretion that comes with experience?
28026	Plunder?
28026	Schumann more original than Chopin?
28026	Should immediate musical results be sought in technical study?
28026	Should individual physical peculiarities be taken into consideration?
28026	Should individuality in playing be developed at an early age?
28026	Should music be studied by phrases or measures?
28026	Should one be careful about the body before concerts?
28026	Should one pin one''s faith to any one method?
28026	Should phrase analysis be taught at an early age?
28026	Should pianists acquire a knowledge of the main feature in the construction of their instrument?
28026	Should the education be confined to the classroom?
28026	Should the musical child be encouraged to read fiction?
28026	Should the student continually estimate his own ability?
28026	Should the student gain an idea of the work as a whole before attempting detailed study?
28026	Should the talented child be urged or pushed ahead?
28026	Spoils?
28026	Strange to say, no one ever seems to think it necessary to inquire,''What is the most beautiful piece?''
28026	Surely, so much earnest effort can not be wasted even though all can not win the race?
28026	THE AMERICAN VIRTUOSO OF TO- DAY How does the American aspirant compete with Nathan?
28026	THE MOST DIFFICULT COMPOSITIONS"I have continually been asked,''What is the most difficult composition?''
28026	THE NEW TECHNIC AND THE OLD You ask me what are the essential differences between the modern technic and the technic of the older periods?
28026	The legato thirds seem simple?
28026	Then why spend hours in practicing at the keyboard with the view of doing something we can already do?
28026	Upon what detail of interpretation does musical performance most depend?
28026	Upon what does fine phrasing depend?
28026	Upon what does velocity depend?
28026	Upon what principle is expression in art based?
28026	WHY NOT SEEK THE BEAUTIFUL?
28026	Was I, after years of public playing, actually making mistakes that I would be the first to condemn in any one of my own pupils?
28026	What additional musical studies should be included in the work of the pupil?
28026	What are some remedies for slovenly playing?
28026	What are the two means of administering touch?
28026	What becomes of the thousands of students all working frantically with the hope of becoming famous pianists?
28026	What better guide could you possibly have than the words of the great pianists themselves?
28026	What channel in the study of pianoforte must the pupil develop most thoroughly?
28026	What combines to make a program attractive?
28026	What composer preserved the most perfect balance between artistic conception and expression?
28026	What did Chopin call the left hand?
28026	What do I mean by a practical knowledge of harmony?
28026	What does a great virtuoso receive for his performances?
28026	What does originality in pianoforte playing really mean?
28026	What exercises does he use?
28026	What fundamental laws should underlie interpretation?
28026	What great difficulties do the virtuosos visiting America encounter?
28026	What indicates a finely balanced musician?
28026	What is a good arrangement of practice hours?
28026	What is considered the most difficult scale to learn?
28026	What is it in playing that sways the audience?
28026	What is it then, which promotes a few"fortunate"ones from the armies of students all over America and Europe and makes of them great virtuosos?
28026	What is it which distinguishes the performance of the great pianist from that of the novice?
28026	What is one of the greatest faults in musical educational work in America?
28026	What is the best material for the development of a mental technic?
28026	What is the best remedy for careless playing?
28026	What is the difference between brain technic and finger technic?
28026	What is the effect of too many mechanical rules?
28026	What is the law of artistic progress?
28026	What is the nature of the technical study done by Harold Bauer?
28026	What is the vital spark in piano playing?
28026	What is this vital spark that brings life to mere notes?
28026	What lies at the foundation of pianistic greatness?
28026	What may be called the sculptor of individuality in music?
28026	What may be considered the most difficult branch of pianoforte study?
28026	What may be said of the poetic idea of the piece?
28026	What may be said of the sensitiveness of the finger tips?
28026	What may be said of the status of American musical education?
28026	What may the pupil learn from concerts?
28026	What must be the sole aim in employing a technical exercise?
28026	What must one do to become a virtuoso?
28026	What part did fashion play in the introduction of embellishments?
28026	What part does personality play in the performer''s success?
28026	What part does right thinking play in execution?
28026	What part does talent play in the artist''s success?
28026	What part should the study of phrasing play in modern music education?
28026	What qualities must the student preserve above all things?
28026	What should be artist''s main object in giving a concert?
28026	What should be the first step in the musical education of the child?
28026	What should be the pianist''s first thought during the moment of performance?
28026	What should be the preliminary study of a new composition?
28026	What should be the teacher''s first consideration?
28026	What studies are particularly useful in the cultivation of brilliant playing?
28026	What voyages of exploration must the student make?
28026	What was Reisenauer''s opinion of the works of MacDowell?
28026	What was the principle which made the Tausig exercises valuable?
28026	What with three and four concerts a night why should not the critics have a_ pourboire_ for extra critical attention?
28026	What would be thought of the Russian pupil who attempted pieces without the proper preliminary scale work?
28026	When is the hand touch generally employed?
28026	When is the teacher''s responsibility greatest?
28026	When should the first steps in analysis be made?
28026	Where must the student find his problems?
28026	Wherein does the appeal of Debussy lie?
28026	Which difficulty should you practice most?
28026	Who could resist the temptation to learn them all when they are once commenced?
28026	Who could withstand the alluring charm of the Chopin etudes?
28026	Who is the great European master who is working such great wonders for her?
28026	Why are Russian pianists famed for their technical ability?
28026	Why are stencil- like methods bad?
28026	Why are too complicated exercises undesirable?
28026	Why do some pupils find technical studies tiresome?
28026	Why does Busoni produce inimitable results at the keyboard?
28026	Why does Rachmaninoff excel as a composer for pianoforte?
28026	Why is Bach so valuable for the student?
28026	Why is a knowledge of the different dance forms desirable?
28026	Why is a more difficult fingering sometimes preferable?
28026	Why is it that the compositions of Johann Sebastian Bach are so useful in piano study?
28026	Why is such a premium put upon mere difficulty?
28026	Why is the study of musical history so important?
28026	Why must monotony be avoided in technical study?
28026	Why must one seek to avoid conventions?
28026	Why not a little mind formation?
28026	Why not develop the habit of noting the phrases in the same way?
28026	Why should imitation be avoided?
28026	Why should one listen while playing?
28026	Why should students avoid becoming"piano- playing machines"?
28026	Why should the student determine problems for himself?
28026	Why try to make a bouquet of oak trees when the ground is covered with exquisite flowers?
28026	Why was Köhler so successful as a teacher?
28026	Why was the great Liszt greater than any pianist of his time?
28026	Why waste time in practicing passages which you can play perfectly well?
28026	Why?
28026	Will genius or talent take the place of study and work?
28026	Will the public now receive him as a great pianist?
28026	Will the technic of Liszt ever be excelled?
28026	With what has technic to do?
28026	Without this knowledge how could he possibly expect to study with understanding?
28026	Would it not be better to train him to play a piece which he could comprehend and which he could express in his own way?
28026	XIV SEEKING ORIGINALITY VLADIMIR DE PACHMANN THE MEANING OF ORIGINALITY"Originality in pianoforte playing, what does it really mean?
28026	You ask me,"How can the student form the proper conception of the work as a whole?"
28026	You wonder at this?
28026	_ Non ê vero?_ When the composer has sought originality and contrived to get it by purposely taking out- of- the- way methods, what has he produced?
28026	_ Non ê vero?_ When the composer has sought originality and contrived to get it by purposely taking out- of- the- way methods, what has he produced?
28026	_ Pourquoi?_ No one can learn by copying the secret the master has learned in creating.
31828	''Trippingly''trips up your tongue?
31828	And what is so rare as a day in June? 31828 Are you-- are you fond-- of-- of dogs?"
31828	Blessed are the meek: is it easy to be meek?
31828	Blessed are the pure in heart: is that so very easy?
31828	But it does n''t any more?
31828	Do you admire the view? 31828 Do you believe in examinations?"
31828	Do you know the ode_ To a Skylark_?
31828	Do you know what the girl is doing?
31828	Empty of what?
31828	Genius is patience,said who?
31828	Have you ever read_ Titan_?
31828	How can a lion come roaring at you, you silly thing? 31828 How do you know?"
31828	How_ can_ I have done that?
31828	Hurt me? 31828 I wonder how many miles I''ve fallen by this time?"
31828	I wonder if I shall fall right_ through_ the earth? 31828 If seven maids with seven mops Swept it for half a year, Do you suppose,"the Walrus said,"That they could get it clear?"
31828	Just think what you would do, Tom?
31828	May I lay aside the text- book and read with these students in English for a little?
31828	More rabbits? 31828 Oh, my poor little feet, I wonder who will put on your shoes and stockings for you now, dears?
31828	Speak the speechyou say,"is a difficult combination of words to utter"?
31828	The Prime Minister''s secret is patience,said who?
31828	The difference?
31828	The river flows between green banks?
31828	Tom,she said, timidly, when they were out- of- doors,"how much money did you give for your rabbits?"
31828	Was I not right?
31828	What do you mean by my illumined moments?
31828	What do you mix your paints with?
31828	What for?
31828	What is it?
31828	What is the secret of such a development of business as this?
31828	Would it be of any use, now,thought Alice,"to speak to this mouse?
31828	Would_ you_ like cats if you were me?
31828	You do n''t understand the reference to a''town- crier''?
31828	You forgot to feed''em, then, and Harry forgot?
31828	''Is n''t that robe dear?''
31828	''Please, ma''am, is this New Zealand or Australia?''"
31828	( But where should it not be observed?)
31828	***** Now, who shall arbitrate?
31828	A lieutenant?
31828	A mate-- first, second, third?
31828	Almost a white tone, is it not?
31828	And here Alice began to get rather sleepy, and went on saying to herself, in a dreamy sort of way,"Do cats eat bats?
31828	And loved so well a high behavior, In man or maid, that thou from speech refrained, Nobility more nobly to repay?
31828	And the question I would ask of myself and you is, How do we get them?
31828	And what meets her?
31828	And who commanded( and the silence came), Here let the billows stiffen, and have rest?
31828	And you do, too?
31828	And you shall catch your own fish, Maggie, and put the worms on, and everything-- won''t it be fun?"
31828	Are all these Made to please?
31828	Are n''t I a good brother to you?"
31828	Are there other possible intonations of the words?
31828	Are we not floundering in the water, fallen on the ice, or alienating the ears of our friends?
31828	Are you bought by English gold?
31828	Are you cowards, fools, or rogues?
31828	Are you in pain?
31828	Are you, too, caught up in that impetuous embrace?
31828	Ask the question until it is answered past question, What am I?
31828	At first a quick, contemptuous interrogation--''we fail?''
31828	At rich men''s tables eaten bread and pulse?
31828	At what point does her tone lose its reflective quality and become more personal?
31828	Autumn''s prime, Apple- time, Smooth cheek round, Heart all sound?-- Is it this You would kiss?
31828	Burn the fleet and ruin France?
31828	But do cats eat bats, I wonder?"
31828	But how?
31828	But if I''m not the same, the next question is, Who in the world am I?
31828	But no such word Was ever spoke or heard; For up stood, for out stepped, for in struck amid all these-- A captain?
31828	But to bend this talk back to the word with which we started: will this striving for perfection in the little thing give"culture"?
31828	But what of the inflection of those monosyllabic words?
31828	Can I get these self- foundations laid, save by the weight, year in, year out, of the steady pressures?
31828	Can a sense of humor be cultivated, and if it can be cultivated, is it safe to do so?
31828	Can you imagine looking on such a page as this for the first time--_perceiving_ it for the first time?
31828	Can you so inflect"sprawling in want"and"sitting high"as to suggest a swamp and a mountain- top, or a frog and an angel?
31828	Can you wipe out of your mind your knowledge of paper, print, and words?
31828	Dare we think to make it ours?
31828	Did its pitch change?
31828	Did n''t it hurt you?"
31828	Did you get all these qualities at once?
31828	Did your tone change color at any point?
31828	Disciplined?
31828	Do cats eat bats?"
31828	Do we?
31828	Do you know Jules Breton''s picture_ The Lark_?
31828	Do you love it?
31828	Do you not see that the secret of its beauty lies, for vocal interpretation, in the color of tone and in the inflection of the words?
31828	Do you realize the vital effect upon the voice of such vocal analysis and experimentation?
31828	Do you sigh for books and leisure and wealth?
31828	Do you think that the great and famous escape drudgery?
31828	Do you think you could manage it?)
31828	FORBEARANCE Hast thou named all the birds without a gun?
31828	Gray in color, is it not?
31828	Gray, is it not?
31828	HYMN BEFORE SUNRISE, IN THE VALE OF CHAMOUNI Hast thou a charm to stay the morning- star In his steep course?
31828	Had n''t she wanted to give him the money, and said how very sorry she was?
31828	Have I spoken truly for any one here?
31828	Have you ever heard such comment, or made such comment, or been the subject of like comment?
31828	Have you ever read George Eliot''s poem called"Stradivarius"?
31828	Have you ever watched such striving in operation?
31828	Have you never met humble men and women who read little, who knew little, yet who had a certain fascination as of fineness lurking about them?
31828	Here, you Lady, if you''ll sell I''ll buy: Come, heart for heart-- a trade?
31828	How did you begin to master any one of the activities in which you are more or less proficient?
31828	How did you inflect the words"wine and dreams"?
31828	How did you learn to swim, or skate, or play the violin?
31828	How did your silent paraphrase resemble this?
31828	How do they become ours?
31828	How do we know that he leaves his chair and comes over to sit on the arm of her chair?
31828	How does she flow?
31828	How does the pitch change, and why, and what does the change indicate?
31828	How much of it did your mental commentary include?
31828	How shall we approach the subject?
31828	How shall we avoid the monotony of the lines beginning"Then he took another pebble and dropped it into the pitcher"?
31828	How shall we free these cavities?
31828	How shall we proceed?
31828	How, then, do we get them?
31828	How?
31828	I furnish as the material for your experiment these sentences: DISCUSSION OF DIRECT APPEAL Do you ask me, then, what is this Puritan principle?
31828	I say,_ wo n''t_ we go and fish to- morrow down by Round Pool?
31828	I shall never forget it; who knows but what I may be able to do you a turn some of these days?"
31828	I shall only look up and say,''Who am I, then?
31828	I told a friend the story, and he asked his cobbler the same question: How long does it take to become a good shoemaker?
31828	I wonder if I''ve been changed in the night?
31828	I wonder what I should be like then?"
31828	III Then the pilots of the place put out brisk and leapt on board;''Why, what hope or chance have ships like these to pass?''
31828	III This is a hard gospel, is it not?
31828	Idle noons, Lingering moons, Sudden cloud, Lightning''s shroud, Sudden rain, Quick again Smiles where late was thunder?
31828	If then we conclude that it is not only safe, but possible and desirable, to cultivate a sense of humor, how shall we set about it?
31828	If there came a lion roaring at me, I think you''d fight him-- wouldn''t you, Tom?"
31828	If we use the name of God, is this not God''s presence becoming actor in us?
31828	In what way?
31828	Is it Spring''s Lovely things, Blossoms white, Rosy dight?
31828	Is it a relation likely to obtain throughout their lives?
31828	Is it love the lying''s for?
31828	Is it marls( marbles) or cobnuts?"
31828	Is there a single one in the list which I can not get in some degree by undergoing the steady drills and pressures?
31828	Is there a student reader of these pages who has not already faced a situation requiring for its mastery such command?
31828	Is there not the joy of creation in such interpretation?
31828	Is this a familiar experience?
31828	Is this harmony,--this harsh, hard, breathy, strident note?
31828	Is this scene typical of their relation?
31828	Let me propound a profound question,--"Do you like growing old?"
31828	Let me think: was I the same when I got up this morning?
31828	Loved the wood- rose, and left it on its stalk?
31828	Moderate?
31828	My Real is not my Ideal,--is that my complaint?
31828	Need I recall the terms of the--?
31828	No wonder that the great question, therefore, with a young man is, What am I to be?
31828	No?
31828	Not how much do I know, but how much do I do with what I know?
31828	Not that, amassing flowers, Youth sighed,"Which rose make ours, Which lily leave and then as best recall?"
31828	Now, what do you see?
31828	O Wind, If Winter comes, can Spring be far behind?
31828	Oh sir, she smiled, no doubt, Whene''er I passed her; but who passed without Much the same smile?
31828	Out spake the king to Henrik, his young and faithful squire:"Dar''st trust thy little Elsie, the maid of thy desire?"
31828	Powerful?
31828	Query to the class: How did the lady inflect the word_ Yes_ to call forth the injunction,_ Read it again_?
31828	Reach the mooring?
31828	Shall we be trotting home again?"
31828	Shall we ever feel ready to voice that first line?
31828	She ate a little bit and said anxiously to herself,"Which way?
31828	Slur your consonants and squeeze your vowels in the three words of this line,"Violets were born,"and what becomes of this miracle of spring?
31828	So daring in love, and so dauntless in war, Have ye e''er heard of gallant like young Lochinvar?
31828	So she began again:"Ou est ma chatte?"
31828	So she began:"O Mouse, do you know the way out of this pool?
31828	Speech half- asleep or song half- awake?
31828	Still hard and unmusical you find?
31828	Still words?
31828	Still, when the question rises through the grumble, Can it be that drudgery, not to be escaped, gives"culture"?
31828	Success may make_ it_ well- beloved, too,--who knows?
31828	Summer''s crest Red- gold tressed, Corn- flowers peeping under?
31828	Take these first two sentences: Do you ask me, then, what is this Puritan principle?
31828	That is the secret of successful acquisition in any direction, is it not-- the_ faculty of taking infinite pains_?
31828	The American people are young?
31828	The day of chivalry is dead?
31828	The situation, is it not?
31828	The teacher could not cover the surprise in her question,"Are you coming into the class again?"
31828	Then, do you hesitate to enter upon a study which shall make for clarified relations and a new"dignity and integrity of existence?"
31828	These, for instance-- and what names are more familiar?
31828	They make good company, these men and women,--why?
31828	This aspiration to do perfectly,--is it not religion practicalized?
31828	This text furnishes an easier exercise in interpretation, does it not?
31828	Thy brother Death came, and cried Wouldst thou me?
31828	Thy sweet child Sleep, the filmy- eyed, Murmur''d like a noon- tide bee Shall I nestle near thy side?
31828	To what green altar, O mysterious priest, Lead''st thou that heifer lowing at the skies, And all her silken flanks with garlands drest?
31828	Too little, is it, to be perfect in it?
31828	Unarmed, faced danger with a heart of trust?
31828	Upon what does it depend?
31828	VI And,''What mockery or malice have we here?''
31828	Vital?
31828	Waking or asleep Thou of death must deem Things more true and deep Than we mortals dream, Or how could thy notes flow in such a crystal stream?
31828	Was it love or praise?
31828	Was it prose or was it rhyme, Greek or Latin?
31828	Were they seven Strings the lyre possessed?
31828	What are the relative positions of the girl and her lover in the_ Tale_?
31828	What are they?
31828	What calls him to her?
31828	What corresponds to this step in the evolution of verbal expression?
31828	What did her inflection reveal?
31828	What do I stand for?
31828	What do we mean by apperceptive background?
31828	What do you see now on the page?
31828	What does it mean to vocally interpret a piece of literature-- a poem, a play, a bit of prose; a paragraph, a sentence, or even a single word?
31828	What does your eye carry to your mind when you look at this page?
31828	What field, or waves, or mountains?
31828	What form shall the effort take: fable, fairy tale, a whimsical play of fancy in essay, or merely a nonsense rhyme?
31828	What has happened to the mathematical fact?
31828	What is emphasis?
31828	What is the color of the skylark?
31828	What is the first point to be determined?
31828	What is the nature of this element of our vocabulary-- this_ Klangfarbe_, this_ Timbre_?
31828	What is the trouble?
31828	What is the trouble?
31828	What little town by river or sea shore, Or mountain- built with peaceful citadel, Is emptied of this folk, this pious morn?
31828	What logic of greeting lies Betwixt dear over- beautiful trees and the rain of the eyes?"
31828	What love of thine own kind?
31828	What mad pursuit?
31828	What maidens loth?
31828	What matter to me if their star is a world?
31828	What men or gods are these?
31828	What name do I bear in the register of forces?
31828	What noble knight was this?
31828	What objects are the fountains Of thy happy strain?
31828	What pipes and timbrels?
31828	What shall we do to relax the tense muscles, to release the throat and free the channel?
31828	What shapes of sky or plain?
31828	What should you do, Tom?"
31828	What struggle to escape?
31828	What thou art we know not; What is most like thee?
31828	What use was anything, if Tom did n''t love her?
31828	What wild ecstasy?
31828	What words for modest maiden''s ear?
31828	What''s the use of talking?"
31828	Whence is it that the lines of river and meadow and hill and lake and shore conspire to- day to make the landscape beautiful?
31828	Where and why?
31828	Where does she turn to him?
31828	Where?
31828	Where?
31828	Wherefore Keep on casting pearls To a-- poet?
31828	Which is the greater art: to read a play, or to act in it?
31828	Which way?"
31828	Who are these coming to the sacrifice?
31828	Who bade the Sun Clothe you with rainbows?
31828	Who filled thy countenance with rosy light?
31828	Who gave you your invulnerable life, Your strength, your speed, your fury, and your joy, Unceasing thunder and eternal foam?
31828	Who made thee parent of perpetual streams?
31828	Who made you glorious as the gates of Heaven Beneath the keen full moon?
31828	Who said"The secret of a Wall Street million is common honesty"?
31828	Who sank thy sunless pillars deep in Earth?
31828	Who''d stoop to blame This sort of trifling?
31828	Why does the poet say cloud of fire?
31828	Why not take Maggie Tulliver for our character study?
31828	Why not?
31828	Why?
31828	Why?
31828	Will Maggie or Tom make the sacrifices inevitable to such a relation?
31828	Will not an orange tone give us the feel of heartsome confidence behind and through the mellow scorn of the knight''s message?
31828	Will you let me have it[ her wound] dressed?
31828	Will''t please you rise?
31828	Will''t please you sit and look at her?
31828	With a little of the blue of the June sky?
31828	Would the fall_ never_ come to an end?
31828	Would you, then, if you were Master, risk a greater treasure in the hands of such a man?
31828	X Till, at ending, all the judges Cry with one assent''Take the prize-- a prize who grudges Such a voice and instrument?
31828	XI Did the conqueror spurn the creature, Once its service done?
31828	XII JAUN''S SONG FROM THE SPANISH GYPSY Memory, Tell to me What is fair Past compare In the land of Tubal?
31828	XIV That''s the tale: its application?
31828	Yes, but do you hear it, smell it, taste it, feel it?
31828	You are decided?
31828	You can not run away from a weakness; you must sometime fight it out or perish; and if that be so, why not now, and where you stand?
31828	You have never experienced a tide river?
31828	_ Orange_, is it not?
31828	a cricket( What''cicada''?
31828	and sometimes,"Do bats eat cats?"
31828	are you there?"
31828	cries Hervé Riel:''Are you mad, you Malouins?
31828	did we say we were"makers of music"?
31828	shall I call thee Bird, Or but a wandering Voice?
31828	weeping?
31828	what ignorance of pain?
31828	why?_ Shame on such wooer''s dapper mercery!
39211	How do you mean?
39211	103 Why Rag- time Is Injurious 134 Why So Many Different Keys?
39211	105 Why the Pianist Should Study Harmony 104 Why the Piano Is So Popular 128 Why Two Names for the"Same"Key?
39211	110"What Is the Matter with My Scales?"
39211	15 is the movement in C- sharp minor to be played in the same tempo as the opening movements, or much faster?
39211	16 Which Should Come First-- Conception or Technique?
39211	1?
39211	3 What Is the Best of Chopin?
39211	8, and the B flat minor prelude?
39211	86 What Is the Difference Between the Major and Minor Scales?
39211	ACCOMPANYING[ Sidenote:_ Learning To Accompany at Sight_] How can one learn to accompany at sight?
39211	After a kindly salute he would always ask me the same question:"Well, what is new in the world?"
39211	Alas, why are those pesky scales so difficult, in fact, the most difficult thing to do on the piano?
39211	And by- the- bye, what is the character of this piece?
39211	And does it affect the whole chord?
39211	And if one can play them why should one keep everlastingly on playing them?
39211	And now?
39211	And rhapsodical, irregular-- hey?
39211	And which is the best edition of Bach''s piano works?
39211	And why should there not be excellent teachers in America by this time?
39211	Are compositions in sharps considered more brilliant than those in flats?
39211	Are not the indispensables in all success very much the same?
39211	Are there no intermediate works?
39211	Are they just indications of speed?
39211	Are they merely theoretical?
39211	Are they to be executed according to Philipp Emmanuel Bach''s rule, so that the grace notes take their time from the note that follows them?
39211	BACH[ Sidenote:_ The Beginner in Bach Music_] Can you give me a few helpful suggestions in a preliminary study of Bach?
39211	BAD MUSIC[ Sidenote:_ The Company That One Keeps in Music_] Must I persist in playing classical pieces when I prefer to play dance music?
39211	But why not select an easy Etude by Chopin and make a start?
39211	But-- how is this language to be learned?
39211	CHOPIN[ Sidenote:_ What Is the Best of Chopin?_] Which are the best compositions of Chopin to study by one who really desires to know him?
39211	CHOPIN[ Sidenote:_ What Is the Best of Chopin?_] Which are the best compositions of Chopin to study by one who really desires to know him?
39211	Can a dull person, by reading them to us, convey bright thoughts intelligibly?
39211	Can anybody explain, without reflecting upon one''s sanity, why one should persist in playing them?
39211	Can one of them be omitted, and which one?
39211	Can you give me a hint how to overcome my difficulty?
39211	Can you give me a little outline of points for which to look that may help me in my piano study?
39211	Can you not replace the real clubs by imaginary ones?
39211	Can you suggest any method that would make it easier?
39211	Do composers consider modulation in selecting their key?
39211	Do you advise practising with notes when I already know it by heart?
39211	Do you advise practising with or without the pedal?
39211	Do you think"Pischna"would help me much to regain my former ability to play?
39211	Does a liberal use of the soft pedal tend to make the student lazy in using a light touch?
39211	Does it lie in the arrangement of semitones or in the character, or in both?
39211	Does this difference indicate different executions and, if so, how would the two turns have to be played?
39211	Does this justify me in hoping that something out of the ordinary will become of him?
39211	FORCE OF EXAMPLE[ Sidenote:_ Hearing a Piece Before Studying It_] Should a pupil hear a piece played before studying it?
39211	GENERAL[ Sidenote:_ What Does"Technique"Mean?_] What are the different techniques, and which one is most generally used?
39211	GENERAL[ Sidenote:_ What Does"Technique"Mean?_] What are the different techniques, and which one is most generally used?
39211	How can I avoid it, so that they will feel free and easy?
39211	How can I change it?
39211	How can I overcome it?
39211	How can I overcome the unevenness?
39211	How can I remedy this?
39211	How can this be done?
39211	How is the true legato accomplished?
39211	How should the 6- 8 and 9- 8 movements of Liszt''s Dance of the Gnomes be metronomized?
39211	Humourous, is it?
39211	I am practising three hours a day; how long should I practise at a time?
39211	I have heard the mordent sound like a triplet?
39211	I maintain that the flat sign is superfluous, and I should like to know if this is right?
39211	I recall that Rubinstein once said to me:"Do you know why piano- playing is so difficult?
39211	If a book should be read to us by a person who does not understand it, would it impress us as true, convincing, or even credible?
39211	If dance music it must be, why, have you never heard of the waltzes and mazurkas by Chopin?
39211	If my daughter( six years old) is to study the violin should she first spend a few years with the piano, or_ vice versa_?
39211	If not, what would you advise me to do?
39211	If so, why?
39211	If the half- tone, what would be the name of the auxiliary note?
39211	If you have very much money to spare, why not?
39211	In my despair I asked him:"Why not?"
39211	In the face of your teacher''s advice to the contrary?
39211	Indispensables in Pianistic Success I"The Indispensables in Pianistic Success?
39211	Is an exact division possible?
39211	Is any one''s music more profound?
39211	Is he right?
39211	Is it a fault of training, or has it any other cause?
39211	Is it because I do not understand it, or is the name a mere amateurish invention?
39211	Is it because of my touch?
39211	Is it because of this lesser sensuous charm that the art of the piano is considered the chastest of all instruments?
39211	Is it dramatic, tragic, lyric, romantic, humourous, heroic, sublime, mystic-- what?
39211	Is it not wise to begin all over again as slowly as possible?
39211	Is it practicable?
39211	Is not staccato always done with the fingers?
39211	Is she right?
39211	Is the alternation of the thumb and the second finger desirable in the playing of a trill?
39211	Is there a place on the concert stage-- even if only as an accompanist-- for a woman thus equipped?
39211	Is there any advantage in varying the height of the wrist?
39211	Is there any rule which you can give me?
39211	Is this correct?
39211	Is this the correct accent?
39211	It has helped me, but shall I be doing wrong to continue?
39211	It is probably a very bad habit, but I do not hear it when I do it How can I cure it?
39211	Kindly advise me whether a method is not the best thing for a novice, and, if so, which one?
39211	LEGATO[ Sidenote:_ The Advantage of Legato Over Staccato_] Is it better for me to practise more staccato or more legato?
39211	MARKS AND NOMENCLATURE[ Sidenote:_ The Metronome Markings_] What is the meaning of M. M.= 72 printed over a piece of music?
39211	MENDELSSOHN[ Sidenote:_ The Study of Mendelssohn_] In a complete course for a piano student should the study of Mendelssohn be included?
39211	Must we always endure listening to Wagner''s music in a variety show and to Strauss''waltzes in Carnegie Hall?
39211	Now, in what order should the Sonatas be studied?
39211	OCTAVES[ Sidenote:_ How Best to Play the Octaves_] Should I play octaves using the"hinge"stroke from the wrist or by using the arm?
39211	Of what benefit is harmony?
39211	Of what benefit is the general school- work a child has to go through?
39211	On the other hand, how would the stereotype, academic manner of playing Beethoven suit his Concerto in G-- that poetic presage of Chopin?
39211	Or is there any special method of exercise?
39211	Or, to lessen fatigue, is an occasional rise and fall of the wrist permissible in a long passage of scale or arpeggio?
39211	PITCH AND KINDRED MATTERS[ Sidenote:_ The International Pitch_] What is meant by"pitch"as regards piano tuning?
39211	POLYRHYTHMS[ Sidenote:_ Playing Duple Time Against Triple_] How must I execute triplets played against two- eighths?
39211	POSITION OF THE BODY[ Sidenote:_ Do Not Raise the Piano- Stool Too High_] Are the best results at the piano attained by sitting high or low?
39211	PRACTICE[ Sidenote:_ The Morning Practice On the Piano_] In resuming my studies in the morning what should I play first?
39211	RUBATO[ Sidenote:_ As to Playing Rubato_] Will you please tell me what is the best method of playing rubato?
39211	STACCATO[ Sidenote:_ Wrist Staccato at a High Tempo_] What can I do to enable me to play wrist staccato very fast without fatiguing the arm?
39211	Should it be curved well under the hand while playing?
39211	Should its use be restricted to a particular stage in the course of study?
39211	Should the thumbs of both hands strike the same keys at the same time all the way through or should the left hand omit them?
39211	Since that time I have studied only by myself; for to whom could I have gone after Rubinstein?
39211	THE GLISSANDO[ Sidenote:_ To Play a Glissando Passage_] Will you describe the best method of holding the hand when playing glissando?
39211	THE INSTRUMENT[ Sidenote:_ The Kind of Piano Upon Which to Practise_] Is it irrelevant whether I practise upon a good or a bad piano?
39211	THE MEMORY[ Sidenote:_ Playing from Memory Is Indispensable_] Is memorization absolutely essential to a good player?
39211	THE OTHER FINGERS[ Sidenote:_ The Fourth and Fifth Fingers_] What exercise would you recommend for the training of the fourth and the fifth fingers?
39211	THE PEDALS[ Sidenote:_ A General Rule About the Pedal_] Should I use the pedal with each melody note?
39211	THE STUDENT''S AGE[ Sidenote:_ Starting a Child''s Musical Training_] At what age should a child begin the study of instrumental music?
39211	THE THUMB[ Sidenote:"_ What is the Matter With My Scales?_"] What is the matter with my scales?
39211	THE THUMB[ Sidenote:"_ What is the Matter With My Scales?_"] What is the matter with my scales?
39211	THEORY[ Sidenote:_ Why the Pianist Should Study Harmony_] Do you recommend the study of harmony and counterpoint to the piano student?
39211	TRANSPOSING[ Sidenote:_ The Problem of Transposing at Sight_] What, please, is the quickest and safest way of transposing from one key to another?
39211	Then I would begin all over again, but hardly had I played a few measures when he would interrupt and say:"Did you start?
39211	Then why did you apply for a teacher?
39211	Therefore, why not play the piano as a piano?
39211	To the hundreds of students who at various times have asked me: What is the quickest way to become a great piano- player?
39211	Von Bülow laughed and said,''Why do you thank me?
39211	Was my old or my new teacher right?
39211	Well, why do n''t you speak?"
39211	What contemporary composers write good piano music?
39211	What does a dash mean over a note?
39211	What does an accidental in parentheses mean?
39211	What is the best book of instruction for a beginner, a child of ten?
39211	What is the correct method, and may the difficulty be overcome by slow practice?
39211	What is the difference between them?
39211	What is the meaning of the dot placed after the D in the bass?
39211	What modern parlour pieces would you recommend after Bendel''s"Zephyr"?
39211	What salary might I expect and what would be the best"course"to pursue?
39211	What would you advise, to make my memory more retentive?
39211	What would you advise?
39211	What would you think of a parent who deliberately sent his child into bad company in order that such child should learn how_ not_ to behave?
39211	When I wish to play them rapidly it seems that the key does not always produce a sound?
39211	Wherein lies the difference?
39211	Which is preferable to use, the thumb or the forefinger?
39211	Which is the best work of that kind from which I could learn?
39211	Which of his compositions are the most useful?
39211	Which would you advise?
39211	Why have the Rothschilds more secretaries than I have?
39211	Why not make a piano sound like a piano?
39211	Why share the musical food of those who are, by breeding or circumstance, debarred from anything better?
39211	Why should we look for a correct conception of a piece anywhere but in the piece itself?
39211	Why this self- deception?
39211	Why try to do the impossible thing in endeavoring to make the piano sound like another instrument of a different mechanism?
39211	Why would not twelve suffice, and thus avoid duplicate keys?
39211	Why, then, not listen to his specific language instead of losing our way in the terms of another art?
39211	Why?
39211	Will you please give me your opinion?
39211	Will you please tell me something about it?
39211	Would E on one piano actually sound like F on another?
39211	Would you still advise me to begin the study of the piano?
39211	Yes-- but when I bumped it till it fairly bled where would I get the metaphorical handkerchief?
39211	You understand the meaning?"
39211	You"want"to use the pedal?
39211	[ Sidenote:_ Always Keep in Touch with Bach_] Do you think that the playing of Bach''s works will keep one''s hands in good technical condition?
39211	[ Sidenote:_ Better Not Give the Child"Modified Classics"_] What little classics are best for a child after six months''lessons?
39211	[ Sidenote:_ Biting the Finger- Nails Spoils the Touch_] Is biting the finger- nails injurious to the piano touch?
39211	[ Sidenote:_ Can Music Be Studied in America?_] Is it necessary for me to go to Europe to continue my music studies?
39211	[ Sidenote:_ Can Music Be Studied in America?_] Is it necessary for me to go to Europe to continue my music studies?
39211	[ Sidenote:_ Cantabile Passages_] Should a cantabile passage be played with a high finger- stroke or by using the weight of the arm?
39211	[ Sidenote:_ Chopin''s Works for a Popular Concert_] What works of Chopin would you suggest for a popular concert programme?
39211	[ Sidenote:_ Do Not Injure the Hand by Stretching It_] Is there any way to increase the stretch of my very small hand?
39211	[ Sidenote:_ Do Not Over- Use the Soft Pedal_] Should the Gavotte in A, of Gluck- Brahms, be played without the soft pedal?
39211	[ Sidenote:_ Do Not Raise Wrist in Marking a Rest_] In observing a rest should the hand be raised from the wrist?
39211	[ Sidenote:_ Fingering the Chromatic Scale_] Which fingering of the chromatic scale the is most conducive to speed and accuracy?
39211	[ Sidenote:_ Four Ways to Study a Piano Piece_] Should a composition be studied away from the piano?
39211	[ Sidenote:_ Frequent Lessons and Shorter_] Is it better for a young student to take one hour lesson or two half- hour lessons a week?
39211	[ Sidenote:_ Good Finger Exercises_] What would you say are the best studies for plain finger work?
39211	[ Sidenote:_ How Are Syncopated Notes to be Played?_] How are syncopated notes to be played?
39211	[ Sidenote:_ How Are Syncopated Notes to be Played?_] How are syncopated notes to be played?
39211	[ Sidenote:_ How Tight to Keep the Piano''s Action_] Should I keep the action of my piano tight?
39211	[ Sidenote:_ How a Tie and a Slur Differ_] What difference is there between a slur and a tie?
39211	[ Sidenote:_ How to Hold the Thumb_] What is the correct position for the thumb?
39211	[ Sidenote:_ How to Improve the Technique_] Should I endeavour to improve my technique by trying difficult pieces?
39211	[ Sidenote:_ Kullak''s"Method of Octaves"Still Good_] Is Kullak''s"Method of Octaves"still one of the best in its line?
39211	[ Sidenote:_ Let Your Ear Guide Your Pedalling_] In Weber''s"Storm"should the pedal be held down throughout the entire piece, as directed?
39211	[ Sidenote:_ Modern Piano Music_] Are such pieces as"Beautiful Star of Heaven"or"Falling Waters"in good taste?
39211	[ Sidenote:_ Morning Is the Best Time to Practise_] How much time should I spend on clearly technical study?
39211	[ Sidenote:_ Music Schools and Private Teachers_] Shall I take my lessons in a music school or from a private teacher?
39211	[ Sidenote:_ No Necessity to Watch the Fingers_] Is it always necessary to watch the fingers with the eye?
39211	[ Sidenote:_ One Lesson a Week_] Is one lesson a week inadequate for a piano student?
39211	[ Sidenote:_ Perfect Rubato the Result of Momentary Impulse_] In playing_ rubato_ do you follow a preconceived notion or the impulse of the moment?
39211	[ Sidenote:_ Playing On a Dumb Piano_] Are mechanical appliances, such as a dumb keyboard, of advantage to the student of the piano?
39211	[ Sidenote:_ Playing the"Melody in F"_] In Rubinstein''s"Melody in F"should the melody be played in the left hand or be divided between the two hands?
39211	[ Sidenote:_ Playing the"Spring Song"too Fast_] Should Mendelssohn''s"Spring Song"be played in slow or fast time?
39211	[ Sidenote:_ Practising Eight Hours Instead of Four_] Will I advance quicker by practising eight hours instead of four, as I do now?
39211	[ Sidenote:_ Practising the Two Parts Separately_] When I am learning a new piece should the hands practise their parts separately?
39211	[ Sidenote:_ Premature Fatigue in the Arms_] Why does it tire my arms when I play octaves and a continuation of little runs?
39211	[ Sidenote:_ Rests Used Under or Over Notes_] What is the meaning of a rest above or below the notes of the treble clef?
39211	[ Sidenote:_ Rubinstein or Liszt-- Which the Greater?_] As between Liszt and Rubinstein, whom do you consider the greater?
39211	[ Sidenote:_ Rubinstein or Liszt-- Which the Greater?_] As between Liszt and Rubinstein, whom do you consider the greater?
39211	[ Sidenote:_ Slurs and Accents Not Related_] How should the beginning of slurs be accented?
39211	[ Sidenote:_ Small Notes Under Large Ones_] What is the meaning of small notes printed under large ones?
39211	[ Sidenote:_ Speed and Smoothness in Trilling_] Will you kindly suggest a good method of gaining speed and smoothness in trilling?
39211	[ Sidenote:_ Take a Month''s Rest Every Year_] Must I keep up my practice during my Christmas holidays of a month?
39211	[ Sidenote:_ Text- Books on Harmony_] Would you care to recommend two or three of the best books on the study of harmony?
39211	[ Sidenote:_ The Action of a Beginner''s Piano_] Do you think it wise for a beginner to practise on a piano that has a heavy action?
39211	[ Sidenote:_ The Art of Accompanying a Soloist_] How should one manage the accompaniment for a soloist inclined to play rubato?
39211	[ Sidenote:_ The Art of Playing With Feeling_] In the musical manifestations of feeling how does the artist chiefly differ from the amateur?
39211	[ Sidenote:_ The Best Physical Exercise for the Pianist_] What physical exercises are most advantageous to be taken in connection with piano practice?
39211	[ Sidenote:_ The C- Scale Fingering for All Scales?_] Do you advise the use of the C- scale fingering for all the scales?
39211	[ Sidenote:_ The C- Scale Fingering for All Scales?_] Do you advise the use of the C- scale fingering for all the scales?
39211	[ Sidenote:_ The Charm of Chopin''s Touch_] What kind of touch did Chopin have?
39211	[ Sidenote:_ The Conditions Which Dictate Speed in Playing_] How fast or slow should Schubert- Liszt''s"_ Auf dem Wasser zu singen_"be played?
39211	[ Sidenote:_ The Difference Between Major and Minor Scales_] What is the difference between the major and minor scale?
39211	[ Sidenote:_ The Difference Between"Finger Staccato"and Other Kinds_] What does"finger staccato"mean?
39211	[ Sidenote:_ The Easiest Way to Memorize_] Will you please tell me which is the easiest way to memorize a piano piece?
39211	[ Sidenote:_ The Effect of Double Flats_] How is an octave, written thus, to be played?
39211	[ Sidenote:_ The Fingers Needed to Play a Mordent_] When executing the mordent, is not the use of three fingers preferable to two?
39211	[ Sidenote:_ The Genuine Piano Hand_] What shape of hand do you consider the best for piano playing?
39211	[ Sidenote:_ The Greatest Composers as Pianists_] Is it true that nearly all the great composers have been pianists?
39211	[ Sidenote:_ The Height of the Piano Seat_] Is my seat at the piano to be at the same height when I practise as when I play for people?
39211	[ Sidenote:_ The Meaning and Use of"Motif"_] What is the meaning of a"motif"?
39211	[ Sidenote:_ The Meaning of Solfeggio_] What is meant by"spelling"in music?
39211	[ Sidenote:_ The Meaning of"Toccata"_] What is the meaning of the word"Toccata"?
39211	[ Sidenote:_ The More Technique the More Practice_] Why do pianists who have more technique than many others practise more than these others?
39211	[ Sidenote:_ The Old Problem of Duple Time Against Triple_][ Illustration] How should the above- quoted notes be brought in with the lower triplets?
39211	[ Sidenote:_ The Position of the Wrist_] Do you favour a low or high position of the wrist for average type of work?
39211	[ Sidenote:_ The Real Meaning of Speed Terms_] What is the meaning of the words Adagio, Andante, and Allegro?
39211	[ Sidenote:_ The Relation of Harmony to Piano- Playing_] Is it absolutely necessary for me to study harmony in connection with my piano?
39211	[ Sidenote:_ The Staffs Are Independent of Each Other_] Does an accidental in the right hand influence the left?
39211	[ Sidenote:_ The Study of Operatic Transcriptions_] Is the study of Thalberg''s operatic transcriptions of any value to the piano student?
39211	[ Sidenote:_ The Study of Scales Is very Important_] Must all study of the piano absolutely begin with the study of scales?
39211	[ Sidenote:_ The Use of the Pedal for Colouring_] What is the use of the damper pedal?
39211	[ Sidenote:_ The Value of Going to Concerts_] Shall I attend orchestra concerts or shall I give preference to soloists?
39211	[ Sidenote:_ The Value of Heller''s Studies_] Are Heller''s studies practical for a young student lacking in rhythm and expression?
39211	[ Sidenote:_ The Weak Fingers of the Left Hand_] What exercise would you recommend for the training of the fourth and fifth fingers of the left hand?
39211	[ Sidenote:_ The Well- Tempered Piano Scale_] Is there really a difference of three- eighths of a tone between A- sharp and B- flat on the piano?
39211	[ Sidenote:_ The"Colour"of Various Keys_] Is it not a mistaken idea that any one particular key is more or less rich or melodious than another?
39211	[ Sidenote:_ The"International"Piano Pitch_] Which piano pitch is preferable,"concert"or"international"?
39211	[ Sidenote:_ The"Tenuto"Dash and Its Effect_] What do short lines below or above a note or chord mean in contradistinction to a staccato or an accent?
39211	[ Sidenote:_ There are Dangers in Using a Metronome_] How should one use the metronome for practising?
39211	[ Sidenote:_ There is Only One Minor Scale_] Which is the true minor scale, the melodic or the harmonic?
39211	[ Sidenote:_ To Gain Facility in Sight- Reading_] What is a good plan to pursue to improve the facility in sight- reading?
39211	[ Sidenote:_ To Prevent Sore Finger- Tips After Playing_] How can I prevent my finger- tips, after prolonged playing, from feeling sore the next day?
39211	[ Sidenote:_ To Produce Good Legato_] Should you advise me to make use of a high finger- stroke?
39211	[ Sidenote:_ To Produce a Softer Tone_] Should the expression"_ p_"be executed by the aid of the soft pedal or through the fingers?
39211	[ Sidenote:_ To Strengthen the Weak Finger Use It_] How can I strengthen the little finger of my right hand?
39211	[ Sidenote:_ To Work Up a Fast Tempo_] Which is the best way to work up a fast tempo?
39211	[ Sidenote:_ Use Pedal With Caution in Playing Bach_] Is Bach''s music ever played with the pedal?
39211	[ Sidenote:_ Using the Two Pedals at Once_] May the damper pedal and the soft pedal be used simultaneously, or would this be detrimental to the piano?
39211	[ Sidenote:_ Watch Your Breathing_] What is the purpose of associating breathing with piano playing, and to what extent should it be practised?
39211	[ Sidenote:_ What is the Difference Between the Major and Minor Scales?_] What is the difference between the major and minor scales?
39211	[ Sidenote:_ What is the Difference Between the Major and Minor Scales?_] What is the difference between the major and minor scales?
39211	[ Sidenote:_ What the Leschetizky Method Is_] How does the Leschetizky method rank with other methods, and in what respect does it differ from them?
39211	[ Sidenote:_ When Playing Octaves_] When should I use the arm to play octaves as I have seen some concert players do?
39211	[ Sidenote:_ When Reading Over a New Piece_] When studying a new composition, which is preferable: to practise first with separate hands or together?
39211	[ Sidenote:_ Which Fingers Demand Most Attention?_] Should one pay special attention to the training of the thumb?
39211	[ Sidenote:_ Which Fingers Demand Most Attention?_] Should one pay special attention to the training of the thumb?
39211	[ Sidenote:_ Why Rag- Time Is Injurious_] Do you believe the playing of the modern rag- time piece to be actually hurtful to the student?
39211	[ Sidenote:_ Why so Many Different Keys?_] Why is it supposed to be necessary to have fifteen keys to complete the circle of fifths?
39211	[ Sidenote:_ Why so Many Different Keys?_] Why is it supposed to be necessary to have fifteen keys to complete the circle of fifths?
39211	[ Sidenote:_ Why the Piano Is So Popular_] Why do more people play the piano than any other instrument?
39211	[ Sidenote:_"E- Sharp and B- Sharp"and the Double Flat_] What is the meaning of the sharps on the E and B line, and of a double- flat?
39211	[ Sidenote:_"Playing in Time"and"Playing in Rhythm"_] What is the difference between playing"in time"and playing"in rhythm"?
39211	_ Now How Can We Know_ whether we are or are not approaching the spiritual phase of a piece?
39211	e._, mechanical, practice may I have a book or a magazine on the music- stand and read?
39211	or can you recommend something better?