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