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
19138	BREATH MASTERY What then does perfect control of the breath mean?
19138	CHAPTER IX THROAT STIFFNESS What is the most frequent obstacle to good singing, the difficulty with which pupil and teacher most contend?
19138	If the singer''s breathing is nothing but an amplification of normal, healthy breathing, why dwell upon it, why not let it develop of itself?
19138	Lilli Lehmann, in her interesting work,_ How to Sing_, says:"Do registers exist by nature?
19138	WHEN IS THE VOCAL ACTION CORRECT?
19138	What more than anything else mars the singing of those we hear in drawing- rooms, churches, and the concert room?
32023	An admirable plan is to keep boys on the alert listening for faults, asking those not singing,"Whose fault is that?"
32023	Considering the growing scarcity of this latter voice, why not use boy altos?
32023	How could it be possible to attempt it after labouring through such a programme as Canticles, Hymns, Psalms, Kyrie, and Amens?
32023	How is the alto part, in a church choir consisting of males, to be sung?
32023	How much more hard is it, then, for a boy who is by nature a fidget, and if healthy, brimming over with activity?
32023	How would you correct this fault in boys?"
32023	The butterfly and the humble bee... Metzler& Co. Davis, Miss... What is that, mother?
32023	What are the first signs of this change?
32023	What are their causes?
32023	What can an adult alto be expected to do in a case where the reciting note is close to his break?
32023	What method is employed in---- Cathedral for developing and strengthening the higher( head) register in boys''voices?"
21400	(_ plus intransigeant, plus intraitable que_ Meyerbeer_ ou_ Wagner?).
21400	Again I ask, why did this world- famous singer perform this passage_ always_ in the same way?
21400	But what constitutes an artist?
21400	But what constitutes"expression"in singing?
21400	But why should either of these two factors be less essential to a singer than to an instrumentalist?
21400	CHAPTER III ANALYSIS OF STYLE What is Style?
21400	Che farò?
21400	Dove andrò senza il mio ben?
21400	Dove andrò?
21400	Here is an illustration of its effective use in the air"Connais- tu le pays?"
21400	In the first quoted of these two works, in the response for Double Chorus to the question,"Whether of the twain will ye that I release unto you?"
21400	What is the reason of this?
21400	Whom is it by?"
21400	Why do great artists always make the same effect and produce the same impression on their public?
21400	Why then this outcry against the same procedure in_ Der Freischütz_?
21400	[ Music:"Che farò senz''Euridice?"
19880	Did you not run and shout as a child?
19880	: When should the individual who is sufficiently endowed musically begin to sing, or study public utterance practically in some of its forms?
19880	But the student, deeply impressed with the importance of the subject of registers, may ask:"How am I to distinguish between one register and another?
19880	By what means has Nature solved the problem of supplying more oxygen to parts in action than to those at rest?
19880	Do our modern usages not show a neglect of facts of vital moment still more marked?
19880	Granted that the ear can at once determine what register the pupil herself or another singer may be using, what other guide has she?
19880	How am I to know when I am singing with chest, middle, or head voice?"
19880	How can such a singer hope to retain either voice or a sound throat?
19880	How is it that one set of muscles acts with instead of antagonizing another set, as in any complicated series of movements, such as walking?
19880	How is the student to distinguish, in his choice, between Mr. A and Mr. B, in the case of two successful teachers, both of whom recognize registers?
19880	How is this instrument played upon and how are these cavities made actually into resounding chambers?
19880	How long should a singer practise at one time, and for how long during a single day?
19880	How many modern actors are capable of it?
19880	How many singers living can sing an ascending and a descending scale, in succession, with a perfect staccato, to mention no other effect?
19880	How many singers?
19880	How shall we train?
19880	If he shows natural ability for the use of the voice, should he be trained very early?
19880	Is it even enlightened?
19880	Is it necessary to point out that such wonderful development and control can only be attained after years of steady work by the best methods?
19880	Is not the result when attained worth the best efforts of the most talented individual?
19880	Should the child get his musical development through the use of his own musical instrument or another?
19880	Teachers will do well to encourage their pupils to hear the best singers; for do not students need inspiration as well as discipline?
19880	The author has been asked frequently such questions as the following:"When is the best time to practise?
19880	The question is how is this breathing best accomplished so that the instrument shall be most efficiently played upon?
19880	The student may ask:"Why not begin, as is often done, by the singing of scales?"
19880	What is the student to believe, and whom to follow?
19880	What so eloquent as the silence after a perfect stop-- a complete and satisfactory arrest of the tone?
19880	Why do we look in vain to- day for elocutionists such as Vandenhoff, Bell, and others?
19880	Why is it that actors and singers do not prepare themselves by as prolonged and thorough a vocal training as in a past time?
19880	Why is it that the stomach has enough and not too much blood?
19880	Why should students and teachers of voice- production be content to remain, in the advanced present, where they were hundreds of years ago?
19880	Why should the same not occur in the vocal teacher''s profession?
21957	But the important point is, how are we able to do the things we want to do?
21957	But what conveys this impression?
21957	Can all the expiratory force expended in tone- production show such a small result?
21957	Can any empirical knowledge of the voice be obtained by the mere listening to voices?
21957	Can it learn to produce this quality of tone by imitation?
21957	Could any point be located at which the student would be unable to imitate the teacher''s voice?
21957	Do you wish a little example?
21957	Does consciousness or volition come into play here?
21957	Does the hand raise itself?
21957	Does this mean that the singer is unconscious of the muscular contractions?
21957	First, what is muscular stiffness?
21957	How are the deficiencies of the scientific doctrines supplied in instruction?
21957	How are these efforts guided?
21957	How can a tone, merely a sound to which we listen, tell us anything about the condition of the singer''s throat during the production of the tone?
21957	How can any facts be observed about the voice other than by the study of the vocal mechanism?
21957	How can the"column of vocalized breath"be voluntarily directed in its passage through the pharynx and mouth?
21957	How did this critic know that the singer had pinched her glottis?
21957	How do we guide and control our muscular movements?
21957	How does the listener know this?
21957	How does your hand know that you wish to raise it?
21957	How is it caused?
21957	How is the correct vocal action to be imparted to the pupil if not by direct instruction to this end?
21957	How then are the muscles informed of the service required of them?
21957	How then did Tosi and Mancini know the manner in which a throaty tone is produced?
21957	If the correct vocal action is to be acquired by imitation, of what use are the mechanical doctrines of vocal management?
21957	In other words, what is a method of Voice Culture?
21957	Is a knowledge of anatomy of any assistance in the acquirement of skill in performing complex muscular actions?
21957	Is it necessary for the performance of a complex muscular action that the individual know what muscles are involved and how and when to contract them?
21957	Is it to be believed that an intelligent master would use these directions in any occult or cabalistic sense?
21957	It will be asked, how does the conscientious teacher get over this difficulty?
21957	That obstacle is what?
21957	The theoretical problem therefore is: What is the correct vocal action, and how can it be acquired?
21957	What are these laws?
21957	What change takes place in the voice as a result of correct training?
21957	What do we mean when we say that a singer''s voice is throaty?
21957	What effect has the voluntary contraction of all the muscles of any member, each opposed set exerting the same degree of strength?
21957	What is its effect on the tones of the voice?
21957	What is left of all the materials of modern vocal instruction?
21957	What is meant by saying that the muscular contractions are performed without conscious guidance?
21957	What is nasal resonance?
21957	What is this peculiar way in which the voice must be handled during the practice of singing?
21957	What leads these muscles in the shoulder and back to contract, when you will to raise your hand?
21957	What necessity is there of mechanical management of the vocal organs if the voice is to be guided by the ear?
21957	What then is the"forward tone"?
21957	What valid reason can be given for denying the corresponding ability regarding tone quality?
21957	Who does not recall his earliest attempts at"speaking a piece"in school?
21957	Why then does not the incorrectly used voice impress the hearer as issuing directly from the mouth, the same as the correctly produced tone?
21957	Yet who would undertake to describe in words the tone of the muted horn?
21957	_ The Discharge to the Muscles of the Nerve Impulse_ How then are the muscles informed that their contraction is called for?
33358	But,persisted the young American,"_ Why did he go to the back before he sang?_""Oh!"
33358	Is there one among them, for instance, who can enunciate her own language faultlessly; that is, as the stage demands? 33358 Who on earth have you been listening to?"
33358	Why must I go to the back first?
33358	A voice?
33358	Before our national elections I am asked,"Which one of the candidates do you believe will make the best President?"
33358	Blind imitation is, of course, bad, but how is the student to progress unless he has had an opportunity to hear the best singers of the day?
33358	But how good must that voice be?
33358	By practicing breathing exercises?
33358	COMMON SENSE IN TRAINING AND PRESERVING THE VOICE DAME NELLIE MELBA HOW CAN A GOOD VOICE BE DETECTED?
33358	Can I digress long enough to say that I think that everybody should sing?
33358	Can any one who knows anything about the art of singing fail to realize how absurd this is?
33358	Could not a shoemaker or a blacksmith take a few lessons and become a great singer?
33358	Did you ever hear of any one forming a party for the express purpose of listening to the crowing of a rooster?
33358	Do you wonder that I guard them carefully?
33358	Do you wonder that I lay stress upon good health?
33358	Does this not make the point clear?
33358	ERNESTINE SCHUMANN- HEINK THE ARTIST''S RESPONSIBILITY Would you have me give the secret of my success at the very outstart?
33358	Even in many of his piano pieces, such as_ Warum?_,_ Träumerei_ or the famous_ Slumber Song_, the lyric character is evident.
33358	FLORENCE EASTON What is the open door to opera in America?
33358	GERALDINE FARRAR What must I do to become a prima donna?
33358	He asked,"Is there anything else she can do?"
33358	He used to say, after accompanying himself in the aria of Cherubino the Page, from the 1st act,"Is n''t that Spring?
33358	How can a girl breathe when she has squeezed her lungs to one- half their normal size?
33358	How could I help profiting by such excellent experiences?
33358	How do American women begin their studies?
33358	How does a bird learn to sing?
33358	How does the animal learn to cry?
33358	How does the lion learn to roar?
33358	How is she to determine this?
33358	How is the student to know when he is straining the voice?
33358	I began to ponder, why were some of my records poor and others good?
33358	IS THE ART OF SINGING DYING OUT?
33358	If I could do it one time-- why could n''t I do it all the time?
33358	If they do not understand, why sing words at all?
33358	In a blare and confusion of noises, like bedlam broken loose, what chance has a child to develop good taste?
33358	Is n''t that the joy of life?
33358	Is n''t that very simple?
33358	Is n''t that youth?
33358	Is there an open door, and if not, how can one be made?
33358	It is perfectly easy for me, a contralto, to sing C in alt but do you suppose I sing it in my daily exercises?
33358	JULIA CLAUSSEN WHY SWEDEN PRODUCES SO MANY SINGERS The question,"Why does Sweden produce so many singers?"
33358	Need I say more than that I practice deep breathing every day of my life?
33358	Once while we were performing_ Rosenkavalier_ he came behind the scenes and said:"Will this awfully_ long_ opera never end?
33358	Or do they believe that the singing teacher must also provide a musical and general education?
33358	Or the donkey learn to bray?
33358	The director was amazed and blustered:"Why?
33358	The girl who wants to sing in opera must have one thought and one thought only--"what will contribute to my musical, histrionic and artistic success?"
33358	Then he came in the room and said to me,"How much do you get here for teaching and playing?"
33358	They approach their work with the question,"Will this go?"
33358	WHAT MUST I GO THROUGH TO BECOME A PRIMA DONNA?
33358	WHAT MUST THE SINGER HAVE?
33358	WHAT WORK SHOULD THE GIRL UNDER EIGHTEEN DO?
33358	WHEN TO BEGIN The eternal question,"At what age shall I commence to study singing?"
33358	What about the nineteen- twentieths?
33358	What chance has the student?
33358	What could be simpler than this?
33358	What difference does it make whether I buy Castile soap in a huge Broadway store or a little country store, if the soap is the same?
33358	What difference does it make whether you ruin your stomach, liver or kidneys by too much alcohol or too much roast beef?
33358	What has become of them?
33358	What is the first consideration of the singer?
33358	What is the result?
33358	What is the stroke of the glottis?
33358	What might these men have been had they not been under the benign influence of music?
33358	What must the singer have?
33358	What should the girl starting singing avoid?
33358	What then is"good singing"as the Italians understand it?
33358	When you hold your hand out freely before you what is it that keeps it from falling at your side?
33358	Where is musicianship needed more than in the case of the singer?
33358	Who may go through that door and what are the terms of admission?
33358	Who needs a sounder mind than the artist?
33358	Whoever hears of Marietta von Leclair in these days?
33358	Why does not some enthusiastic American leader take up a campaign for more opera in America?
33358	Why does this dearth exist?
33358	Why not be patient?
33358	Why not vocalize the melodies upon some vowel?
33358	Why not wait a little while?
33358	Why should she wait a whole year with silly tones when she knows that she can sing a great aria with only a little more difficulty?
33358	Why?
33358	Why?
33358	Why?
33358	With a good teacher to keep watch over the breathing and the quality,"what more can one have?"
33358	Would it not be better to do away with the speculator at the door and pay say$ 10.00 for a seat that now costs$ 7.00?
33358	exclaimed the excited Italian;"Why he go back?
37662	Can you jump immediately from a lesson to the desk and write one of your magazine articles?
37662	What is your ambition regarding your music?
37662	What is your ambition?
37662	A necessary faculty to success gone, is it?
37662	A question more to the point is"How can the racing from studio to studio be stopped?"
37662	Are not we becoming new- fashioned?
37662	Are not we much like them?
37662	Are singers less able to portray in art than is the cartoonist?
37662	Are these things trivial?
37662	Are we to come down into soberness and somberness to preserve these bodies of ours?
37662	Are you placing your hat on your head?
37662	Are you sharpening a pencil just now?
37662	Are you sure?
37662	As soon as they have that should they leave that teacher?
37662	Besides, is it not much more comfortable to have the real than the counterfeit?
37662	But can mind stand such things-- can mind keep itself in touch with the source of what is Good, in such conditions?
37662	But does it pay, financially?
37662	But may we not be at fault in our idea?
37662	Can not, however, even these necessary demands be somewhat reduced for the sake of attending to the ego within, more fully?
37662	Can your heart glow with the beautiful sunset?
37662	Concentration of thought, say you?
37662	Could n''t it have been said in two-- one, or less?
37662	Did it do us any good?
37662	Did we learn any lesson?
37662	Do we not have it?
37662	Do we not use up our strength in useless effort?
37662	Do you joy over the song of the bird?
37662	Do you know what is to be done?
37662	Do you recall"All things work together for good?"
37662	Do you want advice, a helping hand?
37662	Does it mean nothing?
37662	Does it mean what it says?
37662	Does that mean anything?
37662	Each morn, a man( one man, or how many think you?)
37662	Has it ever occurred to you to wonder what becomes of all the music students-- how many are there?
37662	Has the spring blossom a message of delicacy to you?
37662	Have they ability enough to fill such position, and could they hold the position if they obtained it?
37662	Have you any?
37662	Have you cleared the mind of the cobwebs-- the two different things per second which can come into it?
37662	Have you followed?
37662	Have you?
37662	How about circumstances and their influences?
37662	How about that mistake over which you have been mourning?
37662	How does he do it?
37662	How is the action when we act naturally?
37662	How long, ask you, will it take to become an artist?
37662	How many of our readers have done that?
37662	How many of us care to attend a concert, an opera of the light vein, or that of a brass band, as perhaps we once did?
37662	How many successful singers in grand opera have appeared during the last ten years?
37662	How many, though, of those who go to the teacher with the ambition to study for the choir would feel contented to take such a place as that?
37662	How often does every one of us make the"mistake of a lifetime?"
37662	How, then, about desire for refinement?
37662	How, when, or for what purpose?
37662	If the others expand, will not that?
37662	Is a musician less keen of perception and adjustment to circumstances than the dentist and photographer?
37662	Is any mind lacking these?
37662	Is he really so?
37662	Is it for good or ill?
37662	Is it not possible that if you had what you think would have been yours had you taken a different course, you would be worse off than you are now?
37662	Is n''t that wasteful?
37662	Is n''t this true?
37662	Is your ambition equal to it?
37662	Managers of concerts in various sections of the country ask the very first thing,"Where does he sing?"
37662	May such not apply to study?
37662	Me?
37662	Mind or body?
37662	Shall I tell you of some of the ambitions which students have, and say a word about them?
37662	That it will not come at your bidding?
37662	The very first question to ask of an applicant for vocal lessons is"what is your ambition?"
37662	Then why ca n''t we all hold the breath?
37662	Thousands attempt to be"Patties,"but who has reached her height?
37662	To return to the first question, what is your ambition?
37662	To whom?
37662	Was it a mistake?
37662	Was it the body, fighting against disease and death which thus responded?
37662	Was that necessary?
37662	We can ask"what becomes of the pins?"
37662	Well, reader,"What is_ your_ ambition?"
37662	What are muscles, where are they, how can they be managed?
37662	What are"all things?"
37662	What becomes of all the ambitious youths and maidens who study singing?
37662	What does it mean?
37662	What governs the air and gives the vibration?
37662	What has become of the"ninety and nine?"
37662	What has happened?
37662	What has the body done in the hour before reaching Niagara?
37662	What is the"we?"
37662	What is to become of them, and how many ever amount to anything?
37662	What prevents success, and is there false success?
37662	What produces voice?
37662	What say you?
37662	What shall be done about such persons?
37662	What would you become?
37662	Which from this definition, is more tangible?
37662	Which leads me to ask the question, can there not be such a thing as an overdose of music, just as there is an overdose of drug?
37662	Which would any father prefer, poverty or a wrecked family?
37662	While at first glance the teachers appear right, may they not be wrong?
37662	Who can not take one minute out of each hour in the day for preparing the mind and body for greater strength and activity?
37662	Who can tell?
37662	Who is there capable of discussing the nature of this great goddess?_"= Beethoven=.
37662	Who said"One thing at a time"was obnoxious to him?
37662	Who shall say but that another step may be taken or has been taken, in dropping the use of drugs and medicines entirely?
37662	Who thought, outside of a very small circle, only forty years ago, that the music of Wagner would become the most popular of any age?
37662	Who will take thought for himself and break loose, if but for a few weeks, and postpone the time of breaking down?
37662	Whose fault was it that so many were there, and that so many are there all the time?
37662	Why is it that the busy teacher draws the most pupils?
37662	Why not carry them all out?
37662	Why will students take lessons year after year and not sing any better than they did soon after they began?
37662	Why?
37662	Will we not make another"mistake of a lifetime"to- morrow, if we have the chance?
37662	Will you explain it again?''
37662	Will you try that?
37662	You and I help to waste, do we?
37662	You ca n''t?
37662	You waste five minutes( only five?)