Shakespeare London and Boston, 1898.
The Rightly-Produced Voice Edward Davidson Palmer London, 1898.
How to Train Children's Voices T.Maskell Hardy London, 1899.
How to Sing (Meine Gesangskunst) Lilli Lehmann New York, 1902.
Scientific Tone Production Mary Ingles James Boston, 1903.
English Diction for Singers and Speakers Louis Arthur Russell Boston, 1905.
The Training of Boys' Voices Clarke Ellsworth Johnson Boston, 1906.
Voice Production in Singing and Speaking Wesley Mills, M.D.

Philadelphia, 1906.
The Art of the Singer W.J.Henderson New York, 1906.
The Commonplaces of Vocal Art Louis Arthur Russell Boston, 1907.
The Singing of the Future David Ffrangcon-Davies London, 1908.
The Art of Singing and Vocal Declamation Sir Charles Santley London, 1908.
INDEX ABDOMINAL BREATHING, employed by Martel, 4, 26; lateral, 3.
(See also _Chest-abdominal breathing_ and _Lateral abdominal breathing_.) ACOUSTICS, 43; experiments in, 46-48; Pascal on, 49.
ACTOR, enunciation of the, 19; importance of deep breathing for, 19.
ADAM'S APPLE, the male larynx, 9.
AGE to begin study of voice, 77.
AH-sound, narrow limits of, 18; how produced, 22; Lilli Lehmann on, 19; place of, in practice, 57.
AIR CAVITIES (see _Sinuses_).
ANXIETY, a deterrent to beautiful singing, 85.
APPLICATION OF ESSENTIALS, 79.
APPUNN, on pitch of vowel sounds, 20.
ARTICULATION, differing opinions concerning, 3; relation of, to resonance, 51; through upper lip, 72.
(See also _Pronunciation_.) ARTICULATOR, 6.
ARTISTRY, 79.
ASCHAM, ROGER, on voice culture through imitation, 77.
AW-sound, lip position for, 22; in exercises, 59, etc.
BEAUTY OF TONE, a criterion of correct vocal action, 56.
BELL, on pitch of vowel sounds, 20.
BOOTH, EDWIN, as a good speaker, 16.
BOOTH, JUNIUS BRUTUS, impairment of his voice, 53.
BREATH CONTROL, 23-32; importance of, in both speaking and singing, 23; muscles of respiration in, 23; the diaphragm in, 23; muscles in, 24; the lungs in, 25; inspiration, 25; expiration, 25; correct method of, 25; a cure for nervousness, 27; necessity of exercises, 27; economy a factor in, 30; exaggerated, 30; initial use of, 31; exercises for, 33-37; of Farinelli, 37.
BREATH FORCE, initial use of, 31; reserve, 31; wasted, 31.
BREATH MASTERY, meaning of, 32.
BREATHING, art of, 3; an amplification of the daily habit, 5; defined as singing, 23; correct, 25, 28; not differing in sex, 26; vicious habits of, 26; controlling deeply, 26; tests of, 26; nose versus mouth, 26; regularity of, 26; in obtaining power and largeness of tone, 27; for high tones, 27; relation of, to nervousness, 27; rhythmic, 27; necessity of exercises, 27; illustrations of, 28, 29; exercises in, 33-37; economy in, 30; tests in, by Professor Mills, 30; exaggerated control of, 30; exhaustion, 31; initial force in, 31; reserve power in, 31; mastery of, 32.
(See also _Abdominal breathing_.) BROSCHI, DON CARLO, breath control of, 36.
BROWNE, DR.

LENNOX, on the laryngoscope, 3.
BROWNE and BEHNKE, on nasal resonance, 53.
CHEST, expansion of and resonance, 49.
CHEST-ABDOMINAL BREATHING, 25; illustrated in sleeping child, 25; tests in, 26; illustrated, 28, 29.
CHEST TONES, former emphasis given to, 2; wrongly termed, 5.
CLAY, HENRY, as a good speaker, 16.
CLOSED TONES, former emphasis given to, 2; wrongly termed, 5.
CRYER, DR.

W.H., on the frontal sinus, 12.
CULTURE OF THE VOICE (see _Voice culture_).
DEEP BREATHING, importance of, for the actor, 19.
(See also _Breathing_.) DETERRENTS TO BEAUTIFUL SINGING, 84, 85.
DIAPHRAGM, in breathing, 19; not a muscle of expiration, 23; described, 23, 24; in inspiration, 24; in expiration, 24; illustrated, 24, 29.
DIFFERENCE BETWEEN SINGING AND SPEAKING, 17.
EAR, function of, in tone production, 57; training of, 57.
EE-sound, lip position for, 20; in exercises, 57, 59, etc.
EFFORT, TENSE, a deterrent to beautiful singing, 84.
EMOTION, effect on tone quality, 7; excess of, a deterrent to beautiful singing, 84.
EMPIRICISTS, where they have failed, 4.
EPIGLOTTIS, 10.
ESSENTIALS, application of, 79.
ETHMOID BONE, 8.
ETHMOIDAL SINUSES, illustrated, 7; function of, 12.
EVERETT, EDWARD, as a good speaker, 16.
EXERCISES, BREATHING: necessity of, 27, 33; preliminary suggestions, 33, 34; attitude in taking, 34; I, to show what a deep breath is, 34; II, slow inhalation with sudden expulsion, 35; III, sipping the breath, with quick exhalation, 35; IV, for rib expansion, 35; V, slow inhalation with slow expiration, 36; VI, rapid inspiration with slow expiration, 36; VII, Farinelli's great exercise, 36; VIII, the cleansing breath, 37; half breath, 37.
EXERCISES, VOCAL: I, to establish nasal and head resonance, 58-61; for speakers, 60, 61; II, to establish head and nasal resonance, 61; III, IV, V, upper resonance, 62-64; VI, to enlarge the throat and thus magnify the tone, 64; VII, for production of the vowel sounds in proper focus, 65; VIII, to enlarge the throat and focus the vowels, 66; IX, quick changing notes without changing resonance, 67; X, for agility, 67, 68; XI, to develop the use of the lips and under jaw, 68, 69; XII, for facility and quick vowel change, 69, 70; XIII, ascending and descending scale, 71; XIV, the long scale, 71; additional, 72, 73; repose as a preparation for, 80.
EXPIRATION, muscles of, 23, 24; under controlled pressure, 24; described, 25; the lungs in, 25; illustrated, 28, 29.
FACE, training muscles of, 15.
FARINELLI, breath control of, 36.
FFRANGCON-DAVIES, on pronunciation, 18; on registers, 39; on function of ear in voice training, 57; definition of singing of, 83.
FOCUSING THE VOICE (see _Voice placing_).
FORBES-ROBERTSON, on diction, 19.
FORMES, CARL, voice of, in declining years, 4.
FREEDOM IN SINGING, 84.
FRONTAL SINUSES, function of, 12; illustration of, 7.
GARCIA, MANUEL, inventor of laryngoscope, 2; use of laryngoscope, 2; Sir Charles Stanley on, 3.
GOUNOD, on pronunciation, 19.
HALF-BREATH, Sembrich and, 37.
HARD PALATE, function of, 12.
HARSHNESS, an indication of tension, 56.
HEAD CAVITIES, a resonator for the voice, 6; effect of, on resonance, 12.
HEAD TONES, in previous years, 2; wrongly termed, 5.
HELMHOLTZ, on pitch of vowel sounds, 20; on acoustics, 43, 49.
HENDERSON, W.J., on pronunciation, 18.
HIGH TONES, breath control necessary for, 27.
HOLMES, OLIVER WENDELL, on Edward Everett's voice, 16.
HYOID BONE, 8, 10.
I-sound, described, 21.
IMPATIENCE, a deterrent to beautiful singing, 84.
INSPIRATION, muscles of, 23, 24; process of, described, 25; illustrated, 28, 29.
(See also _Breath control_ and _Breathing_.) INSTRUMENT, MUSICAL, elements of, 43, 44.
INTENSITY, INVOLVING STRAIN, a deterrent to beautiful singing, 84.
KINDERGARTEN TEACHERS, instruction by, 78.
KOENIG, on pitch of vowel sounds, 20.
LARYNGOSCOPE, and registers, 2; Garcia the inventor of, 2; usefulness of, 2; limitations of, 3; disappointing results of, 38; not an instrument for the singer, 51.
LARYNX, moving, 3; viewed through the laryngoscope, 3; illustrated, 7; description of, 8, 9; relation of size of, to pitch, 9; automatic action of, 38; not alone the vocal organ, 50; reflex action of, 51; force of tone does not originate in, 75; must be left uncramped, 75.
LATERAL ABDOMINAL BREATHING, 3, 25, 28.
LEHMANN, MADAME LILLI, on use of Ah, 19; on registers, 39; on nasal resonance, 54.
LIFE'S PERIODS, 79.
LIND, JENNY, effects of wrong methods on, 4.
LIPS, in articulation, 14; position of, 20-22; illustrated, 21, 22.
LUNGS, a motor for the voice, 6; illustrated, 24; described, 25; overcrowding, 31.
MACKENZIE, DR.

MORELL, on the laryngoscope, 3; on singing and speaking, 17.
MACREADY, WM.