CHARLES, as a good speaker, 16.
MARTEL, voice of, at seventy, 4.
MAXILLARY SINUSES, 7, 8, 12.
MAY, DR., breathing tests made by, 26.
MCKINLEY, M.S., on Garcia and the laryngoscope, 2.
MENTAL DISCORD, a deterrent to beautiful singing, 84.
MEYER, EDMUND J., on resonance, 43.
MILLS, DR.

WESLEY, on breath measure, 30; on ease of vocal action, 56; on the function of the ear in tone production, 57.
MOTOR OF THE VOCAL INSTRUMENT, 6.
MOUTH, theory of its function, 1; a resonator for the voice, 6.
MUSCLES OF RESPIRATION, 23.
MUSIC TEACHERS, scientific, 4; empirical, 4.
NASAL CAVITIES, as reinforcing agents in tone production, 2; a resonator for the voice, 6; illustrated, 7; formation of, 8; vibrations in, 8; effect on resonance, 12; Edward Everett's use of, 16; as a resonator, 52, 53; obstruction of, in Booth, 53.
NASAL RESONANCE, erroneous theories concerning, 1, 2; Madame Rudersdorff recognized effect of, 2; involved in head resonance, 52; versus nasal tone quality, 53; Lilli Lehmann on, 54; Sembrich's study of, 54; importance of, 54.
NATURAL VOICE, what is meant by, 77.
NERVOUSNESS, a cure for, 27, 80.
NOSTRILS, relation of, to tone quality, 14.
O-sound, lip position for, 20; illustrated, 21; in exercises, 59, etc.
OO-sound, lip position for, 20, 21; in exercises, 59, etc.
OPEN TONES, 2, 5.
ORAL SURGERY, 2.
ORATORIO, faulty diction in, 18.
OVER-CONSCIENTIOUSNESS, a deterrent to beautiful singing, 84.
OVERTONES, 45, 46.
PERSONALITY, effect on the voice, 83.
PHARYNX, function of, 10.
PHILLIPS, ADELAIDE, voice of, in declining years, 4.
PITCH OF TONE, influence of resonance cavities on, 12, 13.
PLACING THE VOICE (see _Tone production_).
POWER OF TONE, dependent on resonant cavities and breath control, 27.
PRINCIPLES ADVOCATED, 5.
PRONUNCIATION, indifference of American singers to, 17; W.J.Henderson on, 18; change of attitude toward, 18; importance of, to singer, 18; relation of, to tone, 18; Ffrangcon-Davies on, 18; sing words rather than tones, 18; Lilli Lehmann on, 19; emotional power impossible without, 19; Gounod on, 19; Forbes-Robertson on, 19; upper lip in, 19; effect of smile on, 19.
PSYCHOLOGY OF VOCAL CULTURE, 82-85.
PTERYGOID MUSCLES, and the under jaw, 10.
PUBLIC SCHOOLS, voice training in, 78.
REEVES, SIMS, voice of, 4.
REGISTERS, 38-42; blending the, 2, 41; not a natural feature of the voice, 2; fallacy of theory of, 2; a myth, 5; the _bete noire_ of vocalists, 38; defined, 38; Clara Kathleen Rogers on, 38; Lilli Lehmann on, 39; Ffrangcon-Davies on, 39; of the organ, 40; of voice and instruments compared, 40, 41; an artificial creation, 41, 42.
REPOSE, AS A PREPARATION FOR VOCAL EXERCISES, 80; how to induce, 80.
RESONANCE, differing opinions concerning, 3; principle of, 5; nasal and head cavities in, 12; influence of resonance cavities on pitch, 12; pitch of vowels in, 20; and power, 27; and breath force, 31; in general, 43-50; development of science of, 43; quality and power of, 44; significance of, 45; experiments to demonstrate, 46-50; induced, 47; sympathetic, 47, 48; density of air and, 47; volume and character of tones dependent on, 49; head and nasal, 51-55; relation of articulation to, 51; focusing tone a matter of, 52; effect of its absence, 54; exercises to establish, 58-72.
RESONATOR OF THE VOICE, 6.
RESPIRATION (see _Breath control_ and _Breathing_).
RESPIRATORY MUSCLES, a motor for the voice, 6; described, 23, 28; action of, 25; illustrated, 24, 29.
ROGERS, CLARA KATHLEEN, on registers, 38.
RUDERSDORFF, MADAME, and nasal resonance, 2.
SANTLEY, SIR CHARLES, on Garcia and the laryngoscope, 3.
SCALE OF VOWEL SOUNDS, 20, 72.
SELF-REPRESSION, a deterrent to beautiful singing, 84.
SEMBRICH, MARCELLA, and the half-breath, 37; use of nasal resonance, 54.
SINGING, subtlety of, 4; obstacles to, 5, 74, 84; versus speaking, 5, 17; mission of singer, 18; defined as breathing, 23; age to begin, 77; in public schools, 78; by method, 79; vibrato in, 80; psychology of, 82-85; sublimated speech, 83; defined by Ffrangcon-Davies, 83; freedom in, 84; deterrents to, 84.
SINUSES, illustrated, 7; pairs of, 8; function of, 12.
SMILE, EFFECT OF, on pronunciation, 19.
SOFT PALATE, office of, 11, 52.
SPEAKING, obstacles to, 5; tones of, identical with singing tones, 5; difference from singing, 17; expression in, 83.
SPEAKING VOICE, misunderstood, 16; connection with singing voice, 16; how cultivated, 16; identity with singing voice, 17; and pronunciation, 18, 19.
SPHENOID BONE, 8.
SPHENOIDAL SINUSES, illustrated, 7; pairs of, 8; function of, 12.
STAGE ELOCUTION, criticism of Forbes-Robertson on, 19.
TEETH, function of, in use of voice, 12.
THROAT, theory of sound in, 1; a resonator, 6; illustrated, 7; relation to voice, 8.
(See _Larynx_ and _Pharynx_.) THROAT STIFFNESS, most frequent obstacle to good singing, 74; effect on larynx, 74; difficulty in recognizing one's own, 74; throat consciousness a common cause of, 74; induced by lack of breath mastery, 75; American hurry begets, 75; voice culture a struggle with, 75; remedies for, 75, 76.
TIMBRE OF VOICE, defined and explained, 7, 8.
TONE, defined, 45; analyzed 45; experiments to determine composition and resonance of, 46-50; focusing of, 52; vocal, a mental concept, 82; whole man in, 83.
TONE PRODUCTION, largely a matter of resonance, 56; effect of right thought on, 56; judged by naturalness and beauty of result, 56; function of the ear in governing, 57; cultivating normal, 57; exercises to aid in, 58-73; effect of throat stiffness on, 74; natural, 77; age to begin study of, 77.
TONE QUALITY, variety in, 6; effect of emotion upon, 7, 75, 84; relation of pronunciation to, 18; how to secure purity of, 18, 19; experiments to determine, 46-50; and resonance, 5, 44, 45, 49, 50; cause of nasal, 52-54; beauty or harshness of, a criterion of judgment, 56, 57; effect of throat stiffness on, 74-76; dependent on mind and ear, 82; related to personality of singer, 83; natural and unnatural, 85.
TONGUE, as an articulator, 6; illustrated, 7; connection with larynx, 9; position of, in speaking and singing, 13; tongue consciousness, 14.
UNDER JAW, 10; in ascending the scale, 10.
UPPER LIP, in pronunciation, 19; in practising, 68; in articulation, 72.
UVULA, office of, 11.
VENTRICLE IN THE LARYNX, 8.
VIBRATO, 80, 81.
VIBRATOR, of the voice, 6; of instruments, 43.
VITALIZING TEXT WITH TONE, the singer's mission, 18.
VOCAL CORDS, vibrator for the voice, 6; in the larynx, 8; described, 9; not the principal cause of tone, 44, 45, 49; necessity of free action of, 51.
VOCAL INSTRUMENT, discussion of, 6-15; beauty and complexity of, 6; three elements of, 6, 7; illustrated, 7; relation of parts of, 8; larynx, 8, 9; vocal cords, 9; epiglottis, 10; pharynx, 10; under jaw, 10; soft palate, 11; hard palate and teeth, 12; nasal and head cavities, 12; tongue, 13; lips, 14; nostrils, 14; face, 15; defects in, 85.
VOCAL TONE, an audible mental concept, 82.
VOICE CULTURE, opinions concerning, 2; wrong methods of a generation ago, 3, 4; cannot be developed mechanically, 4; principles advocated, 5; the right way the easy way, 5; resonance an important factor of, 5, 43, 45, 50, 52, 54; should begin in childhood, 77; learned by imitation, 77; Roger Ascham on, 77, 78; in public schools, 78; artistry in, 78, 79; three periods of, 79; application of essentials of, 79; repose as a preparation for, 80; the vibrato in, 80; psychology of, 82-85; personality in, 83; freedom in, 84; deterrents in, 84, 85.
VOICE PLACING, 51, 52, 56-73.
VOICE TIMBRE, defined, 7, 8.
VOWEL SOUNDS, 11, 18, 19; singer's scale of, 20, 72; each has its own pitch, 20; lip position for, 20-22; placing of, 52; exercises for practice, 58-73.
WEBSTER, DANIEL, as a good speaker, 16.
WHEATSTONE, on pitch of vowel sounds, 20.
WILLIS, on pitch of vowel sounds, 20.
THE MUSIC STUDENTS LIBRARY [Illustration: THE MUSIC STUDENTS LIBRARY] =A series of Educational Text-books suited to the requirements of the average student and covering every essential branch of musical instruction.= _Note_:--Unless otherwise specified, books are bound in cloth.
PIANO =Burrowes' Piano Primer.= Frederic Field Bullard, Editor.

An enlarged edition with pronouncing dictionary.

_Paper_ 75 A =Ears, Brain and Fingers.= Howard Wells.

1 25 A =Half Hour Lessons in Music.= Mrs.Hermann Kotzschmar.