kly attainable.

It is attempted in this volume only to describe the value of each
element in the production of the perfect tone and to demonstrate the
principles which, if properly and faithfully applied, will develop the
best that is possible in each individual voice and prepare the pupil
to enter upon the more advanced arts of speaking and singing.

In 1903 I prepared a series of papers on _The Art of Vocalism_, which
were published in _The Etude_ in May, June, and July of that year.
These articles are incorporated in this work. In connection with
different organs and conditions, important principles are stated and
restated. This repetition is thought desirable in order that the
fundamentals may be kept prominently before the mind and impressed
upon the attention.

I believe that a careful study of this volume will prove of essential
service to teachers and advanced pupils of singing and oratory,
especially to young teachers just entering upon their duties. Its
method will be found adapted to the instruction of pupils of all
grades, from the kindergarten to the Conservatory of Music and the
School of Oratory.

I shall be gratified if this outcome of years of experience, constant
study, and tested methods shall prove helpful to those who seek
mastery of the art of beautiful speaking and singing.

[Illustration: [signature] Thomas Fillebrown]

CONTENTS

PREFACE vii

INTRODUCTION 1

I. THE VOCAL INSTRUMENT 6

II. THE SPEAKING VOICE AND PRONUNCIATION 16

III. BREATH CONTROL 23

IV. BREATHING EXERCISES 33

V. REGISTERS 38

VI. RESONANCE IN GENERAL 43

VII. HEAD AND NASAL RESONANCE 51

VIII. PLACING THE VOICE 56

IX. THROAT STIFFNESS 74

X. SOME GENERAL CONSIDERATIONS 77

XI. THE PSYCHOLOGY OF VOCAL CULTURE 82

BOOKS CONSULTED 86

INDEX 89

RESONANCE

IN

SINGING AND SPEAKING

INTRODUCTION

When a youth it was my lot to be surrounded by exam