Artistic expression only through movements--Emotions and
technique--Relation of ideas to movements--Memories and
movements--Guiding sensations essential for movements--The principles
underlying all movements the same--Associated reflexes and habits--How
habits are formed--inhibitions and their importance--Early practices
only before the teacher--Careful practice with concentration of energy
the best--Queries as to practice--Fatigue a warning--Practice in the
early hours of the day, and short of fatigue--Quality to be aimed at
rather than quantity--The total amount of time to be devoted to
practice--"Hasten slowly;" "Little and often"--The treatment of the
voice ruined by wrong methods--Summary 179

CHAPTER XIII.

CHIEFLY AN APPLICATION TO VOICE-PRODUCTION OF FACTS AND PRINCIPLES
PREVIOUSLY CONSIDERED.

Vowels, consonants, noise--Consonants and pauses--Voice-production and
vowels--Certain vowel sounds common to most languages--Why German and
English are relatively unmusical--The needs of the musical artist--The
mechanism required for the production of a vowel sound--Reconsideration
of the resonance-chambers--The larynx to be steadied but not held
rigidly immovable--The principal modifiers of the shape of the
mouth-cavity--Breath to be taken through the mouth--The lips--Tongue
and lip practice before a mirror--Importance of the connection between
the ear and the mouth parts, etc--"Open mouth"--The mouth in singing a
descending scale--Undue opening of the mouth--Proper method of opening
the mouth--Causes of compression and the consequences 195

CHAPTER XIV.

SOME SPECIFIC APPLICATIONS OF PRINCIPLES IN TONE-PRODUCTION.

Principles and their expression in a few exercises--Analysis of the
methods of tone-production--The sustained tone--Smoothly linked
tones--The legato--The staccato and kindred effects--The mechanisms
concerned--Perfection requires years of careful practice--The
bel canto and the swell--The same exercises for singer and
speaker--"Forward," "backward," etc., production--Escape of
breath--The action of the soft palate--When to use "forward" and when
"backward" production--Voice-placement--Nasal resonance, not nasal
twang--Summary 207

CHAPTER XV.

THE ELEMENTS OF SPEECH AND SONG.

The subject may be made dry or the reverse--Vowels, consonants,
noise--The position of the lips and the shape of the mouth-cavity in
sounding the various vowels--How to demonstrate that the mouth-cavity
is a resonance-c