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would be in their conversation. Others have received an equivalent intellectual training in other ways. The young singer, who thinks that in the future he can "get by" without such a training, is booked for disappointment. Get a college education if you can; and, if you can not, fight to get its equivalent. No useful experience in the singer's career is a wasted one. The early instrumental training of Melba, Sembrich, Campanari, Hempel, Dalmores, Garden, and Galli-Curci, shows out in their finished singing, in wonderful manner. Every singer should be able to play the piano well. It has a splendid effect in the musical discipline of the mind. In European conservatories, in many instances, the study of the piano is compulsory. YOUR PHILOSOPHY OF SINGING The student of singing should be an inveterate reader of "worthwhile" comments upon his art. In this way, if he has a discriminating mind, he will be able to form a "philosophy of singing" of his own. Richard Wagner prefaced his music dramas with lengthy essays giving his reasons for pursuing a certain course. Whatever their value may be to the musical public at this time, it could not have been less than that to the great master when he was fighting to straighten out for his own satisfaction in his own mind just what he should do and how he should do it. Therefore, read interminably; but believe nothing that you read until you have weighed it carefully in your own mind and determined its usefulness in its application to your own particular case. The student will find the following books of real value in his quest for vocal truth: _The Philosophy of Singing_, Clara Kathleen Rogers; _The Vocal Instructor_, E. J. Myer; _The Psychology of Singing_, David C. Taylor; _How to Sing_, Lilli Lehmann; _Reminiscences of a Quaker Singer_, David Bispham; _The Art of the Singer_, W. J. Henderson. The student should also read the biographies of famous singers and keep in touch with the progress of the art, through reading the best magazines. THE HISTORY OF SINGING The history of singing parallels the history of civilization. Egypt, Israel, Greece and Rome made their contributions; but how they sang and what they sang we can not definitely know because of the destruction of the bridge between ancient and modern notation, and because not until Thomas Edison invented the phonograph in 1877, was there any tangible means of recording the voices of the singers. The wisdom of So
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