BIBLIOGRAPHY
Reading edition
The Italian School of Florid Song. Pier Franceso Tosi. London, 1743.
Practical Reflections on the Figurative Art of Singing. Mancini (1716-1800) English Edition. Boston, 1912.
The Psychology of Singing. David Taylor. New York, 1908.
The Philosophy of Singing. Clara Kathleen Rogers. New York, 1898.
My Voice and I. Clara Kathleen Rogers. Chicago, 1910.
The Rightly Produced Voice. Davidson Palmer. London, 1897.
Expression in Singing. H. S. Kirkland. Boston, 1916.
The Art of the Singer. W. J. Henderson. New York, 1906.
English Diction for Singers and Speakers. Louis Arthur Russell. Boston, 1905.
Resonance in Speaking and Singing. Thomas Fillebrown. Boston, 1911.
Hints of Singing. Garcia. London, 1894.
The Singing of the Future. D. Ffrangcon-Davies. London, 1908.
Voice, Song, and Speech. Brown and Behnke. London, 1884.
Voice Building and Tone Placing. H. Holbrook Curtis, M. D. New York, 1896.
Vocal Physiology. Alex. Guilmette, M. D. Boston, 1878.
The Philosophy of Art. Edward Howard Griggs. New York, 1913.
Ancient Art and Ritual. Jane Ellen Harrison. New York, 1913.
The Musical Amateur. Robert Schauffler. New York, 1913.
Art for Art’s Sake. John C. Van Dyke. New York, 1914.
What is Art. Count Leo Tolstoi. New York.
The Life of Reason. George Santayana. New York, 1913.
The Creative Imagination. Ribot. Chicago, 1906.
Esthetics. Kate Gordon. New York, 1913.
The New Laocoon. Irving Babbit. Boston, 1910.
A New Esthetic. Ferrucio Busoni. New York, 1911.
The Scientific Use of the Imagination. Fragments of Science. John Tyndall. London.
The Philosophy of Style. Herbert Spencer.
The Evolution of the Art of Music. Hubert Parry. New York, 1908.
Studies in Modern Music. W. H. Hadow. London, 1904.
Appreciation of Art. Blanche Loveridge. Granville, O., 1912.
Music and Nationalism. Cecil Forsyth. London, 1911.
The Sensations of Tone. H. L. F. Helmholtz. London, 1885.
Transcriber’s Note
The musical illustrations have been transcribed and are available in two pdfs. The Exercises follow the Exercises as numbered in the book in II. The Head Voice. The remainder of the musical fragments, which are unlabeled in the book, are labeled Figures A through Q (in the order in which they appear), and can be found in the Figures pdf.
In four instances, the original used a C clef centered on the third space to notate a vocal tenor clef. These have been transcribed using a modern vocal tenor clef.
Figure M: In the original, the eighth rest was written as a quarter rest.
Exercise 13: In the third measure, the rest was originally written as a dotted half rest. While no meter was specified, this was adjusted here to a quarter rest to fit the meter of the preceding measures.