(Curwen's Edition, 5263.) BY Late Lecturer on Vocal Physiology at the Tonic Sol-fa College, Teacher of Voice Production. Edited, with a New Chapter on "Voice Failure," by Mrs. EMIL BEHNKE. FIFTEENTH EDITION. LONDON: J. CURWEN & SONS Ltd. , 24 BERNERS STREET, W. Price 1s. 6d.; Cloth 2s. 6d. TO MY DEAR WIFE THIS ESSAY IS AFFECTIONATELY DEDICATED...

A ninth edition of this book having been called for, I take the opportunity to return my sincere thanks for the many kind expressions concerning its usefulness which have reached me since the lamented death of its author, my dear husband. In carrying on his work, both my daughter and myself have felt the benefit of the clear and concise instructions the book contains. We have also proved with our pupils the absolute truth and value of the Behnke System of Voice Training , by means of which we ha

A third edition of this little book has now become necessary, and I must again express my gratitude for the continued commendations bestowed upon my work both in the press and in private letters. In response to many solicitations, I have added to this edition a few hints on teaching, deduced from physiological facts, which may prove useful by stimulating the advance of thought in a new direction. These hints are extracts from a series of articles on "Science and Singing" which I had the pleasure

T he favourable reception and rapid sale of a large first edition has stimulated me to revise this little book, and without alteration of my original scheme of practical utility, to somewhat enlarge on one or two points which appeared to demand further elucidation. In this, as in the former edition, I have received great assistance from my friend Mr. Lennox Browne, the eminent throat surgeon, who, by ever patiently discussing with me debatable points, and by giving me access to cases, interestin

T he number of books bearing more or less directly on the Theory of Voice Production which have been published during the last few years is very large, and shows clearly the extraordinary interest taken in this subject, not only by professional singers and speakers, but also by the general public. If I am now about to add another contribution to this already extensive literature, it is simply because amongst all the many excellent works on the Human Voice there is not one which brings before the

W e are living in an age which is singularly poor in fine voices, both male and female, and with regard to the tenors of the present time there is this additional misfortune, that, as a rule, their voices do not last, but are often worn out in a very few years; in many instances while their owners are still under training, and before they have had an opportunity of making their appearance in public. If we remember that there was a time when most beautiful and highly cultivated voices were so ple

"P hysiologists ," says Dr. Witkowski, [A] "are quite at issue when they endeavour to determine what kind of instrument the vocal organ resembles; indeed, Galien compares it to a flute, Magendie to a hautboy, Despiney to a trombone, Diday to a hunting-horn, Savart to a bird-catcher's call, Biot to an organ-pipe, Malgaigne to the little instrument used by the exhibitors of Punch, and Ferrein to a spinet or harpsichord. The last-named compared the lips of the glottis to the strings of a violin; he

T he voicebox of a newly-born baby is about one-third the size of that of a grown woman. It is therefore rather large in proportion to other parts of the body, with the exception of the head, which comparatively is larger still. The horizontal outline of the shield cartilage is a very gentle curve, and the upper horns are short, in consequence of which the voicebox is close to the tongue. The wedges, according to Merkel, are strongly developed; the vocal ligaments are short and thick, and the po

T he voicebox in a man is situated almost exactly in the middle of the throat; in woman its position is, for reasons partly explained on page 64, considerably higher. It moves downwards in inspiration, and upwards in expiration; and the more vigorously we breathe, the more marked are these movements. In the act of swallowing the voicebox rises quickly, and in yawning it goes down so completely that the whole windpipe may vanish into the chest, and even the part of the ring cartilage may disappea

T he Laryngoscope in its simplest form is a thin circular mirror, about three-quarters of an inch in diameter, set in a metal frame, and fastened at an angle of 120° to a piece of wire from three to four inches long, which is put into a small wooden handle not much thicker than a pencil, and about the same length as the wire. By help of the laryngoscope we can either see our own larynx or that of another person. The easiest experiment is upon the larynx of some one else. In this case, the person

O n introducing the mirror into the throat we first see the back part of the tongue, which has a very uneven surface, and which is, as a rule, covered with greyish phlegm. We next notice a hollow space between the tongue and the lid, which is divided by an elastic band forming a little bridge between the two. Next comes the upper free part of the lid, the shape of which greatly varies in different individuals. It hangs over the voicebox, which it almost completely hides from view; but during the

It has been suggested to me that the usefulness of my little book would be enlarged if I were to add an appendix containing some application to practical work of the physiological laws already explained. This I have endeavoured to do in the following chapter, and I trust the simplicity of the directions will enable the reader to carry out my instructions, to vary them, and to enlarge upon them according to circumstances. HINTS ON TEACHING. One of the most important lessons taught us by the study

A New Chapter, written for the Ninth Edition, by Mrs. Emil Behnke. The large and ever increasing number of professional voice users of all classes and of all grades who break down in voice is matter for serious and earnest consideration. Innumerable students of singing of both sexes, in England and abroad, suffer shipwreck of their hopes and ambitions in the loss of their voices during the process of training, long before the period arrives for professional and public voice use. In some of these

In a kind notice of the first edition of this brochure, which appeared in The Medical Press , the editor raises the above question. He says: "The evils attending faulty methods of voice-production are pointed out both from an anatomical and from an artistic point of view, diaphragmatic breathing being especially insisted on in opposition to mere clavicular breathing. This is undoubtedly correct; but we think the advice here embodied would have been even more valuable had the authoress mentioned

SIGNOR GARCIA writes to the Author:— Dear Sir, —Very many thanks for the copy forwarded to me of your most interesting work. It will prove of an inestimable advantage to students, being, in my humble estimation, one of the clearest and most practical treatises on the subject which contemporary literature has produced. Accept also my sincere thanks for the description contained in your work of the origin of the laryngoscope, and believe me, dear sir, yours most sincerely, M. Garcia . THE ATHENÆUM

VOICE TRAINING. From an Old Pupil. Gresham Hotel, Dublin. Dear Mrs. Behnke, —It is indeed regrettable that Mr. Behnke was not spared to reap to a greater extent the reward of his wonderful work. You, I know, must have acquired an adequate knowledge of his magnificent system of teaching to enable you to continue on the same course, and so perpetuate his memory. This is a source of comfort to your many friends. From a Lady Lecturer. Edgbaston , May 11th, 1893 . My dear Mrs. Behnke, —I feel I must

By Mrs. EMIL BEHNKE. Third Edition, Revised and Enlarged. OPINIONS OF THE PRESS . THE WEEKLY ECHO. A very useful pamphlet by a very able teacher. It is published at sixpence, but contains many guinea fees' worth of knowledge, and hints where to procure more. THE SHREWSBURY CHRONICLE. Ought to be perused by all who seek distinction as vocalists. BRISTOL TIMES. A valuable little brochure. It is one of the most concise and practical treatises on the subject we have seen, and if only the hints conta

Voice-Training Exercises ALSO Voice-Training Studies BY EMIL BEHNKE and Dr. C. W. PEARCE. In separate books for Soprano, Mezzo-Soprano, Contralto, Tenor, Baritone, and Bass. Price: Paper Covers, 1s. 6d. net cash; Bound in Cloth, 3s. net cash. Voice-Training Primer By MRS. EMIL BEHNKE . Price 2s. net cash; Bound in Cloth, 3s. net cash. These works are highly recommended by the musical, medical, and general press, and by teachers. CHAPPELL & Co., Ltd., 50 NEW BOND STREET, LONDON, W. Melbou

A Journal for the Professor and Amateur. PUBLISHED ON THE 1st OF EACH MONTH. PRICE TWOPENCE. The Musical Herald was established in 1851; it is the most widely circulated and read of all the musical papers. The Musical Herald gives no music; it is bought because of the importance of its articles and news. The Musical Herald is indispensable to the up-to-date Pianoforte Teacher, Voice Trainer, Organist, and Choirmaster. The Musical Herald freely replies to questions on musical subjects which are o

HANDBOOK OF ACOUSTICS. By T. F. Harris , B.Sc., F.C.S. Price 33. 6d.; postage 3d. A handbook for musical students. Contains 18 chapters profusely illustrated; with numerous questions and an Appendix of Examination Papers. HISTORY OF ENGLISH MUSIC . By Henry Davey . A monumental work tracing the history and proving the advanced position, past and present, of English music. Contains many new and important facts. Price 6s.; postage 4 ½d. HYMN LOVER, THE. By Rev. W. Garrett Horder , Price 5s.; posta

For full list and particulars, apply for catalogue, gratis and post free. A B C OF MUSICAL THEORY. R. Dunstan , Mus.D. Cloth, 2/-. ART OF BREATHING. Leo. Kofler . Price, cloth, 4/-. BOY'S VOICE, THE. J. S. Curwen . Price 2/6. CANDIDATE IN MUSIC, THE. H. Fisher , Mus.D. Book I, Elements, paper, 1/6; cloth, 2/-. Book II, Harmony, paper, 2/-; cloth, 2/6. CHORAL AND ORCHESTRAL SOCIETIES. L. C. Venables . Price 2/6. CHURCH AND CATHEDRAL CHORISTER'S SINGING METHOD . Haydn Keeton , Mus.D. Cloth, 3/-; p