teaches the elements or occupies himself with more advanced instruction,
should understand the art of singing; he, at least, should show a warm
interest in it, and should have an earnest love for it. When I speak in
general of singing, I refer to that species of singing which is a form
of beauty, and which is the foundation for the most refined and most
perfect interpretation of music; and, above all things, I consider the
culture of beautiful tones the basis for the finest possible touch upon
the piano. In many respects, the piano and singing should explain and
supplement each other. They should mutually assist in expressing the
sublime and the noble, in forms of unclouded beauty. My book will make
this evident to many; but whether it will succeed with all, I doubt. Not
a few will even be found who will lay aside my book with contempt, and
who will scorn the zeal of the "man of the past age." I am quite
prepared for this: it is the fashion at present to undervalue the old
times and their defenders; but I shall continue to be conservative,
until the "men of the future" shall be able to show me results which
shall excel those of the past, or at least shall equal them.

And now I commend my little book to the public, trusting that it will
instruct the willing, correct the erring, incite the indolent, and
chastise those who wilfully persist in the wrong.

THE AUTHOR.




CONTENTS.