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TO BE ANSWERED BY THE PUPIL.
What is Elocution? What does Elocution comprise? What does the science of Elocution embrace? What does the art of Elocution embrace? How is Elocution divided? What is Vocal Gymnastics? What is Gesture? How is Vocal Gymnastics subdivided?
Page 16. What is Articulation? What is Pitch? What is Force? What is Time? Can the elements of vocal language be formed separately? What is good articulation? What advantage results from good articulation?
Page 17. Can one be a good reader, or speaker, whose articulation is imperfect? What is the condition of the organs of articulation in those who have never been in the practice of pronouncing their words distinctly? What is the best method for rendering the muscles of articulation obedient to the commands of the will?
Page 18. What are the elements of vocal language? What is the number of letters in the English language? What is the number of elements in the English language?
Page 19. How are the elements divided? Describe the vow. els- the subvowels- the aspirates. Pronounce the vowels the
subvowels. the aspirates. Page 20. Why are not C, J, Q, and X, classed with the elements?
Page 21. How are the vowels divided? What is a monothong? By what letters are the monothongs represented? What is a diphthong? By what letters are the diphthongs represented? What are the constituents of the diphthongs? What is a triphthong? By what letters are the triphthongs represented? What are the constituents of the triphthongs?
Page 22. Are there any other diphthongs and triphthongs? By what letters are they represented? Do they increase the number of the elements? Give an analysis of them. What is the condition of the aperture of the mouth, during the utterance of a monothong? - a diphthong? a triphthong?
Page 23. Of what does B consist, and how is it formed? Of what does D consist, and how is it formed?
Page 24. Describe G. What is L? What is M? What is N? What is NG? What is R, and how many varieties are there of this element? When should R be trilled, and when made smooth?
Page 25. What is TH, in then, and how is it formed? What is V, and how is it formed? Describe W. Describe Y. What kind of a sound is Z, zone, and how is it formed? What is Z, in azure, and how is it formed? How is F formed? What is H In how many ways may H be uttered? How is K formed?
Page 26. How is P formed? Describe S. Describe SH. How is T formed? Describe TH, in thin. What is WH, and what posture of the mouth does it require ?
Page 27. Are there any elements that require more than one posture of the mouth? How is a vowel exploded? What advantage results from exploding the elements?
Page 30. What is defective articulation? Is it common? From what does it arise? Children are apt to say day for gay; tate for cake, &c. - how may these faults be corrected?
Page 31. Some children pronounce John, don; Charles, tarles, &c. - how may these faults be corrected?
Page 32. Some persons confound V and W-what exercises will be found beneficial in correcting these faults? In correcting errors in articulation, why is it advantageous to practise the exercises before a mirror? What is lisping? What is the remedy for lisping?
Page 33. What is stammering? How does the cause operate? How is stammering cured? Does every case require the same treatment? Can any one treat stammering successfully?
Page 38. What is pitch? There are two divisions of pitchwhat are they?
Page 39. What is the Diatonic Scale? What is the order of the scale? What is the octave?
Page 40. What is an interval? What is a discrete interval? What is a concrete interval? Name the principal intervals. What is the difference between a major third and a minor third?
Page 41. How many sorts of voice do we employ in the expression of our thoughts? Describe them. What do the Italians mean by the terms voce di petto and voce di testa?
Page 42. Describe the whispering voice. In what respect does the female voice differ from that of the male? Describe the voices of boys. How is the voice divided? What is the orotund voice?
Page 46. To what range of pitch is the speaking voice mostly
confined, in good elocution? There is a very common fault, in regard to pitching the voice- what is it?
Page 47. What are inflections? How many different inflec tions are described by writers on Elocution? In what respect does a rising inflection differ from a falling inflection?
Page 49. What is the extent of the concrete intervals of the notes of speech? Do falling inflections traverse the same range pitch as their corresponding rising inflections?
Page 50. In what other respect do these inflections differ? Give some account of the circumflexes.
Page 51. Why should not a falling inflection be used for the sake of mere variety? What should determine the direction of inflections? Page 52. What is melody? How is melody distinguished from harmony? What is notation? What is intonation? On what is melody founded?
Page 53. In what respect does the melody of speech differ from that of song? Is it necessary, for practical purposes, to present every syllable in speech under its proper note, as is done in song?
Page 54. What is an emphasis melody? Describe the staff of speech. Give an example of emphasis melody. What is the pitch-note of speech?
Page 55. On which line of the staff is the pitch-note written? What is the effect of reading altogether in the pitch-note? How is the voice properly varied in pitch? Is the melody of speech confined to four degrees of pitch, whose intervals are as determinate as those of the Diatonic Scale? Does the melody of speech consist solely of emphasis melodies? Mention some points in which the graphic notes of song, and those of an emphasis melody, differ. What care is necessary to be taken in reading emphasis melodies?
Page 56. What is modulation? How is modulation effected, and with what is it generally accompanied? What is the province of modulation? Describe the staff of modulation.
Page 57. Give an example of modulation.
Page 59. What is force? How is force divided? How are the terms high and low, and loud and soft, applied to force? By what are the nine degrees of force expressed?
Page 60. In what way should force be varied? What is stress? What is radical stress? What is median stress?
Page 61. What is final stress? What is explosive stress? What is tremour ? How may tremour be illustrated? Why is it necessary to pay attention to the subject of force?
Page 63. What is time? How is time, in music, divided? How does the time of speech differ from that of song?
Page 64. What is quantity? By what characters is quantity represented? What is their relative value? What is the effect of a dot, when affixed to a note, or rest? How many general modes of time are there? How are they distinguished? Name some of the varieties of the two general modes of time.
Page 65. What is movement? How should the rate of movement be regulated?
Page 66. What terms are employed to denote the rate of movement? What are the three chief divisions of time? Name some of the terms which indicate the style of performance. Are not these terms sometimes used in connexion with those which express the movement? Give an example. Is the rate of movement definitely marked by the terms, Adagio, Largo, &c.? How may it be designated with precision? Describe the Metronome.
Page 67. How should the time be marked on the Metronome, in reading? How should it be marked in music?
Page 69. What is gesture? How may the postures of the body, with respect to vocal delivery, be divided? Describe some of the unfavourable postures.
Page 72. What postures are favourable to vocal delivery? In what manner should the book be held, in reading?
Page 73. In demonstrating on the black-board, should the face, or back, be turned towards the audience? What is the cause of the general neglect with which the cultivation of the art of gesture has hitherto been treated? To whom is the world indebted for a system of notation of gesture? Give an example of the notation.
Page 74. What suggested the idea of this system of notation? What may be reck ed among the higher objects of this system of notation?
Page 76. What parts of the body are brought into action, in gesture? What should be the external deportment of the orator? In what does the gracefulness of motion, in the human form, consist?
Page 77. How should the orator stand, to be graceful? How are the positions of the feet expressed? Describe the first position of the right foot.
Page 78. Describe the second position of the right foot. What is the first position of the left foot?
Describe the second position of the left foot. Which is the proper reading position? Page 80. Which is the proper rising position of the orator? Describe the positions in front.
Page 81. Describe the positions of the feet in the extended state. Describe the contracted position. What attitudes and positions should the orator adopt?
Page 82. In changing the positions of the feet, how should the
motions be made? Why should an orator not change his position frequently? What are the several acts resulting from the changes in the positions of the feet, and how are they noted? How are two or more steps expressed? How are changes of position, or steps, to be made?
Page 83. How many steps may be made from each original position? Describe them.
Page 84, 85. By what sort of a diagram is the present system of gesture exemplified?
Page 86. To what are postures and motions of the arm referred, and how are they noted?
Page 87. How many primary postures of the arm are there? How are the fifteen primary postures of the arm more particularly noted?
Page 89. In referring gestures to certain points in a sphere, is mathematical precision necessary? What is there peculiar in the colloquial elevations of the arm?
Page 91. How does the degree of energy, proceeding from the sentiment of desire, or aversion, influence the character of gesture? How is the notation varied, to mark the different degrees of extension of the arm?
Page 91. Enumerate some of the postures of the arm which are named from the manner of holding the arm, or resting it upon the body.
Page 93. By what circumstances are the postures of the hand determined? Describe some of the postures belonging to the first class.
Page 96. Describe the postures of the second class, which depend on the manner of presenting the palm. Page 97. Describe the postures of the third class, arising from the combined disposition of the hands.
Page 98. Describe the fourth class.
Page 100. Why may any posture of the arm, or hand, sustain different significant characters? How are the motions of the hands and arms considered, and how are they noted?
Page 101. What is noting? What is projecting, or pushing? How is waving performed, and how is it noted? How is the flourish performed, and how is it noted? What is the sweep, and how is it noted ?
Page 102. What is beckoning? What is repressing? What is striking, and how is it noted? What is recoiling?
Page 103. How is advancing performed? What is springing? What is throwing? What is clinching? How is collecting performed? What is shaking? What is pressing? What is retracting? What is rejecting? What is bending?
Page 104. Why should an orator hold his head erect? To what should the movements of the head be adapted? Name the