This little book contains tlie convictions which are the summing up of my whole artistic life. I have written it, first and foremost, for myself. I felt that the only way to recognize fully and clearly what my conclusions really are, was to for- mulate and express them. I take it for granted that there must be others who are beset by some of the same perplexities tvhich have made my art- life a constant struggle to attain that security of expression which would enable me at all times to voice that something of beauty and perfection stirring and urging within me, to which I couId seldom give adequate utterance. To such unsatisfied souls, the concPusions which I have reached in my struggles after the true lams of expression may be helpful, and therefore, in giving my book to the public, it is to these that it is especially addressed. Were I to cite one half of the tentative and speculative theories tvhich have brought me di- rectiy or indirectly to my present conclusions, there v-ould be material enough to fill several quarto volumes. But when all theories and ideas are sifted, and the solid, fupdamental truths sep- arated from the chaff of speculation, it is astonish- ing into how small a compass they may be com- pressed. This is, therefore, but a little book. But small as it is, it represents a quarter of a century of con- stant groping and reaching out for the true prin- ciples which govern the art of singing in its high- est aspect, which is the most eloquent and direct expression not only of the individualized soul, but also of the great universal soul itself. This treatise might as properly be called l The Philosophy of Life as The Philosophy of Sing- ing. Some of my readers who are looking for hethods of singing will probabIy consider tlie former a. more appropriate title than the latter. I tvill therefore state, as simply as possible, why I call it The Philosophy of Singing...

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