初版は、1949年であるが、1950年に2版、1964年に3版、1967年に4版、そして、第5版をCarl Fischer から出している、言わば発声教育の古典的な書である。

非常に詳細に書かれた重要な著作であるが、すこし退屈。
しかし、発声教育的観点からは必ず読んでおかなければならない本。
腹式呼吸派、何故それを支持するかの根拠は明確に示されていない。

Chapter I. ACOUSTICS
1. The Nature of Sound
2. Musical Tone
3. Pitch
4. Duration and Intensity
5. Timbre (音質)
6. Sonance (音調)
7. Resonance
8. The Elements of a Musical Instrument (楽器としての要素)
9. The Voice as an Instrument (楽器としての声)

Chapter II. BREATHING
1. Correct Posture
2. The Framework of the Respiratory System
3. The Muscle of the Ribs
4. The Muscles of the Belly
5. The Muscles of the Shoulders
6. Clavicular, Chest, or Shoulder Breathing (鎖骨呼吸、胸式呼吸、又は、肩呼吸)
7. Costal, or Rib Breathing (肋間呼吸、又は、肋骨呼吸)
8. Diaphragmatic-abdominal, or Belly Breathing (横隔膜‐腹式呼吸、又は、腹式呼吸)
9. Belly Breathing Exercises
10. Muscular Antagonism (筋肉拮抗作用)
11. The Bouncing Epigastrium (上腹部のバウンド)
12. The Panting Exercise (パンチング(浅速呼吸)・エクササイズ)
13. Back Breathing (背面呼吸)
14. Breath Control
15. Exercises for Breath Control

Chapter III. ATTACK
1. The Lungs and the Larynx
2. Phonation
3. The Attack
4. The Bernoulli Effect (ベルヌーリ効果)
5. The Bernoulli Effect in Laughing
6. Two Concepts of Vibration
7. The Glottal Plosive (声門破裂音)
8. The imaginary Aspirate (想像のh音)
9.The Stroke of the Glottis (声門破裂)
10. Pneumotachograms of Various Attacks (様々なアタックの呼吸流量図)
11. The Rattle or Scrape of the Glottis (声門のガラガラ音、又は、摩擦音)
12. Mental Preparation for the Attack

Chapter IV. REGISTRATION
1. The Framework of the Larynx
2. The Cricoarytenoid Articulation
3. The Conus Elasticus (弾性円錐)
4. The Musculature of the Larynx (喉頭の筋肉組織)
5. Research in Laryngeal Function
6. The Power Factor — Breath Flow — Respiratory Muscles (動力因子‐呼吸流‐呼吸筋)
7. The  Pitch Factor — Longitudinal Tension — Cricothyroid Muscles (音程因子‐縦の張力‐輪状甲状筋)
8. An Efficiency Factor — Adduction — Interarytenoid Muscles (効率因子‐内転‐披裂間筋)
9. A Second Efficiency Factor — Medial Compression — Lateral Cricoarytenoid Muscles (第2の効率因子‐中央圧縮‐側輪状披裂筋)
10. Th Registration Factor — Activity-Passivity — Vocalis Muscles (声区要因‐‐能動的‐受動的‐‐声帯筋)
11. Characteristics of the Heavy Mechanism — Chest Voice
12. Characteristics of the Light Mechanism — Falsetto
13. Damping or Dampening (ダンピングとダンピングさせること)
14. The Ideal Approach — One Register (理想的アプローチ‐‐1声区)
15. The Realistic Approach — Three Registers (現実的アプローチ‐‐3声区)
16. The Hypothetical Approach — Two Registers (仮定的アプローチ‐‐2声区)
17. The Unused Register (使用されていない声区)
18. Dynamic Versus Static Adjustment (動的調整対固定的調整)
19. The Lift of the Breath
20. The Classification of Voices

Chapter V. RESONANCE
1. Two Theories of Vocal Resonance
2. The Size and Shape of the Resonances
3. The Combining of Resonance (共鳴の結合)
4. The Composition of Resonator Walls (共鳴体壁の組み立て)
5. The Surface of the Resonators
6. The Chest as a Resonator
7. The Trachea and Bronchi as Resonators (共鳴体としての気管と気管支)
8. The Larynx as a Resonator
9. The Ventricles as Resonator (共鳴体としての喉頭室)
10. The Pharynx as a Resonator
11. The Mouth as a Resonator
12. The Nose as a Resonator
13. The sinuses as Resonators  (共鳴体としての洞)
14. Recapitulation of the Possible Resonance Cavities (可能な共鳴腔の要約)
15. Pronunciation and Production (発音と発声)
16. The Large Throat
17. The Low Larynx
18. The Grooved  Tongue
19. The Arched Palate
20. The Loose Jaw
21. The Lips and teeth
22. The Essential of “Good Resonance”
23. The Illusion of “Placement”
24.  The Correlation between Resonance and Registration (共鳴と声区の相関関係)

Chapter VI. VOWELS
1. Two Theories of Harmonic Structure
2.Acoustical Findings as to Vowel Formants
3. The Vowel Triangle
4. The Mechanism of Formants
5. The Mechanism of the Separated Formants
6. The Mechanism of the Clustered formants (群がったフォルマントの機構)
7. Vowels other than the “Five” (「5つ」以外の母音)
8. “Long” and “Short” Vowels
9. The “Dull” Vowel
10. Spreading (横に開くこと)
11. The “Bad” Vowel [ae]
12. The Nasal Vowels
13. Consistency of Vowel Color (母音の色の密度)
14. Emotional Connotation of the Vowel (母音の感情的な暗示的意味)
15. Resonance Imagery (共鳴イメージ)
16. The “Pear-shape” Ah (「洋ナシ型」のAh)
17. The Concept of “Focus”
18. Analogies with Color and Temperature (色と熱によるアナロジー)
19. The Concept of Covering
20. Throaty Production
21. “Focusing” rather than “Covering”
22. Vowel Problems for the High Soprano

Chapter VII.  ARTICULATION
1. Racial Origins of Speech (スピーチの人種的起源)
2. Individual Origins of Speech
3. Noise versus Tone
4. The Dilemma of the Vocalist
5. Voices and Instruments in Music History
6. Contemporary Vocal Music
7. The Acoustical Dilemma
8.Poetry and Music
9. Classification of Speech Sound
10. The Aspirate
11. The Glottal Plosive
12. Labials (唇音)
13. Linguals (舌音)
14. Velars (軟口蓋音)
15. Nasals (鼻音)
16. Semi-Vowel (半母音)
17. Glides (わたり音)
18. Diphthongs (二重母音、複母音/ai,au,/など)
19. Diphthongs Assigned to More than one Note of Music (一音符以上に割り当てられた二重母音)
20. Unstressed Sylables (強勢のないシラブル)
21. Unworthy Texts (価値のないテキスト)
22. Legato and Articulation
23. Relative Merits of the Languages (言語に関する利点)
24. Essentials of Good Diction

Chapter VIII.  COORDINATION
1. Neurology (神経学)
2. Normal Vibrato
3. Undesirable Vibrato or Tremolo
4. Technical Control of the Vibrato
5. Emotional Control of the Vibrato
6. Musical Control of the Vibrato
7. The Trill
8. Tones without Vibrato
9. Vibrato in Ensembles
10. The Hemispheres of Coordination (連携の範囲)
11. The Extremes of Pedagogy — Mechanism and Holism (教育学の極‐‐機械論と全体論)
12. The Extremes of Phonation — Breathiness and Tightness
13. The Extremes of Registration — Light and Heavy
14. The Extremes of Resonance — “Focusing” and “Covering”
15. The Extremes of Articulation — Words and Music
16. The extremes of Singing Technic — Freedom and Intensity
17. Concluding Remarks

BIBLIOGRAPHY

THESAURUS