Part 2

There are two classes of resonant chambers; one class is comparatively fixed, and consists of the nares and trachea; the other class may, for convenience, be termed the transient forms of resonance. [2]A transient resonant chamber is one that is formed on the instant for a particular purpose, and may be broken as quickly.

Elements of speech are formed by producing a succession of definitely formed but transient molds of resonance.

The pharynx is for the purpose of reinforcing the tone, giving it projection and some assistance in proper direction. All the other transient resonant molds are for the purpose of producing elements of speech.

[2] See Tyndall on sound, page 227.

NARES (Nasal cavities).

The nares are the cavities in the head extending through the nose to the pharynx. The walls of the nares are smooth, and, with their turbinated bones, suggest the inside of a sea-shell.

PHARYNX.

The pharynx is a membranous sac. It has seven openings, the two posterior nares, the two Eustachian tubes, the larynx, the œsophagus, and the isthmus faucium, which is the opening into the mouth.

TRACHEA.

The trachea, or windpipe, is a cylindrical tube extending from the lower part of the larynx to where it divides into the bronchi. The interior surface is firm and beautiful.

_ORGANS WHICH GIVE RESONANT FORMS TO VOICE._

Lips, Upper gum, Hard palate, Soft palate, Tongue, Nares.

Although the quality of the voice produced by the vocal cords of the human being cannot be distinguished from that produced by the vocal cords of the lower animals the organs which resound it give it a distinct quality.

No one of these agents alone molds the tone, but their proper relation to each other constitutes resonant molds as definite as those into which melted ore is cast to give it form and stamp. This proper relationship cannot be secured by exercising the organs in any strictly mechanical way, but only by forming definite ideal tones in the mind and exercising the voice while these ideal tones are firmly fixed as steady objects of thought. If these mental objects drop from the mind at any time during the vocal practice, no mechanical ingenuity can possibly take their places in rightly affecting the voice.

Later in this work, I shall more fully elaborate this point.

=_RELATION OF THE PROPER USE OF THE VOICE TO HEALTH._=

Many years of observation and study have convinced me that the voice exerts a powerful effect upon the whole physical system. It either builds up the body, sustains its power and adds to its health, or it devitalizes the body and brings a dangerous strain upon the entire system.

The voice cannot be a reporter of the person, mental and physical, without holding the most delicate relations to mind and body. The exercise of the voice subtly and vitally affects the organs that promote health and give life. I could give many illustrations showing that the wrong use of the voice has injured health, and that its right use has promoted health; but if the principles involved in this chapter are fully understood, I need not relate incidents to prove that the voice is a life-giver or a death-dealer, depending entirely upon _how_ it is used.

The Greeks were taught the right use of the voice as a part of their physical, intellectual, and moral culture. In modern times we have neglected voice culture to a very great extent, and have suffered much ill health in consequence.

_RELATION OF THE PROPER USE OF THE VOICE TO THE VITAL ORGANS._

EFFECT OF THE VOICE UPON THE LUNGS.

Great wisdom is exhibited in the construction of the human lungs. In the arrangement of the air cells, the greatest possible amount of surface is presented in order that the air may freely enter the blood. The lungs are largely made up of blood vessels, bronchial tubes, and air cells. When a person breathes, the oxygen, entering the lungs through the trachea and the bronchial tubes, penetrates the thin walls of these cells and passes at once into the blood. When the blood enters the lungs it is dark in color, but when it leaves the lungs it is of a light vermilion hue. The oxygen which has been taken into the lungs has wrought this change. So wonderful is this element of nature that some have called it life. If there is an elixir of life in the material world surely it is oxygen, for it has to do minutely and intimately with every power of the human body. The more a person breathes this oxygen as it is mixed in the common air, the more life and power he possesses.

It is essential to perfect health that every avenue to the lungs should be kept open and free, and that the air cells should be kept clear, for if the walls of the cells thicken, oxygen cannot penetrate them. If these cells are not properly filled during respiration, the walls thicken, and substances collect in the cells. If any trouble occurs in the air cells, except for traumatic reasons, it will first be found in the apexes of the lungs. In the production of tone, whether on a low, high, or medium pitch, the vocal cords are drawn so closely together that the air cannot immediately escape from the lungs; therefore, unable to get out readily, it is pressed up into the apexes of the lungs by the expiratory muscles, filling the air cells to the utmost, thus keeping them clear and their walls thin and healthy. In correct singing or speaking, the apexes of the lungs are filled with air. Tubercule seeks devitalized tissue for its development. Therefore tuberculosis usually begins in the apexes of the lungs because they are not kept clear and healthy through proper respiration and vocal exercise. Voice was given to man to make him strong and expressive, to give him life and power.

THE EFFECT OF THE VOICE UPON THE STOMACH.

The stomach is the principal organ of digestion. Out of the nutriment taken into it all the tissues of the body are renewed. It lies under the diaphragm, and is held in place by the abdominal muscles. The stomach is moved during respiration, descending with every inspiration, and rising with every expiration.

In addition to this exercise during the production of tone, the stomach is held firmly between the diaphragm and abdominal muscles. At the close of the tone the muscles which thus hold the stomach relax.

EFFECT OF VOICE UPON THE LIVER.

The liver is a glandular organ, intended for the secretion of bile from the blood. It is situated under the diaphragm and partially over the stomach; therefore the exercises which produce pressure and relief upon the stomach, exert the same effect upon the liver. That the liver may properly perform its function it is necessary for it to be thus exercised. One cannot speak or sing well without moving the diaphragm, and when this is moved it moves nearly all the organs contained in the trunk of the body, and especially promotes the healthy activity of the lungs, stomach, liver, and intestines.

EFFECT OF THE IMPROPER USE OF THE VOICE UPON THE MUCOUS MEMBRANE.

Mucous membrane lines all those passages by which the internal parts communicate with the exterior, and is continuous with the skin at the various orifices of the surface of the body. The mucous membrane, beginning with the lips, lines the mouth, throat, œsophagus, stomach, and in short, the entire alimentary canal. It also lines the nares, larynx, bronchial tubes, and air cells. It is one because unbroken. Its function is to secrete mucous for the purpose of preventing dryness.

Sympathetic relations exist throughout the whole human system, and especially between different parts of the same organ; if one part of the mucous membrane is injured, another part is as liable to suffer as that immediately injured. If congestion takes place in any part of this mucous membrane, it may cause congestion in some remote part of the membrane, without affecting the intervening parts. There is a certain common misuse of the voice which creates in the pharynx an irritation called “clergyman’s sore throat.” By the law of sympathy, this congestion is likely to be communicated from the pharynx to the mucous membrane of the stomach. It may also attack the mucous membrane of the bronchial tubes and through them affect the lungs.

Although this disease caused by the misuse of the voice is called “clergyman’s sore throat,” it is not confined to clergymen; it prevails to a considerable extent among school teachers, lawyers, and auctioneers. It is dangerous for one to enter upon any form of public speaking without having a sufficient knowledge of the voice to use his own correctly. This is true not merely because it gives power to speak more effectively, but because it enables one to preserve his own health, and thereby prolong his usefulness. “Clergyman’s sore throat” is caused by making too close a chamber of resonance in the pharynx while speaking. This is a confirmed habit with a very large number of persons; in fact, it might almost be said to be a prevailing difficulty, but it does not always cause a sore throat until the voice is more constantly used than it ordinarily is in private life.

A clergyman or others may for years have practised this habit without feeling the effect upon the throat; but as soon as they come to speak steadily for a half hour or more, and that, too, for the purpose of being heard in a large room, begin to realize a huskiness which soon develops into an irritation of the throat.

This finally develops into a congestion, and sooner or later into a cough, which results in the breaking down of the powers of the individual, and if it does not receive immediate and proper attention consumption may be the result. No medicine, however good, can give more than a temporary relief. So long as the cause (which is the misuse of the voice), remains, the difficulty must return. Sometimes “clergyman’s sore throat” is not introduced by huskiness; the first symptom observed is that of dryness or irritation. This is especially true if the voice is characterized by a metallic element. All these evils can be cured by proper vocal education, providing the patient does not wait too long.

=_RELATION OF THE PROPER USE OF THE VOICE TO THE NERVOUS SYSTEM._=

The vocal organs may be said to be tools, and the nerves the workmen appointed to use them.

Nerves are whitish and elastic bundles of fibers, with their accompanying tissues. They transmit nervous impulses between nerve centers and various parts of the animal body.

“Nerves are composed of one or more (sometimes nearly a hundred) nerve fibers, each fiber forming a means of communication between two parts more or less distant from each other.”—_Dutton._

The brain is contained in the cranium, and may be said to be the controller of the entire nervous system. From it proceed twelve pairs of cranial nerves.

I. Olfactory, nerve of smell,—distributed in the mucous membrane of the nose.

II. Optic, nerve of sight,—distributes its branches to the eye ball.

III. Motor oculi,—motor of the eye.

IV. Patheticus,—assists in moving the eye.

V. Trigeminus,—nerve of sensation, motion, and taste.

VI. Abducens,—assists the movements of the eye.

VII. Facial (or nerve of expression),—moves the face, ear, palate, and tongue. By means of this nerve the tongue is directly connected with the brain, and receives its impulse of action therefrom.

VIII. Auditory,—nerve of hearing.

IX. Glosso-pharyngeal, nerve of sensation and taste,—it is distributed to the back of the tongue, middle ear, tonsils, and pharynx.

X. Pneumogastric,—the auriculo-laryngo-pharyngo-œsophago-tracheo-pulmono-cardio-gastro-hepatic nerve. It is a nerve of sensation and motion, probably receiving its motor influence from its spinal accessory.

XI. Spinal accessory furnishes motor power to the pneumogastric.

XII. Hypo-glossal,—motor of the tongue. It communicates with the pneumogastric and sympathetic nerves.

* * * * *

My principal object in writing of the relation of the voice to the nervous system is to show anatomical and physiological reasons for denominating the voice the reporter of the states of mind.

We have before us the names of the nerves which connect the organs of speech with the organ of thought. Through some of the cranial nerves the mind immediately discharges its impulses upon certain organs, both consciously and subconsciously. This is illustrated by the motor occuli, patheticus, and abducens, which move the eye sometimes consciously and sometimes subconsciously. This shows that these nerves may, and often do, act upon the eye, without any conscious plan or purpose on the part of the individual.

The mind often manifests, through the cranial nerves, states of mind of which the person is unconscious. While consciousness is the power by which one knows his own states of mind, there is no proof that consciousness takes note of all one’s states of mind. The proof that it does not is found in the fact that people, through involuntary acts, often manifest mental activities of which they are unconscious. Spontaneous expression is truest.

The facial nerve causes the muscles of the face to portray the thoughts and feelings of the soul more truthfully than any artist could delineate them with pencil and brush. Before we can properly teach vocal culture and oratorical expression we must understand the principle of spontaneous manifestation by means of cranial nerves as distinct from purposeful forms of expression. The facial nerve not only acts as a motor of expression through the face, causing it to reveal thought and emotion, but acts in the same manner upon the tongue, causing it to form and modulate tones in song and speech.

Again note the nature of the hypo-glossal cranial nerve, which is not only a motor of the tongue, causing it to act spontaneously, but is distributed also to the muscles of the neck which are concerned in the movements of the larynx. The purpose of this distribution is probably to associate the action of the tongue with that of the larynx which is necessary for articulate speech. All the motions of the tongue are performed through the medium of these nerves.

The study of the functions of the cranial nerves convinces me that the state of mind which conceives a tone acts upon the organs of speech through the cranial nerves in a way to give vocal expression. In perfect expression the conception and the expression are absolutely synchronous.

=_RELATION OF PITCH TO RESONANCE._=

In the production of a good tone there is an exact relation between pitch and resonance. This relation is provided for in nature and a disobedience to it brings an unpleasant quality into the voice. This is true in both speech and song, for the speaking and singing voices rest upon the same fundamental principles. Speech is one application or use of the voice, song is another. The voice of true speech is as melodic as the voice of song. There are, however, many persons who use their voices better when they sing than when they speak, while others use their voices better in speaking than in singing.

There is a difference between tone and noise. Voice is produced by a succession of vibrating waves of air. In a musical tone the waves are regular in their succession; in noise they are irregular.

Resonance, or echo, is produced by the universal law of reflex action which manifests itself in light, sound, etc. How interesting and delightful is the echo! It makes the mountains, like the morning stars, sing together for joy. Listen to a thunder storm among the mountains. There is a sudden explosion, then a silence, as the vibrating waves of mighty amplitude pass over the valley to wake the voice of the mountain beyond, which, standing like a sentinel on guard, speaks in thunder tones to the next, and that repeats the sublime echo until all the mountains join in the chorus, answering back to the heavens. This law of sympathy, undulating from mountain to mountain, so inspired the Greeks that they said the gods spoke to each other from mountain peak to mountain peak.

Every pitch in the human voice has its corresponding chamber of resonance, formed by the nares, by the trachea, by the pharynx, or by the mouth, and sometimes by more than one of these. The transient resonant chambers are formed by the adjustment of the lips, and by the relation of the tongue to the upper gum, the hard palate, the soft palate, and the pharynx. With the exception of the pharynx, these and the nasal forms constitute the resonant chambers which produce the different elements of speech in our language. The tone, though smooth when it leaves the vocal cords, may be made harsh by the transient resonant chambers. The nares resound different intervals of the scale in different portions of their length, never resounding two intervals in the same portion.