Chapter 9

Mozart studied voice before composing, 4

Mucous membrane, 61, 80

Müller's experiments on larynges 7, 96

Muscles, back ring pyramid, 46, 48 ---- governing pitch, 113 ----, How to strengthen, 113 ----, ligament tension theory, 67 ----, Pyramid, 49

Muscles, Ring-shield, 41 ----, ----, how change registers, 97 ----, Shield-pyramid, 41 ----, Shield-pyramid, how change registers, 97 ----, Side ring-pyramid, 48 ----, Summary of uses of, 49

Nasal tone, various theories, 60

Nose cavities, 59

Nostrils best adapted for breathing, 27

Nourrit and Duprez, 5

Novello, Sabilla, how tone is produced, 39

Palate, Soft, exercising, 121 ----, ----, its movements, 59

Paris Conservatoire method of inspiration, 20

Pharynx, 58

Pitch, Mechanism affecting, 72 ----, Rise of, strains voice, 4

Pronunciation for Singers, Ellis's, 120

Pyramids, how act in registers, 99 ----, Levers of the, 36, 46 ----, side view, 37 ----, their shape and motion, 36, 82, 94

Register, Mechanism of thick, 94 ----, Thick, described, 94 ----, Thin, ", 98

Registers, Compass of the, 93 ----, Teachers' Manual on, 87 ----, definition, 86 ----, described by Mme. Seiler, 94 ----, distinguishing sex, 90 ----, Evil of straining, 101 ----, How ligaments act in, 86 ----, how small is formed, 101 ----, how upper thick formed, 95, 97 ----, Images of, 84, 85 ----, Laryngoscope and sub-division of, 91 ----, "Mixed voice", 118 ----, optional tones, 118 ----, places of break, 87, 96 ----, Straining of, 95 ----, Three female voice, 88 ----, to equalise, not expose, 116 ----, Two male voice, 138 ----, Upper and lower thick, 96 ----, ---- ---- ---- thin, 100 ----, what laryngoscope teaches, 104

Resonator changes by vowel, 70 ----, effect of formation, 58 ----, its parts, 9, 56

Respiration described, 13

Ribs, 11

Ring cartilage, 31, 32

Ring-shield muscles, 41, 70

Roger, the French tenor's style, 4, 6

Rossini on decline of vocal art, 2

Seiler, description of the registers, 92 ----, Madame, on "wedges", 54 ---- on action of vocal ligaments, 100

Shield and ring, Motion of, 34, 71

Shield cartilage, 34

Shield plates, 33, 71

Shield-pyramid muscles, 41

Singable music, 3

Singing _v._ speaking, 18

Snoring and keeping mouth open, 30

Sphincter muscle of the glottis, 44

Spirometer tests recommended, 19

Teaching, Hints on, 106

Tenors as teachers of female voice, 2 ----, Short vocal life of, 1 ---- sing octave lower than written, 87

Tobold, how tone is produced, 40

Tone, how produced, 56 ----, loudness, 56 ----, pitch, 56 ----, quality, 56 ----, Three ways of producing, 83

Tongue-bone, 34 ----, Exercises to control, 124

Tonic Sol-fa College, Experiments, 20

Tremolo, Controlled artistic, 22 ----, Involuntary, 21 ---- mars fine voices, 20 ----, Origin of, 21

Violin, Experiments for tone on a, 57

Vocal gymnastics, 114

Voce mista, 118

Voice-box, Attempts to see the, 74 ---- compared with instruments, 8 ----, differences in size, 62 ----, dissecting, 7, 44, 57 ----, its parts specified, 31 ---- measurements, 64 ---- movements, teaching of, 70, 72 ----, visible movements, 69

Voice-breaking, Cause of, 63

Voice, Cause of high or low, 65 ---- cultivation exercises, 110 ----, female, Wrong use of, 95

Voice, period of change in youth, 63 ----, quality of, exercises, 119 ----, poverty of the age, 1 ---- sufferers, Cure of, 24

Vowel scale, Order of the, 116 ----, Use of palate in forming, 59

Wedges, Action in small register, 103 ----, or cuneiform cartilages, 51, 54, 81

Whispering, Voice-box movements in, 70

When to keep the mouth shut, 29

Wilson, Erasmus, on cuneiform cartilages, 54

Windpipe described, 31, 81

Witkowski on "the wedges", 55 ---- on views of specialists, 8

Women in church music, 2

Words ignored by composers, 3

INDEX TO "VOICE FAILURE."

Breathing, Evils of clavicular, 128

Breathing, Lamperti on, 129

Breathing, Wrong, 127, 128

Forcing, 128

Forcing, Acquiring top notes, 137

Intonation affected by resonance, 134

Laryngoscope, Its lessons, 137, 138

Lung capacity, 128

Pronunciation, 136

Registers, Forcing, 128, 136

Resonators, Neglect, 128, 132

Shouting, 128

Singing, Loud, 128,, 131

Stammering, 130

Symptoms of faulty voice use, 139

Throat, Inflammation of, 137

Timbre, 133

Tone, Squeezing, 132

Vowels, Shaping mouth for, 134

Vowels, Scale of nature, 135

Opinions of the Press and the Medical and the Musical Professions on the Author's Book, Lectures, and Teaching.

SIGNOR GARCIA writes to the Author:--

DEAR SIR,--Very many thanks for the copy forwarded to me of your most interesting work. It will prove of an inestimable advantage to students, being, in my humble estimation, one of the clearest and most practical treatises on the subject which contemporary literature has produced. Accept also my sincere thanks for the description contained in your work of the origin of the laryngoscope, and believe me, dear sir, yours most sincerely, M. GARCIA.

THE ATHENÆUM.

Interesting, compared with those previously published, as being written by a musician and not by a medical man. Hence we are not surprised to find purely musical questions discussed here with great ability.

NATURE.

The object of this little book is to give singers a plain and comprehensible view of the musical instrument on which they perform. The author seems to have succeeded in this attempt remarkably well. He has evidently had much practical work himself, and has especially set himself the task of examining the action of the vocal organs during singing by means of the laryngoscope; and his record of his own experience in acquiring the use of that beautiful instrument is not only interesting, but of much practical value. The last section of the book is devoted to the teachings of the laryngoscope as to the action of the vocal ligaments in producing voice, with especial reference to the so-called registers. "A register consists of a series of tones which are produced by the same mechanism," is his definition (p. 86), which is new and complete, and he proceeds to explain the different mechanism of each kind of register as actually observed on singers. There are some good remarks on breathing (pp. 17-22). All information is given throughout in clear, intelligible language, and illustrated by fourteen woodcuts.... The book may be safely recommended to all singers, and others who are desirous of knowing how vocal tones are produced.

SATURDAY REVIEW.

On the important question of the different registers of the voice and their proper use, Mr. Behnke practically breaks new ground. He has carefully gone over the whole subject of the production of the voice as far as the larynx is concerned, and worked it out anew by a long and careful series of experiments and observations with the laryngoscope.... Mr. Behnke's book is clearly written, and the plates well drawn and printed; while the anatomical details are made clear to the general reader by the use of English names for the different parts.... It is a very valuable book, and ought to be read and thought over by all who have the training of young singers, and indeed by all musicians.

MEDICAL PRESS AND CIRCULAR.

In clear and untechnical language the author gives an accurate account of the construction and mode of action of the human larynx, its differences in men, women, and children, and the teachings of the laryngoscope, notably with respect to the "registers" of the voice.... M. Behnke is evidently an accurate observer and a logical reasoner, and a study of his work side by side with Witkowski's "Movable Atlas of the Throat and Tongue" must be advantageous to any one desiring to make the best use of his voice.

THE SPECIALIST.

This useful little book is the outcome of the author's large experience and careful research. It is written concisely, in clear and untechnical language, and frequent references are made to such authorities as Huxley, Lennox Browne, Eberth, Carpenter, Marshall, Luschka, &c. That Herr Behnke thoroughly understands his subject no one who reads his book can doubt, and if those who wish to know the right way to sing and avoid the wrong way will carefully study this little manual they will not go far wrong. For all who are dependent on the right use of their voices for their daily bread, Herr Behnke's book will be most opportune.

MUSICAL STANDARD.

An excellent specimen of a familiar way of putting unfamiliar truths.

MUSIC TRADES REVIEW.

There are excellent reasons why singers should possess an intimate knowledge of the structure and functions of the various organs concerned in the production of the voice, and this knowledge they are likely to gain more easily and effectually from the present treatise than from any other with which we are acquainted. Mr. Emil Behnke writes in a singularly clear and lucid manner, and if his book be not exactly light, it is very interesting reading. Much of the information conveyed is invaluable. We cannot too strongly recommend the present volume to the perusal of vocal students.

MUSICAL EDUCATION.

After carefully reading the book we are at no loss to understand how it is that there is such a demand for it amongst the members of the musical public. The style is admirably simple and lucid, and every statement made is in accordance with the latest views on the subject held by physiologists and anatomists of acknowledged eminence.

KEY BOARD.

The most reasonable, practical, and common-sense work to be found anywhere.

THE VOICE.

This book is clear and plain, and gives just the information that every singer and speaker should have. It is the ablest and most practical treatise on the voice we have seen.

THE INQUIRER.

Men have set themselves to try and ascertain the actual process by which vocal sounds are produced, and thus to form a scientific basis on which to found a way of training voices. Herr Behnke, in a singularly clear and lucid manner, brings the whole subject before the reader, and, to make it readily understood by non-scientific people, gives a translation of the Greek terms used by physiologists side by side with the originals. We cannot too strongly insist upon the necessity of forming a scientific basis for teaching singing, and, indeed, for training the voice for public speaking, &c. We congratulate Herr Behnke upon the patience and perseverance with which he has pursued his investigations with the laryngoscope.

MUSIC.

Mr. Emil Behnke has already made himself known to the leading members of the musical and medical professions by his learned lectures on "The Theory of Voice Production," and has gained the esteem of those interested in the subject by the masterly manner in which he deals with the matter, as well as his unaffected and, as far as possible, untechnical treatment of it. Mr. Behnke has done much to popularize the study of the human voice, and his book (which abounds in admirable plates) deserves to be widely known.

EDUCATIONAL TIMES.

It is but rarely that science figures as the handmaid of art, yet this book is a signal instance of it, for it is one of the first attempts, if not the very first, at an investigation, on strictly scientific principles, of the normal and the abnormal development of the voice, both in speaking and singing. Herr Behnke, who is both a musician and a physiologist, has brought to bear upon this subject his knowledge as a musician, and the results of several years of patient and careful scientific experiments. We cannot too highly commend this little work to the attention of all those interested in so important a subject.

BIRMINGHAM DAILY GAZETTE.

Since Herr Behnke's removal from Birmingham to London he has become an accepted authority on the subject of voice production, and we are glad to see the results of his studies presented in the useful way in which they are in this little volume. Earnest and conscientious students of the vocal art need not be reminded that the production of fine tone is not the all-in-all of the excellences of singing, but they will certainly know better how to employ their gifts after mastering the secrets Herr Behnke reveals.

Opinions of Mrs. Emil Behnke's Pupils.

VOICE TRAINING.

FROM AN OLD PUPIL.

GRESHAM HOTEL, DUBLIN.

DEAR MRS. BEHNKE,--It is indeed regrettable that Mr. Behnke was not spared to reap to a greater extent the reward of his wonderful work. You, I know, must have acquired an adequate knowledge of his magnificent system of teaching to enable you to continue on the same course, and so perpetuate his memory. This is a source of comfort to your many friends.

FROM A LADY LECTURER.

EDGBASTON, _May 11th, 1893_.

MY DEAR MRS. BEHNKE,--I feel I must write to tell you how much better I am, and how greatly indebted I am to your treatment.... I can take two or three meetings a week with ease, thanks to your training, and the deeper and fuller tone of my voice has been remarked upon by many.

LARNE, IRELAND.

I have no hesitation in saying that, under God, you were the means of curing my voice.

FROM A CLERGYMAN WHO HAD BROKEN DOWN IN VOICE.

LONDON, _July, 1893_.

My voice gives me no trouble now; it is indeed very much fuller and more resonant. I can fill my church without the least effort.

FROM A CLERGYMAN WHO HAD SUFFERED FROM "CLERGYMAN'S SORE THROAT."

BRIGHTON, _26th June, 1893_.

DEAR MRS. BEHNKE,--I take this opportunity of thanking you very much for what you have done for my voice. I shall try to keep up your exercises, and hope to receive more lessons later on in the year.

FROM A CLERGYMAN WHO STAMMERED, AND WHOSE VOICE WAS WEAK.

"THE PARSONAGE," _Feb. 7th, 1893_.

DEAR MRS. BEHNKE,--I told the Rev. Mr. S. of the great benefit I had derived from your instruction. He proposes to bring the subject of your work, and the importance of it to young clergymen, before the Bishop, with a view to something being done for ordination candidates.

FROM A TEACHER OF SINGING.

SCARBOROUGH, _Jan. 6th, 1894_.

DEAR MRS. BEHNKE,--For some years I have been teaching successfully on the lines laid down in your late husband's publications and his own "Voice Training Exercises;" and have put into the hands of some of my pupils your "Voice Training Primer." One of them has just passed Trinity College Senior Singing Examination with honours (84 marks out of 100). My own experience is that no exercises I have ever used have so helped to produce "forward" and to cure "throaty" tone, and I have long felt I owed to Mr. Behnke a debt of gratitude for his works. May I be permitted to acknowledge it to you?

STAMMERING.

THE TIMES.

Pre-eminent success in the education and treatment of stammering and other speech defects.

THE BRITISH MEDICAL JOURNAL.

DR. F. L. NICHOLLS writes:--"This infirmity is so great a drawback to almost every walk in life, and for public speaking so complete a hindrance, that a cure is of the utmost importance. It may therefore be of interest, and possibly of some use to members of the medical profession having a case of this nature in their practice, and desiring assistance for its cure, if I mention that I have recently had the most satisfactory experience of the cure of such a case. The father, a minister, was very anxious for his son to follow in his own footsteps, while the lad stuttered so badly it was not to be thought of, unless a cure could be effected; and for this purpose he was sent to Mrs. Behnke, of Earl's Court Square, London. Mrs. Behnke was chosen from high recommendations, and very thoroughly has she proved worthy of them. The lad has just returned home, and speaks without the slightest impediment. I should state that previously to going under Mrs. Behnke's hands we had tried various rules and recommendations without the least success."

"Stammering: its Nature and Treatment." Price 1_s_, of Mrs. Emil Behnke.

Causes of Voice Failure.

_By Mrs. EMIL BEHNKE._

=Third Edition, Revised and Enlarged.=

=OPINIONS OF THE PRESS=.

THE WEEKLY ECHO.

A very useful pamphlet by a very able teacher. It is published at sixpence, but contains many guinea fees' worth of knowledge, and hints where to procure more.

THE SHREWSBURY CHRONICLE.

Ought to be perused by all who seek distinction as vocalists.

BRISTOL TIMES.

A valuable little brochure. It is one of the most concise and practical treatises on the subject we have seen, and if only the hints contained therein were more generally observed, we should have not only less voice failure, but more good singers with strong, resonant, and lasting vocal organs. The little book should be in the hands of all singers, students especially.

HEARTH AND HOME.

Mrs. Behnke's pamphlet should be eagerly read. I advise all those who are interested in the preservation of their voices to invest sixpence in the purchase of this admirable booklet, as they cannot fail to gain much assistance from the excellent matter therein contained.

HALIFAX GUARDIAN.

The pamphlet is terse and valuable in the information it affords.

THE MEDICAL PRESS.

"Causes of Voice Failure," by Mrs. Emil Behnke, has the merit of being practical and of containing truths which must appeal forcibly not only to singers, but also to listeners.

WARRINGTON GUARDIAN.

"Causes of Voice Failure." This important subject is well treated by Mrs. Emil Behnke.

THE QUEEN.

Well worth reading for the valuable hints which it contains.

THE PRACTICAL TEACHER.

The husband of Mrs. Behnke was the greatest authority in his day upon voice-training, and, in recommending his wife's book we need only say that her knowledge of this subject is only second to what his was.

MUSICAL OPINION.

This is a small, cheap, and useful pamphlet by Mrs. Emil Behnke. The quiet, clear, convincing manner in which she writes deserves full recognition.

SUSSEX DAILY NEWS.

"Causes of Voice Failure," by Mrs. Behnke, is a useful little tract which may be confidently recommended to the notice of singers, professional and amateur, for the sound advice and cautions against common faults of training contained in it.

BRISTOL OBSERVER.

Mrs. Emil Behnke has written a little work on "Causes of Voice Failure" which deserves to be widely circulated among students of singing. It should be carefully read.

CAMBRIAN.

Excellent advice is given which must be of great value to those who contemplate adopting the vocal profession either from a pecuniary or from an artistic standpoint.

THE SCHOOLMASTER.

Mrs. Behnke goes to the root of the matter, and her proposals are urged clearly. Incidentally she touches on stammering, and we recommend those interested in the subject to give her ideas, at any rate, consideration.

THE PROFESSIONAL WORLD.

We would recommend it to all interested in the question of voice production and voice preservation.

LITERARY WORLD.

The writer of this essay is a well-known expert in her subject.

TUNBRIDGE WELLS ADVERTISER.

In a concise form Mrs. Behnke gives some valuable hints that singers would do well to note and pay attention to.

WEST SUSSEX GAZETTE.

Mrs. Behnke was well advised to consent to the publication of this valuable chapter added to the ninth edition of her husband's well-known work, "Mechanism of the Human Voice," and we are glad to note it has already run to a second edition.

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