Duality of Voice

by Emil Sutro

THE HUMAN VOICE

What is the voice—a spirit, or "an expiratory current of air set into vibration by purely physical agencies"? It does not seem to me to be either, but something which is of the nature of both: our dual nature, embodied in the sounds of speech; our body and soul joining hands to produce the miracle of the voice. Regarding the materialistic view quoted above, which is held by most of the investigators, who make the larynx their point d'appui, I think that if there is anything in our composition or emanating therefrom that is not produced by "purely physical agencies," it is the voice.

In my opinion there is nothing purer, more "spiritual," in the world than a beautiful voice. Did you ever see a spirit? Perhaps not. But you have often heard one. You hear them daily, hourly, constantly; other spirits as well as your own—the spirits represented by the voice; the soul incorporated in the sounds of speech. When you converse, it is soul to soul; when you hear an anthem sung, it is the soul of the singer to the soul of the universe. The soul reveals itself most prominently through the voice when there is anguish in it, or joy; tears or laughter; love or hate.

An attempt to get at the truth in matters of the voice is an attempt at getting at the truth in matters of life. If you will tell me all that a vocal sound is, I will tell you what your soul is.

To examine into the anatomical construction of the larynx, to watch it physiologically and learn to understand the motions of the vocal cords in their relation to vocal sounds, is not much more than looking at the dial of a clock (a simile already used, but worth repeating). The movements of the hands will give you no cue to the construction of the intricate works hidden behind the face of the clock. Nor will the careful examination and observation of the "dials" which serve the voice of the œsophagus in the same manner as those of the larynx serve the voice of the trachea, measurably increase the knowledge of vocal phenomena. I do believe, however, that, inasmuch as the movements of the replica, the frænum, and the vocal lip fit into and complement those of the larynx and its vocal cords, and vice versa, lessons of great benefit to the knowledge and the improvement of vocal utterance may be learned, after we have once begun to understand what these movements imply.

That we cannot now derive any benefit from the observation of these motions is due to the fact that they are reflex, involuntary, uncontrolled and uncontrollable by the will. Or, as Mme. D'Arona expresses it:

"They are not the cause of the perfect tone, but are simply acted upon by the cause."

After having become acquainted with the cause of these motions, and having learned to control it in the interest of pure and perfect tone, the movements of the larynx and the replica will become of value to us as "indicators" of the correct or incorrect exercise of the cause which they reflect. In "recording" the original movements they will show us what is right or wrong in the latter, and will thus offer us an opportunity for correcting them. Up to the present they have been simply barometers, which, no matter how closely we may observe them, offer us no opportunity for changing "the state of the weather" which they indicate. After thoroughly comprehending the causes, however, which move them, we may shape the course of the latter in conformity with our will. Or, vice versa, we may shape our will, which, after all, is the first cause, so as to correct that which they indicate to be wrong in our tone production.

Now, what is that which the will acts upon, and thus becomes the original source, the first cause, so to say, of tone production? My answer will be a surprise, for, as far as I know, no one has ever as much as thought, even, of looking in this direction for the seat of the voice.

The original source of tone production has its location in various vessels of the viscera: in the lungs, the kidneys, and the bladder, for the most part, though many other vessels, if not all, participate, and are more or less involved in its production. Besides these vessels, the heart and the solar plexus, as central organs of the vascular and nervous systems, together with the brain as the central seat of thought and the will, perform parts of the highest importance in tone production and vocal utterance. In the lungs, the bladder, and the kidneys, together with their coadjutors, the bronchi and ureters, the tone originates. Here we can control, and unconsciously do control, it.

I shall adduce indubitable proof as to the correctness of these assertions. More than that, I shall locate sounds in these various vessels. As a tone proceeds from a given string located in a given part of a musical instrument, and cannot proceed from or be produced on any other string, a given tone of the human voice proceeds from a given vessel, and cannot proceed from or be produced in any other vessel.

I shall furthermore show that the various shades of a tone proceed from various parts of such vessel. Yet, while tones are produced in special parts, the instrument of the voice being of a sympathetic nature, all parts of the viscera participate therein, by, in a manner, leaning towards a vessel in which a tone is produced, thus assisting in giving it utterance. If a sound is produced in one of the vessels of the abdomen, those of the thorax, though not directly participating therein, give it aid and comfort by their passivity, thus throwing the entire strength of the voice-producing forces into this one spot. If a sound is produced in the thorax, the vessels of the abdomen aid it in a similar manner. This is more particularly the case when a sound of a superior order is to be produced, which is thus reinforced by this aid.

In matters of the voice, as in many others, truth is stranger than fiction.

Dr. Rush has said:

"Some day, when the real instrument of the voice will be discovered, it will be found to be of an order far different in its nature and construction from that which it has ever been supposed to be."

The greatest mechanical wonder, however, is that the voice, and that which is apparently one and the same sound, should under different circumstances emanate from sources so entirely different in their construction as the vocal cords to the trachea and those to the œsophagus, the viscera of the kidneys, the bladder and the lungs, etc. This fact also accounts for the mystery which, like an impenetrable veil, has hung over the features of the voice. Who has ever thought of looking for the spirit of the voice to reveal itself from beneath the tongue? Who has ever thought that the œsophagus was a breathing-tube of a similar functional order as the trachea? Who has thought that the viscera of the abdomen were playing as important a part in breathing as the lungs? Who has thought that the hemisphere of the abdomen was as directly amenable to the influence of the air as that of the thorax? Who has, in fine, thought that the viscera of the abdomen together with those of the thorax were primarily instrumental in producing the voice and vocal utterance?

It may not be pleasant to know, and it may not quite conform with our æsthetic taste, that the "voice divine" should have its origin in such vessels as the kidneys and the bladder; but I have no quarrel with the Creator, and can but wonder, as I have never ceased to wonder from step to step in all these investigations, at the marvellous resources of nature. There is one great lesson conveyed through this, namely,—- that the body is divine in its every aspect; parts which have been supposed to serve ends only of a comparatively low order participating in the highest spiritual functions.

This knowledge is the sanctification of the "flesh," so constantly and unjustifiably rejected and reviled as against that of the spirit. I am not dealing with theories, but am stating facts which will be as positively proven as any other scientific facts ever have been proven. These proofs will not be all forthcoming in this book, however, there being other subjects of equal, if not greater, importance that I have to deal with before I can reach them; these subjects being of such a nature that they must be explained before those immediately connected with voice production can be properly dealt with.

I have been reproached with attempting too much; with dealing with too many subjects at one and the same time; that I ought to complete one theme and then take hold of another. Just so; but this cannot be done. I must first deal with general principles. Our entire system being of a homogeneous nature, I cannot deal with separate issues until these principles have been dealt with and understood in their entirety. Besides, I cannot hope to ever complete any one thing. I shall be well satisfied if I shall be able to simply touch upon every subject that has come under my observation, lightly, suggesting things, and leaving it to others to enter more thoroughly into the same.