The Psychology of Singing / A Rational Method of Voice Culture Based on a Scientific Analysis of All Systems, Ancient and Modern

by David C. Taylor

Combining now the results of empirical and scientific investigation of the voice, throat stiffness is seen to be the interfering influence which disturbs the instinctive connection between voice and ear. Let us now consider the meaning of throat stiffness as a feature of incorrect tone-production. First, what is muscular stiffness?

All the voluntary muscles of the body are arranged in opposed pairs, sets, or groups. A typical pair of opposed muscles are the biceps and triceps of the upper arm. Contraction of the biceps flexes the forearm at the elbow; the contrary movement, extending the forearm, results from the contraction of the triceps. This principle of opposition applies to the entire muscular system. One set of muscles raises the ribs in inspiration, another set lowers them in expiration; one group flexes the fingers and clenches the fist, an opposed set extends the fingers and opens the hand. Muscular opposition does not imply that the entire structure is made up of parallel pairs of muscles, like the biceps and triceps, located on opposite sides of the same bone. It means only that the opposed sets pull in contrary directions.

Each opposed set consists of muscles of about equal strength. Under normal conditions of relaxation the entire muscular system exerts a slight degree of contraction. To this normal state of oppositional contraction the name "muscular tonicity" is given. The present purpose does not call for a discussion of the subject of muscular tonicity. This form of contraction has no direct bearing on the performance of voluntary movements.

What effect has the voluntary contraction of all the muscles of any member, each opposed set exerting the same degree of strength? No motion of the member results, but the member is brought on tension and stiffened. This is well illustrated in the case of the arm. Extend the arm and clench the fist; then contract all the muscles of the arm, about as the athlete does to display his muscular development. You will notice that the arm becomes stiff and tense.

This state of tension is commonly called "muscular stiffness," but the term is open to objection. It is really the joints which are stiffened, not the muscles. We are, however, so accustomed to speak of muscular stiffness, and particularly of throat stiffness, that little is to be gained by substituting a more accurate expression.

A condition of muscular stiffness results from the contraction of all the muscles of a member, whether this contraction be voluntary or involuntary. This condition does not prevent the normal movements of the member; it only renders the movements more difficult and fatiguing and less effective. It is readily seen why this is the case. More than the necessary strength is exerted by the muscles. Suppose the biceps and triceps, for example, each to be contracted with five units of strength; then let some work be performed by the flexing of the forearm, requiring the exertion of two units of strength. In this case the biceps must exert two units of strength more than the triceps, that is, seven units. In all, the two muscles together exert twelve units of strength to accomplish the effective result of two units. Six times the needed strength is exerted. Activity of this kind is naturally fatiguing.

Muscular stiffness increases the difficulty of complex movements. Not only is unnecessary strength exerted; the stiffness of the joints also interferes with the freedom and facility of motion. But this unfavorable condition does not upset the power of coördination. The instinctive connection between the nerve centers of consciousness and the motor centers is not broken. Although hampered in their efforts, the muscles are still able to execute the demands of consciousness.

As an illustration of this analysis of muscular stiffness let us consider the actions of writing, when performed under the conditions just described. It is possible to write with the hand and arm in a state of muscular stiffness. But one does not write so easily, so rapidly, nor so well with the arm stiff as with the arm normally relaxed. Closer attention must be paid to the forming of the letters, and more effort must be put forth to write with the muscles stiffened; yet the result is not equal to that obtained with less care and labor under normal muscular conditions.

All that has been said of muscular stiffness applies with especial force to the vocal organs. Like the rest of the muscular system, the muscles of the vocal organs are arranged in opposed pairs and sets. The contraction of all the muscles of the throat, each opposed set or pair exerting about the same degree of strength, causes a condition of throat stiffness. Singing is possible in this condition. But the singer's command of the voice is not so complete and satisfactory as under normal conditions.

Throat stiffness does not altogether deprive the vocal organs of their faculty of instinctive adjustment in obedience to the demands of the ear. To a fair extent the voice is under the command of the singer. The vocal cords adjust themselves readily enough for the desired pitch; tones of the various degrees of loudness and softness can be sung in a fairly satisfactory manner. But the muscles are somewhat hampered in their contractions, and the response to the demands of the ear is not quite perfect. This lack of perfect command is evidenced specially in the quality of the tones. Some form of throaty quality always mars the voice when the throat is in a stiffened condition. In this regard the voice refuses to fulfill the demands of the ear. Even though the singer hears, and indeed feels, the effects of the muscular tension, and strives to remedy the fault of production, the voice still refuses to respond.