Fig. 10.—Diagram (modified from Aikin) illustrating the condition of the vocal cords in respiration, whispering, and phonation. (1) Ordinary breathing; the cords are separated and the windpipe can be seen. (2) Deep inspiration; the cords are widely separated and a greater extent of the windpipe is visible. (3) During the whisper the vocal cords are separated, leaving free vent for air through the glottis; consequently there is no vibration and no sound produced by the cords. (4) The soft vocal note, or aspirate, shows that the chink of the glottis is not completely closed, and especially the rima respiratoria (the space between the vocal processes of the pyramidal cartilages.) (5) Strong vocal note, produced in singing notes of the lower register. (6) Strong vocal note, produced in singing notes of the higher register.
Musical notes are comprised between 27 and 4000 vibrations per second. The extent and limit of the voice may be given as between C 65 vibrations per second and f''' 1417 vibrations per second, but this is most exceptional, it is seldom above c''' 1044 per second. The compass of a well-developed singer is about two to two and a half octaves. The normal pitch, usually called the "diapason normal," is that of a tuning-fork giving 433 vibrations per second. Now what does the laryngoscope teach regarding the change occurring in the vocal cords during the singing of the two to two and a half octaves? If the vocal cords are observed by means of the laryngoscope during phonation, no change is seen, owing to the rapidity of the vibrations, although a scale of an octave may be sung; in the lower notes, however, the vocal cords are seen not so closely approximated as in the very high notes. This may account for the difficulty experienced in singing high notes piano. Sir Felix Semon in a Friday evening lecture at the Royal Institution showed some remarkable photographs, by Dr. French, of the larynx of two great singers, a contralto and a high soprano, during vocalisation, which exhibit changes in the length of the vocal cords and [!-- pagenumber --]in the size of the slit between them. Moreover, the photographs show that the vocal cords at the break from the lower to the upper register exhibit characteristic changes.
Fig. 11
Fig. 11.—Drawings after Dr. French's photographs in Sir Felix Semon's lecture on the Voice, (1) Appearance of vocal cords of contralto singer when singing F# to D; it will be observed that the cords increase in length with the rise of the pitch, presumably the whole cord is vibrating, including the inner strand of the vocal muscle. At the break from D to E (3 and 4) the cords suddenly become shorter and thicker; presumably the inner portion of the vocal muscle (thyro-arytenoid) is contracting strongly, permitting only the edge of the cord to vibrate. For the next octave the cords are stretched longer and longer; this may be explained by the increasing force of contraction of the tensor muscle stretching the cords and the contained muscle, which is also contracted.
When we desire to produce a particular vocal sound, a mental perception of the sound, which is almost instinctive in a person with a musical ear, awakens by association motor centres in the brain that preside over the innervation currents necessary for the approximation and minute alterations in the tensions of the vocal cords requisite for the production of a particular note. We are not conscious of any kinæsthetic (sense of movement) guiding sensations from the laryngeal muscles, but we are of the muscles of the tongue, lips, and jaw in the production of articulate [!-- pagenumber --]sounds. It is remarkable that there are hardly any sensory nerve endings in the vocal cords and muscles of the larynx, consequently it is not surprising to find that the ear is the guiding sense for correct modulation of the loudness and pitch of the speaking as well as the singing voice. In reading music, visual symbols produced by one individual awakens in the mind of another mental auditory perceptions of sound varying in pitch, duration, and loudness. Complex neuro-muscular mechanisms preside over these two functions of the vocal instrument. The instrument is under the control of the will as regards the production of the notes in loudness and duration, but not so as regards pitch; for without the untaught instinctive sense of the mental perception of musical sounds correct intonation cannot be obtained by any effort of the will. The untaught ability of correct appreciation of variations in the pitch of notes and the memorising and producing of the same vocally are termed a musical ear. A gift even to a number of people of poor intelligence, it may or may not be associated with the sense of rhythm, which, as we have seen, is dependent upon the mental perception of successive movements associated with a sound. Both correct modulation and [!-- pagenumber --]rhythm are essential for melody. The sense of hearing is the primary incitation to the voice. This accounts for the fact that children who have learnt to speak, and suffer in early life with ear disease, lose the use of their vocal instrument unless they are trained by lip language and imitation to speak. The remarkable case of Helen Keller, who was born blind and deaf, and yet learned by the tactile motor sensibility of the fingers to feel the vibrations of the vocal organ and translate the perceptions of these vibrations into movements of the lips and tongue necessary for articulation, is one of the most remarkable facts in physiological psychology. Her voice, however, was monotonous, and lacked the modulation in pitch of a musical voice. Music meant little to her but beat and pulsation. She could not sing and she could not play the piano. The fact that Beethoven composed some of his grandest symphonies when stone deaf shows the extraordinary musical faculty he must have preserved to bear in his mind the grand harmonies that he associated with visual symbols. Still, it is impossible that Beethoven, had he been deaf in his early childhood, could ever have developed into the great musical genius that he became.
