Fig. 12
Fig. 12.—Diagram showing the position of the larynx in respect to the resonator and tongue. The position of the vocal cords is shown, but really they would not be seen unless one half of the shield cartilage were cut away so as to show the interior of the voice-box. Sound vibrations are represented issuing from the larynx, and here they become modified by the resonator; the throat portion of the resonator is shown continuous with the nasal passages; the mouth portion of the resonator is not in action, owing to the closure of the jaw and lips. The white spaces in the bones of the skull are air sinuses. In such a condition of the resonator, as in humming a tune, the sound waves must issue by the nasal passages, and therefore they acquire a nasal character.
III. THE RESONATOR AND ARTICULATOR
The Resonator.—The resonator is an irregular-shaped tube with a bend in the middle; the vertical portion is formed by the larynx and pharynx, the horizontal by the mouth. The length of the resonator, from the vocal cords to the lips, is about 6.5 to 7 inches (vide [fig. 12]). The walls of the vertical portion are formed by the vertebral column and the muscles of the pharynx behind, the cartilages of the larynx and the muscles of the pharynx at the sides, and the thyroid cartilage, the epiglottis, and the root of the tongue in front; these structures form the walls of the throat and are all covered with a mucous membrane. This portion of the [!-- pagenumber --]resonator passage can be enlarged to a slight degree by traction upon the larynx below (sterno-thyroid muscle), by looseness of the pharyngeal muscles, and still more by the forward placement of the tongue; the converse is true as regards diminution in size. The horizontal portion of the resonator tube (the mouth) has for its roof the soft palate and the hard palate, the tongue for its floor, and cheeks, lips, jaw, and teeth for its walls. The interior dimensions of this portion of the resonator can be greatly modified by movements of the jaw, the soft palate, and the tongue, while the shape and form of its orifice is modified by the lips.
There are accessory resonator cavities, and the most important of these is the nose; its cavity is entirely enclosed in bone and cartilage, consequently it is immovable; this cavity may or may not be closed to the sonorous waves by the elevation of the soft palate. When the mouth is closed, as in the production of the consonant m, e.g. in singing me, a nasal quality is imparted to the voice, and if a mirror be placed under the nostrils it will be seen by the vapour on it that the sound waves have issued from the nose; consequently the nasal portion of the resonator has imparted its characteristic quality to the sound. The air [!-- pagenumber --]sinuses in the upper jaws, frontal bones, and sphenoid bones act as accessory resonators; likewise the bronchi, windpipe, and lungs; but all these are of lesser importance compared with the principal resonating chamber of the mouth and throat. If the mouth be closed and a tune be hummed the whole of the resonating chambers are in action, and the sound being emitted from the nose the nasal quality is especially marked. But no sound waves are produced unless the air finds an exit; thus a tune cannot be hummed if both mouth and nostrils are closed.
From the description that I have given above, it will be observed that the mouth, controlled by the movements of the jaw, tongue, and lips, is best adapted for the purpose of articulate speech; and that the throat, which is less actively movable and contains the vocal cords, must have greater influence on the sound vibrations without participating in the articulation of words. While the vocal cords serve the purpose of the reed, the resonator forms the body of the vocal instrument. Every sound passes through it; every vowel and consonant in the production of syllables and words must be formed by it, and the whole character and individual qualities of the speaking [!-- pagenumber --]as well as the singing voice depend in great part upon the manner in which it is used.
The acoustic effect is due to the resonances generated by hollow spaces of the resonator, and Dr. Aikin, in his work on "The Voice," points out that we can study the resonances yielded by these hollow spaces by whispering the vocal sounds; but it is necessary to put the resonator under favourable conditions for the most efficient production. When a vowel sound is whispered the glottis is open (vide [fig. 10]) and the vocal cords are not thrown into vibration; yet each vowel sound is associated with a distinct musical note, and we can produce a whole octave by alteration of the resonator in whispering the vowel sounds. In order to do this efficiently it is necessary to use the bellows and the resonator to the best advantage; therefore, after taking a deep inspiration in the manner previously described, the air is expelled through the open glottis into the resonating cavity, which (as [fig. 13] shows) is placed under different conditions according to the [!-- pagenumber --]particular vowel sound whispered. In all cases the mouth is opened, keeping the front teeth about one inch apart; the tongue should be in contact with the lower dental arch and lie as flat on the floor of the mouth as the production of the particular vowel sound will permit. When this is done, and a vowel sound whispered, a distinctly resonant note can be heard. Helmholtz and a number of distinguished German physicists and physiologists have analysed the vowel sounds in the whispering voice and obtained very different results. If their experiments show nothing else, they certainly indicate that there are no universally fixed resonances for any particular vowel sound. Some of the discrepancies may (as Aikin points out) be due to the conditions of the experiment not being conducted under the same conditions. Aikin, indeed, asserts that if the directions given above be fulfilled, there will be variations between full-grown men and women of one or two tones, and between different men and different women of one or two semi-tones, and not much more. As he truly affirms, if the tube is six inches long a variation of three-quarters of an inch could only make a difference of a whole tone in the resonance, and he implies that the different results obtained by these different experimenters were due to the faulty use of the resonator.
In ordinary conversation much faulty pronunciation is overlooked so long as the words themselves are intelligible, but in [!-- pagenumber --]singing and public speaking every misuse of the resonator is magnified and does not pass unnoticed. Increased loudness of the voice will not improve its carrying power if the resonator is improperly used; it will often lead to a rise of pitch and the production of a harsh, shrill tone associated with a sense of strain and effort. Aikin claims that by studying the whispering voice we can find for every vowel sound that position of the resonator which gives us the maximum of resonance. By percussing[²] the resonator in the position for the production of the various vowel sounds you will observe a distinct difference in the pitch of the note produced. I will first produce the vowel sound oo and proceed with the vowel sounds to i; you will observe that the pitch rises an octave; that this is due to the changes in the form of the resonator is shown when I percuss the resonator in the position of the different vowel sounds. You will observe that I start the scale of C with oo on f and proceed through a series of vowel sounds as in whispering who, owe, or, on, ah. I rise a fifth from f to c, and the diagram shows [!-- pagenumber --]the change in the form of the resonator cavity to be mainly due to the position of the dorsum of the tongue. Proceeding from ah to the middle tone of the speaking register, we ascend the scale to i as in me, and the dorsum of the tongue now reaches the roof of the mouth; but the tongue not only rises, it comes forward, and the front segment of the resonator is made a little smaller at every step of the scale while the back segment becomes a little larger. I consider this diagram of Aikin to be more representative of the changes in the resonator than the description of Helmholtz, who stated that the form of the resonator during the production of the vowel sound u and o is that of a globular flask with a short neck; during the production of a that of a funnel with the wide extremity directed forward; of e and i that of a globular flask with a long narrow neck.