THE PRIMARY REVIVAL OF SOME SENSATIONS IN THE BRAIN
I have on [page 77] referred to Stricker's views on the primary revival of words in the sense of movement of the lips and tongue. Mach ("Analysis of the Sensations") [!-- pagenumber --]says: "The supposition that the processes in the larynx during singing have had something to do with the formation of the tonal series I noticed in one of my earlier publications, but did not find it tenable. Singing is connected in too extrinsic and accidental a manner with hearing to bear out such an hypothesis. I can hear and imagine tones far beyond the range of my own voice. In listening to an orchestral performance with all the parts, or in having an hallucination of such a performance, it is impossible for me to think that my understanding of this broad and complicated sound-fabric has been effected by my one larynx, which is, moreover, no very practised singer. I consider the sensations which in listening to singing are doubtless occasionally noticed in the larynx a matter of subsidiary importance, like the pictures of the keys touched which when I was more in practice sprang up immediately into my imagination on hearing a performance on the piano or organ. When I imagine music, I always distinctly hear the notes. Music can no more come into being merely through the motor sensations accompanying musical performances, than a deaf man can hear by watching the movements of players. [!-- pagenumber --]I cannot therefore agree with Stricker on this point" (comp. Stricker, "Du langage et de la musique," Paris, 1885).
Of the motor type myself and having a fairly good untrained ear for music, I find that to memorise a melody, whether played by an instrument or by an orchestra, I must either try to sing or hum that melody in order to fix it in my memory. Every time I do this, association processes are being set up in the brain between the auditory centres and the centres of phonation; and when I try to revive in my silent thoughts the melody again, I do so best by humming aloud a few bars of the melody to start the revival and then continuing the revival by maintaining the resonator in the position of humming the tune, viz. with closed lips, so that the sound waves can only escape through the nose; under such circumstances the only definite conscious muscular sensation I have is from the effect of closure of the lips; the sensations from the larynx are either non-existent or quite ill-defined, although I hear mentally the tonal sensations of the melody. No doubt by closing the lips in silent humming I am in some way concentrating attention to the sensori-motor sphere of phonation and articulation, [!-- pagenumber --]and by reactive association with the auditory sphere reinforcing the tonal sensations in the mind. The vocal cords (ligaments) themselves contain very few nerve fibres; those that are seen in the deeper structures of the cords and adjacent parts mainly proceed to the mucous glands. This fact, which I have ascertained by numerous careful examinations, is in accordance with the fact that there are no conscious kinæsthetic impressions of alterations of position and tension of the vocal cords. A comparative microscopic examination of the tip of the tongue and the lips shows a remarkable difference, for these structures are beset with innumerable sensory nerves, whereby every slightest alteration of tension and minute variations in degrees of pressure of the covering skin is associated with messages thereon to the brain. The sense of movement in articulate speech is therefore explained by this fact. There is every reason then to believe that auditory tonal images are the sole primary and essential guides to the minute alterations of tension in the muscles of the larynx necessary for the production of corresponding vocal sounds. By humming a tune we concentrate our attention and thereby limit the activity of neural processes to [!-- pagenumber --]systems and communities of neurones employed for the perception of tonal images and their activation in motor processes; and this helps to fix the tune in the memory.
PSYCHIC MECHANISM OF THE VOICE
A musical speaking voice denotes generally a good singing voice, and it must be remembered that articulation cannot be separated from phonation in the psychic mechanism. In speaking, we are unconscious of the breath necessary for the production of the voice. Not so, however, in effective singing, the management of the breathing being of fundamental importance; and it is no exaggeration to say that only the individual who knows how to breathe knows how to sing effectually. A musical ear and sense of rhythm are innate in some individuals; in others they are not innate and can only be acquired to a variable degree of perfection by persevering efforts and practice. The most intelligent persons may never be able to sing in tune, or even time; the latter (sense of rhythm) is much more easily acquired by practice than the former (correct intonation). This is easily intelligible, for rhythmical movement appertains also to speech and other acts of human beings, e.g. walking, dancing, running, [!-- pagenumber --]swimming, etc.; moreover, rhythmical periodicity characterises the beat of the heart and respiration.
But how does a trained singer learn to sing a song or to take part in an opera? He has to study the performances of two parts for the vocal instrument—the part written by the composer and the part written by the poet or dramatist—and in order to present an artistic rendering, the intellectual and emotional characters of each part must be blended in harmonious combination. A singer will first read the words and understand their meaning, then memorise them, so that the whole attention subsequently may be given to applying the musical part to them and employing with proper phrasing, which means more than knowing when to breathe; it means imparting expression and feeling. A clever actor or orator can, if he possess a high degree of intelligence and a fairly artistic temperament, so modulate his voice as to convey to his audience the passions and emotions while feeling none of them himself; so many great singers who are possessed of a good musical ear, a good memory, and natural intelligence, although lacking in supreme artistic temperament and conspicuous musical ability, are nevertheless [!-- pagenumber --]able to interpret by intonation and articulation the passions and emotions which the composer has expressed in his music and the poet or dramatist in his words. The intelligent artist possessed of the musical ear, the sense of rhythm, and a well-formed vocal organ accomplishes this by the conscious control and management of his breathing muscles and the muscles of articulation, which by education and imitation he has brought under complete control of the will. With him visual symbols of musical notes are associated with the visual symbols of words in the mind, and the visual symbols whether of the words or of the musical notes will serve to revive in memory the sound of the one or the other, or of both. But he produces that sound by alteration of tension in co-ordinated groups of muscles necessary for vocalisation, viz. the muscles of phonation in the larynx, the muscles of articulation in the tongue, lips, jaw, and palate, and the muscles of costal respiration. The mind of the orator, actor, and dramatic singer exercises a profound influence upon the respiratory system of nerves, and thereby produces the necessary variations in the force, continuance, and volume of air required for vocal expression.
Sir Charles Bell, who discovered the respiratory system of nerves, pointed out how the lungs, from being in the lower animals merely the means of oxygenating the blood, become utilised in the act of expelling air from the body for the production of audible sounds—the elements of human voice and speech. Likewise he drew attention to the influence which powerful emotions exercise upon the organ of respiration, including the countenance, e.g. the dilated nostrils in anger. Again, "when the voice suffers interruption and falters, and the face, neck, and chest are animated by strong passion working from within the breast, language exerts its most commanding influence."
In hemiplegia or paralysis of one half of the body, there is a difference between the two sides for ordinary automatic unconscious diaphragmatic breathing and voluntary or costal breathing. Thus in ordinary breathing the movements are increased on the paralysed side, especially in the upper part of the chest, while in voluntary breathing they are increased on the sound side. Hughlings Jackson suggested the following theory to explain these facts: "Ordinary breathing is an automatic act governed by the respiratory centre in the medulla. The respiratory [!-- pagenumber --]centre is double, each side being controlled or inhibited by higher centres on the opposite side of the brain. Voluntary costal breathing, such as is employed in singing, is of cerebral origin, and controlled by centres on the opposite side of the brain, the impulses being sent down to the respective centres for the associated movements of the muscles of articulation, phonation, and breathing, in the same way as they are sent to the centres for the movements of the arm or leg. With voluntary breathing the respiratory centre in the medulla has nothing to do. It is in fact out of gear or inhibited for the time being, so that the impulses from the brain pass by or evade it. There are thus two sets of respiratory nerve fibres passing from the brain—the one inhibiting or controlling to the opposite half of the respiratory centre in the medulla; the other direct, evading the respiratory centre and running the same course to the spinal centres for the respiratory movements as the ordinary motor fibres do to the centres for other movements. Both sets would be affected by the lesion (or damage) which produced the hemiplegia. The inhibitory fibres being damaged, the opposite half of the respiratory centre would be under diminished [!-- pagenumber --]control and therefore the movements of ordinary breathing on the paralysed side would be exaggerated. The damage to the direct fibres would prevent the passage of voluntary stimuli to the groups of respiratory muscles (as it would do to the rest of the muscles of the paralysed side), and thus the voluntary movement of respiration would be diminished—diminished only and not completely abolished as in the limbs; because according to the theory of Broadbent, in the case of such closely associated bilateral movements the lower nervous respiratory centres of both sides would be activated from either side of the brain." This certainly applies also to the muscles of phonation, but not to the principal muscles of articulation, viz. the tongue and lips. It is not exactly known what part of the cerebral cortex controls the associated movements necessary for voluntary costal (rib) respiration in singing; probably it is localised in the frontal lobe in front of that part, stimulation of which gives rise to trunk movements (vide [fig. 16]). Whatever its situation, it must be connected by association fibres with the centres of phonation and articulation.