Voice production in singing and speaking, based on scientific principles

by Wesley Mills

[CHAPTER XVII.]

THE HEARING APPARATUS AND HEARING IN MUSIC.

Why this chapter is introduced—The essential mechanism of hearing—The part played by waves and vibrations—Divisions of the ear—The external ear in lower animals—The drum-head or tympanic membrane—The middle ear and its connections—Relation of the throat and the ear—The inner ear or labyrinth—The end-organ and its relations—The connection of the ear and various parts of the brain—The musician's ear—Relation of music and hearing—Lack of ear and inattention—The artist and the musician—The ear and the speaking voice—General musical training in relation to intonation, etc—The appreciation of music, and training to that end—The art of listening with close attention—Summary [236]

[CHAPTER XVIII.]

CONSIDERATION OF GENERAL AND SPECIAL HYGIENE AND RELATED SUBJECTS.

Hygienic as related to physiological principles—Hygiene in the widest sense—Unfavorable conditions in the public life of an artist—Qualifications for success—Technique and a public career—The isolation of the artist and its dangers—The need for greater preparation now than ever—Choral singing and its possible dangers—The tendencies of the Wagner music-drama—Special faults, as the "scoop," "vibrato," "tremolo," "pumping"—Desirability of consultations by teachers of the use of the voice—Things the voice-user should avoid—Mouth-toilets—Lozenges—The sipping of water—What one should and should not eat—Tea and Coffee—The whole subject of congestion from compression, straining, etc., of the utmost importance—A sore throat when frequent should give rise to inquiry as to methods—Constipation—Exercise—Bathing [251]

[CHAPTER XIX.]

FURTHER TREATMENT OF PHYSICAL AND MENTAL HYGIENE.

Stammering and stuttering—Those who have broken down—The increase of the range of a voice—The part the student plays in settling such questions—Selections to be avoided—Conservation of energy—Change and contrast—The voice as related to the building in which it is produced—The listener and pauses—Nervousness, and how to ward it off—General conclusion [268]