THE VOICE.
_Voice and Speech--The Larynx, or the Organ of the Voice--The Vocal
Cords--The Laryngoscope--The Production of the Voice--The Use of the
Tongue--The different Varieties of Voice--The Change of Voice--Its
Compass--Purity of Tone--Ventriloquy._
[Sidenote: 1. The uttering of sounds by animals? How produced?]
1. VOICE AND SPEECH.--In common with the majority of the nobler animals,
man possesses the power of uttering sounds, which are employed as a means
of communication and expression. In man, these sounds constitute the voice;
in the animals, they are designated as the cry. The song of the bird is a
modification of its cry, which is rendered possible from the fact that its
respiratory function is remarkably active. The sounds of the animals are
generally, but not always, produced by means of their breathing organs.
Among the insects, they are sometimes produced by the extremely rapid
vibrations of the wings in the act of flight, as in the case of the
musquito; or they are produced by the rubbing together of hard portions of
the external covering of the body, as in the cricket. Almost all kinds of
marine animals are voiceless. The tambour-fish and a few others have,
however, the power of making a sort of noise in the water.
[Sidenote: 2. The evidence of man's superior endowment? What is stated of
the idiot? Parrot? Raven?]
2. But man alone possesses the faculty of speech, or the power to use
articulate sounds in the expression of ideas, and in the communication of
mind with mind. Speech is thus an evidence of the superior endowment of
man, and involves the culture of the intellect. An idiot, while he {228}
may have complete vocal organs and full power of uttering sounds or cries,
is entirely incapable of speech; and, as a rule, the excellence of the
language of any people will be found to be proportional to their
development of brain. Man, however, is not the only being that has the
power to form articulate sounds, for the parrot and the raven may also be
taught to speak by rote; but man alone attaches meaning to the words and
phrases he employs.
[Sidenote: 3. Speech and hearing? A deaf child? Person having "no ear for
music?" Impaired hearing? What do the examples show?]
3. Speech is intimately related to the sense of hearing. A child born deaf
is, of necessity, dumb also; not because the organs of speech are
imperfect, for he can utter cries and may be taught to speak, and even to
converse in a rude and harsh kind of language; but because he can form no
accurate notion of sound. And a person, whose hearing is not delicate, or
as it is commonly expressed, who "has no ear for music," cannot sing
correctly. A person who has impaired hearing commonly talks in an
unnaturally loud and monotonous voice. These examples show the necessary
relation of intelligence and the sense of hearing with that form of
articulate voice, which is termed speech.
[Sidenote: 4. Organ of the voice? Where situated? Of what is its framework
composed?]
4. THE ORGAN OF THE VOICE.--The essential organ of the voice is the Larynx.
This has been previously alluded to in its relation to the function of
respiration; and, in the chapter on that subject, are figured the front
view of that organ (Fig. 35), and its connection with the trachea, tongue,
and other neighboring parts (Fig. 38). It is situated at the upper part of
the neck, at the top of the trachea, or tube by which air passes into and
out of the lungs. The framework of the larynx is composed of four
cartilages, which render it at once very strong and sufficiently flexible
to enable it to move according to the requirements of the voice. {229}
[Illustration: FIG. 55. SECTION OF THE LARYNX AND TRACHEA.
A, The Epiglottis. B, The Thyroid Cartilage. C, Arytenoid Cartilage.
D, Ventricle of the Larynx. E, Cricoid Cartilage. F, Right Vocal Cord.
H, The Trachea.]
[Sidenote: 5. Names, formation, and situation of the cartilages?]
5. The names of the cartilages are (1) the _thyroid_, which is a broad thin
plate, bent in the middle and placed in the central line of the front part
of the neck, where it is known as the _pomum Adami_, or Adam's apple (Fig.
55, B), and where it may be felt moving up and down with each act of
swallowing; (2) the _cricoid_, which is shaped like a seal ring, with the
broad part placed posteriorly (Fig. 55, E). At the top of the cricoid
cartilage are situated the two small _arytenoid_ cartilages, the right one
of which is shown in Fig. 55, C. These latter little organs are much more
movable than the other two, and are very important in the production of the
voice. They have a true ball and socket joint, and several small muscles
which contract and relax with as perfect regularity and accuracy as any of
the larger muscles of the body.
[Sidenote: 6. Lining of the interior of the larynx? The epiglottis?]
6. The interior of the larynx is lined with a very sensitive mucous
membrane, which is much more closely adherent to the parts beneath than is
usually the case with membranes of this description. The epiglottis (A),
consisting of a single leaf-shaped piece of cartilage, is attached to the
front part of the larynx. It is elastic, easily moved, and fits accurately
over the entrance to the air-passages below it. Its office is to guard
these delicate passages and the lungs against the intrusion of food and
other foreign {230} articles, when the act of swallowing takes place. It
also assists in modifying the voice.
[Sidenote: 7. Where are the vocal cords? The false cords? The true cords?]
7. THE VOCAL CORDS.--Within the larynx, and stretched across it from the
thyroid cartilage in front to the arytenoid cartilages behind, are placed
the two sets of folds, called the vocal cords. The upper of these, one on
each side, are the false cords, which are comparatively fixed and
inflexible. These are not at all essential to the formation of vocal
sounds, for they have been injured, in those lower animals whose larynx
resembles that of man, without materially affecting their characteristic
cries. Below these, one on each side, are the true vocal cords (Fig. 55,
F), which pursue a similar direction to the false cords, namely, from
before backward. But they are composed of a highly elastic, though strong
tissue, and are covered with a thin, tightly-fitting layer of mucous
membrane. Their edges are smooth and sharply defined, and when they meet,
as they do in the formation of sounds, they exactly match each other.
[Sidenote: 8. Where is the ventricle of the larynx? The essentials to the
formation of the tones and modulation of the voice?]
8. Between the true and false vocal cords is a depression on each side,
which is termed the ventricle of the larynx (Fig. 55, D). The integrity of
these true cords, and their free vibration, are essential to the formation
of the tones and the modulation of the natural voice. This is shown by the
fact that, if one or both of these cords are injured or become diseased,
voice and speech are compromised; or when the mucous membrane covering them
becomes thickened, in consequence of a cold, the vocal sounds are rendered
husky and indistinct. When an opening is made in the throat below the
cords, as not infrequently happens in consequence of an attempt to commit
suicide, voice is impossible except when the opening is closed by external
pressure. {231}
[Illustration: FIG. 56. A VIEW OF THE VOCAL CORDS BY MEANS OF THE
LARYNGOSCOPE.]
[Sidenote: 9. Variation in the interval between the true cords of the
voice? Experiment with the mirror?]
9. The interval or space between the true cords of the voice is constantly
varying, not only when their vocal function is in exercise, but also during
the act of respiration. Every time the lungs are inflated, the space
increases to make wide the entrance for the air; and diminishes slightly
during expiration. So that these little cords move gently to and fro in
rhythm with the expansion and contraction of the chest in breathing. These
movements and others may be seen to take place, if a small mirror attached
to a long handle be placed back into the upper part of the throat; the
handle near the mirror must be bent at an angle of 45°, so that we may look
"around the corner," so to speak, behind the tongue. The position which the
mirror must assume will be understood by reference to Fig. 38. A view of
what may be seen under favorable circumstances, during tranquil inspiration
is represented in Fig. 56. The vocal cords are there shown as narrow, white
bands, on each side of the central opening, and since the image is
inverted, the epiglottis appears uppermost. The rings partly seen through
the opening belong to the trachea. This little mirror is the essential part
{232} of an instrument, which is called the laryngoscope, and, simple as it
may seem, it is accounted one of the most valuable of the recently invented
appliances of the medical art.
[Sidenote: 10. The formation of true vocal tones?]
10. THE PRODUCTION OF THE VOICE.--During ordinary tranquil breathing no
sound is produced in the larynx, true vocal tones being formed only during
forcible expiration, when, by an effort of the will, the cords are brought
close together, and are stretched so as to be very tense. The space between
them is then reduced to a narrow slit, at times not more than 1/100 of an
inch in width; and the column of expired air being forced through it causes
the cords to vibrate rapidly, like the strings of a musical instrument.
Thus the voice is produced in its many varieties of tone and pitch; its
intensity, or loudness, depending chiefly upon the power exerted in
expelling the air from the lungs. When the note is high, the space is
diminished both in length and width; but when it is low, the space is wider
and longer (Fig. 57, B, C), and the number of vibrations is fewer within
the same period of time.
[Illustration: FIG. 57. THE DIFFERENT POSITIONS OF THE VOCAL CORDS.
A, The position during inspiration. B, In the formation of low notes. C, In
the formation of high notes.]
[Sidenote: 11. To what is the personal quality of the voice mainly due?
What aids are there?]
11. The personal quality of the voice, or that which enables us to
recognize a person by his speech, is mainly due to the peculiar shape of
the throat, nose, and mouth, and {233} the resonance of the air contained
within those cavities. The walls of the chest and the trachea take part in
the resonance of the voice, the air within them vibrating at the same time
with the parts above them. This may be tested by touching the throat or
breast-bone, when a strong vocal effort is made. The teeth and the lips
also are important, as is shown by the unnatural tones emitted by a person
who has lost the former, or by one who is affected with the deformity known
as "hare-lip." The tongue is useful, but not indispensable to speech; the
case of a woman is reported, from whom nearly the whole tongue had been
torn out, but who could, nevertheless, speak distinctly and even sing.
[Sidenote: 12. Varieties of voice? The baritone? The voice in early youth?]
12. THE VARIETIES of voice are said to be four in number; two, the bass and
tenor, belonging to the male sex; and two, the contralto or alto, and
soprano, peculiar to the female. The baritone voice is the name given to a
variety intervening between the bass and tenor. In man, the voice is strong
and grave; in woman, soft and high. In infancy and early youth, the voice
is the same in both sexes, being of the soprano variety: that of boys is
both clear and loud, and being susceptible of considerable training, is
highly prized in the choral services of the church and cathedral. At about
fourteen years of age the voice is said to change; that is, it becomes
hoarse and unsteady by reason of the rapid growth of the larynx. In the
case of the girl, the change is not very marked, except that the voice
becomes stronger and has a wider compass; but in the boy, the larynx nearly
doubles its size in a single year, the vocal cords grow thicker, longer,
and coarser, and the voice becomes masculine in character. During the
progress of this change, the use of the voice in singing is injudicious.
[Sidenote: 13. The range of the voice? Result of careful training of the
vocal organs?]
13. The ordinary range of each of the four varieties of {234} the voice is
about two octaves; but this is exceeded in the case of several celebrated
vocalists. Madame Parepa-Rosa has a compass of three full octaves. When the
vocal organs have been subjected to careful training, and are brought under
complete control of the will, the tension of the cords become exact, and
their vibrations become exceedingly precise and true. Under these
circumstances the voice is said to possess "purity" of tone, and can be
heard at a great distance, and above a multitude of other sounds. The power
of a pure voice to make itself heard was recently exemplified in a striking
manner: at a musical festival held in an audience-room of extraordinary
size, and amid an orchestra of a thousand instruments and a chorus of
twelve thousand voices, the artist named above also sang; yet such was the
purity and strength of her voice that its notes could be clearly heard
rising above the vast waves of sound produced by the full accompaniment of
chorus and orchestra.
[Sidenote: 14. The production of the articulate sounds? What experiment is
mentioned?]
14. In the production of the articulate sounds of speech, the larynx is not
directly concerned, but those sounds really depend upon alterations in the
shape of the air-passages above that organ. That speech is not necessarily
due to the action of the larynx is proven by the following simple
experiment. Let an elastic tube be passed through the nostril to the back
of the mouth. Then, while the breath is held, cause the tongue, teeth, and
lips to go through the form of pronouncing words, and at the same time, let
a second person blow through the tube into the mouth. Speech, pure and
simple, or, in other words, a whisper is produced. Still further continue
the experiment, while permitting vocal sounds to be made, and there will be
produced a loud and whispering speech at the same moment; thus showing that
voice and speech are the result of two distinct acts. Sighing, in like
manner, is {235} produced in the mouth and throat; if, however, a vocal
sound be added, the sigh is changed into a groan.
[Sidenote: 15. What is ventriloquism? Indication of the original meaning of
the word? How are the ventriloquous sounds produced?]
15. VENTRILOQUISM is a peculiar modification of natural speech, which
consists in so managing the voice that words and sounds appear to issue,
not from the person, but from some distant place, as from the chimney,
cellar, or the interior of a chest. The original meaning of the word
ventriloquism (that is, speaking from the belly), indicates the early
belief that this mode of speech was dependent upon the possession and use
of some special organ besides the larynx and mouth; but at the present
time, it is known that it is produced by these organs alone, and that the
sources of deception consist on the part of the performer, in the dexterous
management of the voice, together with a talent for mimicry; and, on the
part of the auditory, in the liability of the sense of hearing to error in
respect to the direction of sounds. The ventriloquist not only seems to
"throw his voice," as it is said, or simulates the sound as it usually
appears at a distance with but little motion of the lips and face, but he
imitates the voices of an infant and of a feeble old man, of a drunken man
disputing with an exasperated wife, the broken language of a foreigner, the
cry of an animal in distress, demonstrating that the performer must be
proficient in the art of mimicry. Ventriloquism was known to the ancient
Romans and Greeks; and it is thought that the mysterious responses that
were said to issue from the sacred trees and shrines of the oracles at
Dodona and Delphi, were really uttered by priests who had the power of
producing this form of speech.
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