The Phonograph as an aid to Science--Vowels the basis of
Phonation--Consonants developed from a Vowel basis--Vowels are
Compound--The Analysis of Vowels by the Phonograph--Current
Theories of Sound--Augmentation of Sounds--Sound Waves and Sound
Units--Consonants among the Lower Races.
The application of the phonograph to my special work is really the
discovery of a new field of usefulness for that wonderful instrument,
which, up to this time, has held the place of a toy more than that of a
scientific apparatus of the very highest importance in the study of
acoustics and philology. In many ways the use of this machine is so
hampered by the avarice of men as to lessen its value as an aid to
scientific research, and the Letters Patent under which it is protected
preclude all competition and prevent improvements. However, I have been
able, even with the poor machines in general use, to discover some of
the most important facts upon which are based the laws of phonation. I
shall here attempt to give in detail but a few of these experiments, as
they are yet crude, and in some cases the deductions therefrom not
positively certain. [Sidenote: VOICES OF MEN AND MONKEYS] From the
various records that I have made of the voices of men and monkeys, I am
prepared to say that the difference is not so great as is commonly
supposed, and that I have converted each one into the other. I would not
be understood to say that I have done this with all their sounds, nor
that the monkey's sounds were converted into human speech, but the
fundamental sounds of each were changed into those of the other. I find
that human laughter coincides in nearly every point with that of
monkeys. They differ in volume and pitch. By the aid of the phonograph I
have been able to analyse the vowel sounds of human speech, which I find
to be compound, and some of them contain as many as three distinct
syllables of unlike sounds. From the vowel basis I have succeeded in
developing certain consonant elements, both initial and final, from
which I have deduced the belief that the most complex sounds of
consonants are developed from the simple vowel basis, somewhat like
chemical compounds result from the union of simple elements. Without
describing in detail the results, I shall mention some simple
experiments which have given me some very strange phenomena. I dictate
to the phonograph a vowel in different keys while the cylinder rotates
at a given rate of speed. I then adjust the speed to a certain higher or
lower rate and follow the results. By reversing the motion of the
cylinder the sounds are reduced to their fundamental state. By this
means we eliminate all familiar intonation, and disassociate it from any
meaning which will sway the mind, and in this way it can be studied to
advantage. [Sidenote: THE SOUND WAVES] At a given rate of speed I have
taken the record of certain sounds made by a monkey, and by reducing the
rate of speed from two hundred revolutions per minute to forty, it can
be seen that I increased the intervals between what is called the sound
waves and magnified the wave itself fivefold, at the same time reducing
the pitch in like degree, and by this means I could detect the slightest
shades of modulation. I may remind you here that in this process all
parts of the sound are magnified alike in all directions, so that
instead of obtaining five times the length, as it were, of the sound
unit or interval, we obtain the cube of five times the normal length of
every unit of the sound. The slightest variation of tension in the vocal
chords may be detected, and every part of the sound compared to every
other part.
Having thus augmented the quantity of sound, by increasing alike the
sound unit and interval, it can be recorded on another cylinder and
multiplied again as long as the vibrations can produce sound. From the
constant relation of parts and their uniform augmentations under this
treatment, it has suggested to my mind the idea that all sounds have
definite geometrical outlines, and as we change the magnitude without
changing the form of the sound, I shall describe this constancy of form
by the term contour.
In a few instances I have been able, by reducing the record of certain
sounds from a high pitch to a lower one, to imitate the sound thus
reduced with my own vocal organs, then by restoring this record of my
voice to its normal speed have obtained almost a perfect imitation of
the sound. This effect, however, does not always follow, and in many
instances my best imitations have not developed the original at all. But
this presents a new problem in acoustics. I must here take occasion to
say that the difference of pitch, quality, &c., in sounds does not
appear to me to depend alone upon the length of the sound unit, but
there seems to be a difference of ultimate form and mode of propagation
which have much to do with the contour of the developed sound.
[Sidenote: THE SOUND FORCE]
By _mode of propagation_ I mean the organs brought into use for the
purpose of producing the sound, the apertures through which the sound
force passes, and the auxiliaries by which it is moulded into certain
shapes. By _ultimate form_ I mean the geometrical shape of the sound
force when first converted into sound. That there is such a thing as
form has been clearly demonstrated by the phoneidoscope. Prof. John B.
De Mott has very kindly aided me in reducing certain sounds to a visible
condition. I had conceived an idea before this that if the path
described by the energy which produced sound could be made visible, that
it would be found to have the form of a convolute spiral, that these
spirals recede from the centre or point of propagation in every
direction like the radii of a sphere, and that that aspect of sound
which we call waves, is simply the point at which these spirals
intercept each other, which of necessity would be of uniform distance
from the centre, increasing at each successive point throughout the
entire sound-sphere or space through which the sound passes in all
directions from the centre to infinity. I shall refrain from discussing
this point till such a time as I can show at greater length my reasons
for this belief. I may add here that I have made records of the human
voice with which I have deceived the monkeys, and I have made records of
the monkey's voice with which I have deceived the very elect of
linguists and musicians. Some critic once remarked to me that the sound
made by a monkey was not really laughter, but only a kind of
good-natured growling. This may be correct, but the same is true of
human laughter, as the one may be converted into the other, and a
good-natured growl expresses the emotion which is felt by man as well as
monkey.
The phonograph shows that they are identical in sound and form, besides
the fact that they are the outburst of the same passion, actuated by the
same cause and executed by the same muscles, so that their identity,
mentally, physically, and mechanically, is the same.
[Sidenote: VOWEL SOUNDS]
Among the sounds of the Simian voice I have not found the English vowels
"a," "i," or "o," except, perhaps, "i" short as sounded in the word
"it." The vowel "u," as sounded like "oo" in "shoot," seems to be the
chief sound of their speech. One important point which I discovered from
the phonograph is, that sounds or tones which are purely musical are
reproduced alike with the cylinder turning either way, while all speech
sounds are slightly changed when the cylinder is reversed, which shows
the sounds to be compound. I find that "w" may be developed from any
consonant by manipulating the cylinder of the phonograph, and it is a
fact also that the initial consonant imparted to any vowel does not
continue through the vowel. This I have shown by making a vowel sound
which I prolong for some seconds with the cylinder revolving at a given
rate of speed. While reproducing this at a normal speed I intercepted at
any point, and developed the sound "w" as heard in "woe." The instant I
have blended this into the vowel, I lift the diaphragm until the normal
speed is restored, when I replace the reproducing tooth showing the
sound without the consonant. In like manner I dictate to the phonograph
any vowel sound preceded by a consonant. The consonant I utter in a
natural way, the vowel I prolong for some seconds, and in the act of
reproducing this I cut the sound in two and find the vowel element is
not modified by the consonant which preceded it, hence, I observe that
the consonant merely suggests to the mind a certain form of sound which
does not change the fundamental vowel. In fact, it aids the voice
somewhat in uttering the vowel.
If human speech were composed of none but vowel sounds the human voice
could scarcely utter them in a continued conversation; their monotony
would not so much offend the ear as it would try the vocal powers, and
man would soon acquire consonants to aid the voice if for no other use.
[Sidenote: DOUBLE AND TREBLE CONSONANTS]
Among the Simians the better types of speech show this tendency, and in
the lower types of human speech we find all the vowel elements, while
consonants are not by any means so numerous. Another fact is this, among
the lower races of mankind double consonants are rare, and treble more
so. Of course their tongues consist of fewer words, as has been shown
before, which paucity arises from their few wants and simple modes of
life, and hence the scope of vocal growth is much contracted. Beginning
with the lowest tribes of men, we find the consonants increase in number
and complexity as we ascend the scale of speech. To this, perhaps, is
due the fact that the Negroes now found in the United States after a
sojourn of two hundred years with the white race on this continent are
unable to utter the sounds of "th" "thr," and other double consonants.
The former of these they pronounce "d" if breathing, and "t" if
aspirate. The latter they pronounce like "trw" or "tww." The sound of
"v" they usually pronounce "b," while "r" resembles "w" or "rw" when
initial, but as a final sound is usually suppressed. They have a marked
tendency to omit auxiliary and final sounds, and in all departures from
the higher types of speech tend back to ancestral forms.
I believe if we could apply the rule of perspectives and throw our
vanishing point far back beyond the chasm that separates man from his
Simian prototype, that we would find one unbroken outline tangent to
every circle of life from man to protozoa in language, mind, and
matter.