Voice Production in Singing and Speaking | Page 4

38 6. Cell from the cortex cerebri 38-39 7. Nerve terminating in a muscle 38-39 8. Muscle-fibres with capillaries around and between them 39 9. Parts of the respiratory apparatus 44 10. Trachea and bronchial tubes 45 11. Heart, lungs, and diaphragm 45 12. Diagram showing changes in shape of chest during inspiration 49 13. Diagram showing depression of the diaphragm during inspiration 50 14. Position of diaphragm, abdominal walls, etc., during expiration 55 15. Diagram illustrating reflex action 58 16. A well-developed, healthy chest 62 17. A chest deformed by corsets 62 18. Normal position of diaphragm and vital organs 63 19. Vital organs misplaced by compression of the chest 63 20. Thyroid and cricoid cartilages, side view 76 21. Thyroid and cricoid cartilages, front view 76 22. Back surface of cricoid cartilage 77 23. Cricoid cartilage, side view. 77 24. Arytenoid cartilages 77 25. A view of the larynx from behind 78 26. Epiglottis, thyroid and cricoid cartilages, etc. 78-79 27. Hyoid bone, crico-thyroid muscle, etc. 78-79 28. Posterior view of the larynx 79 29. Diagram showing relation of parts to the thyroid cartilage 80 30. Diagram showing the action of crico-thyroid muscle 82 31. View of larynx from above 83 32. Transverse section of larynx 83 33. False and true vocal bands, etc. 86 34. Inner surface of the larynx 87 35. Diagram to show the action of the laryngeal muscles 96 36. Registering the vibrations of a tuning-fork 100 37. Illustrating the transmission of vibrations 101 38. Illustrating the theory and practice of laryngoscopic examination 104 39. Illustrating the practice of laryngoscopic examination 106 40. Laryngoscopic picture of male larynx 112 41. Laryngoscopic picture of female larynx 112 42. Larynx during an attack of a common "cold" 113 43. The vocal bands as seen with laryngoscope during deep inspiration 113 44. Diagram showing form of chest and abdomen in forced abdominal breathing 122 45. The vocal bands during the production of a high-pitched tone 138 46. Water being poured into a tube until the remaining air-space becomes a resonator of a tuning-fork 142 47. Soft palate, fauces, and tonsils 142-143 48. Nares and soft palate, from behind 142-143 49. Turbinated bones of the nose 143 50. Madame Seiler's division of the registers 155 51. Appearance of the vocal bands when sounding first E and then F sharp 164 52. Diagram to show the nature of registers and breaks 166 53. Diagram of the processes involved in singing 186 54. Highly magnified diagramatic representation of a section through the superficial part of the great brain 188 55. Nerve-cell from the outer rind of the great brain, much magnified 189 56. Position of parts in sounding the vowel A 219 57. Position of the parts in sounding I 220 58. Position of the parts in sounding OU 222 59. Position of the parts in sounding T, K, F, R, N, and P 227 60. Vertical section of the auditory apparatus 237 61. Diagram of the auditory apparatus 238 62. Two of the ear-bones (malleus and incus), enlarged 239 63. The complete chain of auditory ossicles 240

VOICE PRODUCTION
CHAPTER I.
THE CLAIMS AND IMPORTANCE OF VOCAL PHYSIOLOGY.
To know consciously and to do with special reference to guiding principles are to be distinguished from carrying out some process without bearing in mind the why or wherefore. Science is exact and related knowledge, facts bound together by principles. Art is execution, doing, and has not necessarily any conscious reference to principles.
While every art has its corresponding science, their relation is in some cases of much greater practical importance than in others. While a painter may be the better for knowing the laws of light, there can be no question that he may do very good work without any knowledge whatever of the science of optics. He is at least in no danger of injuring any part of his person.
Entirely otherwise is it with the voice-user. He employs a delicate and easily injured vital apparatus. His results depend on the most accurate adjustment of certain neuro-muscular mechanisms, and one might suppose that it would be obvious to all who are concerned with this art that a knowledge of the structure and functions of these delicate arrangements of Nature would be at least of great if not of essential importance. The engineer knows the structure and uses of each part of his engine, and does not trust to unintelligent observation of the mere working of mechanisms which others have constructed. The architect studies not only the principles of design, etc., but also the nature and relative value of materials. In his own way he is a kind of anatomist and physiologist.
We do not trust the care of our bodies to those who have picked up a few methods of treatment by experience or the imitation