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Resonance in Singing and Speaking
Paperback
General MusicMusic Instruction: GeneralOpera
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Publisher: Danyel
Pages: 104
Weight: 0.33
Height: 0.22 Width: 6.00 Depth: 9.00
Language: English
THE VOCAL INSTRUMENT
S
ince the vocal organism first became an object of systematic study, dis-
cussion has been constant as to whether the human vocal instrument is a
stringed instrument, a reed instrument, or a whistle. Discussion of the ques-
tion seems futile, for practically it is all of these and more. The human vocal
organs form an instrument, sui generis, which cannot be compared with any
other one thing. Not only is it far more complex than any other instrument,
being capable, as it is, of imitating nearly every instrument in the catalogue
and almost every sound in nature, but it is incomparably more beautiful, an
instrument so universally superior to any made by man that comparisons
and definitions fail.
ELEMENTS
The human vocal instrument has the three elements common to all musical
instruments, -a motor, a vibrator, and a resonator; to which is added-what
all other instruments lack-an articulator.
1. The respiratory muscles and lungs for a =motor=.
3 THOMAS FILLEBROWN
2. The vocal cords for a =vibrator=.
3. The throat, mouth, and the nasal and head cavities for a =resonator=.
4. The tongue, lips, teeth, and palate for an =articulator=.
These elements appear in as great a variety of size and proportion as do
the variations of individual humanity, and each element is, moreover, vari-
able according to the will or feeling of the individual. This susceptibility
to change constitutes a modifying power which gives a variety in tone qual-
ity possible to no other instrument and makes it our wonder and admira-
tion. The modification and interaction of these various parts produced by
the emotions of the singer or speaker give qualities of tone expressive of the
feelings, as of pain or pleasure, grief or joy, courage or fear.
TIMBRE
The minute differences in these physical conditions, coupled with the sub-
tler differences in the psychical elements of the personality, account for that
distinctive physiognomy of the voice called =timbre=, which is only another
name for individuality as exhibited in each person. The same general ele-
ments enter into the composition of all voices, from the basso profundo to
the high soprano.
That the reader may better understand the proportion and relations of the
different parts of the vocal apparatus, a sectional drawing of the head is here
produced, showing the natural position of the vocal organs at rest. As the
drawing represents but a vertical section of the head the reader should note
that the sinuses, like the eyes and nostrils, lie in pairs to the right and left
of the centre of the face. The location of the maxillary sinuses within the
maxillary or cheek bones cannot be shown in this drawing.
The dark shading represents the cavities of the throat, nose, and head. The
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