Resonance in Singing and Speaking

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