Grove's dictionary of music and musicians

SINGING SINGING 463
slight cough * before a note in order to secure
a distinct attack upon it.
Above the vocal membranes and parallel
with them are two muscular folds called the
false vocal cords, or ventricular bands. In
conjunction with the muscles that bring the
membranes together, they form a strong constrictor
of the air-passage, to close it firmly when
reijuii'ed. This occurs always in swallowing,
when the chest has to be held inflated to support
a strong muscular action, and also in coughing.
The elastic vocal membranes are themselves
unable to restrain any air-pressure in the chest,
so it was thought necessary to accumulate a
little force by constriction with these ventricular
bands, and by suddenly relaxing them to
allow the force to impinge upon the membranes
which were supposed to be held in
readiness for the sudden shock. There is no
doubt that a crisp attack can be effected in
this way, but the sound of the note is always
preceded by an explosive noise however lightly
it may be done.
The first phonological objection to this shook
'
of the glottis ' {amp de glotte) is that it is quite
unnecessary. When the breath is under control
and intimately associated ss it ought to be with
the production of sound, the simultaneous onset
of breath force and the proper approximation of
the membranes produces a perfectly clear and
clean attack, straight upon the note by the ordinary
natural action performed with decision.
The introduction of any constriction above
the reed cannot be regarded as a natural part
of the action of attack. Moreover, the quasispasmodic
act of constriction produces often an
unduly hard attack which is not good for the
vocal reed, and its constant repetition produces
congestion of the parts around the cartilages,
and a troublesome desire to clear the throat.
Phonology insists that the production of
sound is always the result of an expiratory
act, and that every sound effect, whether it be
strong or soft, quick or gradual, must be the
outcome of a similar intention in the breath
control. Such control leaves the throat free to
its unconscious action, which would be destroyed
by any muscular constriction in tlie larynx.
The shock ' of the glottis ' is part of a timeworn
tradition in the teaching of singing, and is
often heard in voices that are beautiful as
well as in those that are hard and throaty ;
it is sometimes regarded as essential to the
proper pronunciation of German and some other
languages of a guttural nature, but artificial
fashions of speech cannot be tolerated if they are
opposed to the natural uses of the voice organs.
The cessation of a note is brought about by
the withdrawal of the membranes. As a rule
the membranes spring back elastically to their
open position, and some breath pressure escapes
in a puff after the note. The amount of this
escape, and consequently the sound it makes,
is a matter of breath -control. A high note is
naturally followed by a strong burst, because
the pressure is higher than that of a low
note. The free release, as this is called, is not
objected to in operatic singing, and there is
nothing to say against it on phonological
grounds. Moreover, it is useful in getting rid
of carbonic acid, and in facilitating the quick
taking of another breath. It may, therefore, be
left to discretion, to make the sound of the
release inaudible by breath-control.
Under no circumstances should the note be
stopped by constriction of any part of the throat,
which is frequently sissooiated with the equally
detrimental attack by shock ' ' just referred to.
Many singers deceive themselves in the belief
that their throats remain open when their
notes cease.
One of the difficulties in sliowing the natural
behaviour of the vocal membranes with the laryngoscope
is that the power of tolerating a mirror in
the back of the throat itself requiresa long course
of training without which the organs under
observation cannot act naturally.
The second vocal instrument, the Hesonatm;
belongs, as such, to a later date in the evolution
of the voice as we now hear it. The particular
function of the Ilesonator, which warrants its
being treated as a separate instrument, is its
power of modifying sound by assuming different
shapes, which is made use of in the formation
of language.
Every hollow space enclosed within walls but
communicating with the outer air, is capable
of allowing only certain sound vibrations or
waves to continue within it. This is called its
Resonant note, and its pitch corresponds with
the size, and its character with the shape, of
the resonant cavity or Resonator. The pitch is
also affected by the size of its opening. Partly
closing it not only changes the character of
the note, but also lowers its pitch.
In the case of the voice, in which the reed is
strong and the Resonator comparatively weak,
much of the fulness of the sound must depend
upon keeping the openings free. At the same
time the cavities should be made as large as
possible in order to keep their resonant pitches
low, and thereby impart a richer tone to the
voice.
The size of the Resonator varies a little among
men ; in women it is about 20 per cent smaller,
and in children, smaller still. But all, by the
same physiological action, can bring it into
similar positions, and thus it is the shape of
the Resonator that gives characteristic qualities
to speech, and language is as intelligible in the
mouth of a child as in that of a giant.
The sounds of language are divided into two
groups.
1. Vowel sounds, due to open and expanded
positions of the Resonator suitable for continuous
sounds of the best possible quality.