Resonance in Singing and Speaking by Thomas Fillebrown (book suggestions .TXT) π
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These cavities reinforce the primary vibrations set up by the cords and serve to increase their intensity as they are projected from the larynx. The larynx is the vibrating organ of the voice. It is situated at the base of the tongue and is so closely connected with it by attachment to the hyoid bone, to which the tongue is also attached, that it is capable of only slight movement independent of that organ; consequently it must move with the tongue in articulation. The interior muscles of the larynx vary the position of its walls, thus regulating the proximity and tension of the vocal cords. The male larynx is the larger and shows the Adam's apple. In both sexes the larynx of the low voice, alto or bass, is larger than that of the high voice, soprano or tenor. The larynx and tongue should not rise with the pitch of the voice, but drop naturally with the lower jaw as the mouth opens in ascending the scale. The proper position of the tongue will insure a proper position for the larynx. The less attention the la
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function of, 12.
Everett, Edward, as a good speaker, 16.
Exercises, Breathing:
necessity of, 27, 33;
preliminary suggestions, 33, 34;
attitude in taking, 34;
I, to show what a deep breath is, 34;
II, slow inhalation with sudden expulsion, 35;
III, sipping the breath, with quick exhalation, 35;
IV, for rib expansion, 35;
V, slow inhalation with slow expiration, 36;
VI, rapid inspiration with slow expiration, 36;
VII, Farinelli's great exercise, 36;
VIII, the cleansing breath, 37;
half breath, 37.
Exercises, Vocal:
I, to establish nasal and head resonance, 58-61;
for speakers, 60, 61;
II, to establish head and nasal resonance, 61;
III, IV, V, upper resonance, 62-64;
VI, to enlarge the throat and thus magnify the tone, 64;
VII, for production of the vowel sounds in proper focus, 65;
VIII, to enlarge the throat and focus the vowels, 66;
IX, quick changing notes without changing resonance, 67;
X, for agility, 67, 68;
XI, to develop the use of the lips and under jaw, 68, 69;
XII, for facility and quick vowel change, 69, 70;
XIII, ascending and descending scale, 71;
XIV, the long scale, 71;
additional, 72, 73;
repose as a preparation for, 80.
Expiration, muscles of, 23, 24;
under controlled pressure, 24;
described, 25;
the lungs in, 25;
illustrated, 28, 29.
Face, training muscles of, 15.
Farinelli, breath control of, 36.
Ffrangcon-Davies, on pronunciation, 18;
on registers, 39;
on function of ear in voice training, 57;
definition of singing of, 83.
Focusing the Voice (see Voice placing).
Forbes-Robertson, on diction, 19.
Formes, Carl, voice of, in declining years, 4.
Freedom in Singing, 84.
Frontal Sinuses, function of, 12;
illustration of, 7.
Garcia, Manuel, inventor of laryngoscope, 2;
use of laryngoscope, 2;
Sir Charles Stanley on, 3.
Gounod, on pronunciation, 19.
Half-Breath, Sembrich and, 37.
Hard Palate, function of, 12.
Harshness, an indication of tension, 56.
Head Cavities, a resonator for the voice, 6;
effect of, on resonance, 12.
Head Tones, in previous years, 2;
wrongly termed, 5.
Helmholtz, on pitch of vowel sounds, 20;
on acoustics, 43, 49.
Henderson, W.J., on pronunciation, 18.
High Tones, breath control necessary for, 27.
Holmes, Oliver Wendell, on Edward Everett's voice, 16.
Hyoid Bone, 8, 10.
I-sound, described, 21.
Impatience, a deterrent to beautiful singing, 84.
Inspiration, muscles of, 23, 24;
process of, described, 25;
illustrated, 28, 29.
(See also Breath control and Breathing.)
Instrument, Musical, elements of, 43, 44.
Intensity, Involving Strain, a deterrent to beautiful singing, 84.
Kindergarten Teachers, instruction by, 78.
Koenig, on pitch of vowel sounds, 20.
Laryngoscope, and registers, 2;
Garcia the inventor of, 2;
usefulness of, 2;
limitations of, 3;
disappointing results of, 38;
not an instrument for the singer, 51.
Larynx, moving, 3;
viewed through the laryngoscope, 3;
illustrated, 7;
description of, 8, 9;
relation of size of, to pitch, 9;
automatic action of, 38;
not alone the vocal organ, 50;
reflex action of, 51;
force of tone does not originate in, 75;
must be left uncramped, 75.
Lateral Abdominal Breathing, 3, 25, 28.
Lehmann, Madame Lilli, on use of Ah, 19;
on registers, 39;
on nasal resonance, 54.
Life's Periods, 79.
Lind, Jenny, effects of wrong methods on, 4.
Lips, in articulation, 14;
position of, 20-22;
illustrated, 21, 22.
Lungs, a motor for the voice, 6;
illustrated, 24;
described, 25;
overcrowding, 31.
Mackenzie, Dr. Morell, on the laryngoscope, 3;
on singing and speaking, 17.
Macready, Wm. Charles, as a good speaker, 16.
Martel, voice of, at seventy, 4.
Maxillary Sinuses, 7, 8, 12.
May, Dr., breathing tests made by, 26.
McKinley, M.S., on Garcia and the laryngoscope, 2.
Mental Discord, a deterrent to beautiful singing, 84.
Meyer, Edmund J., on resonance, 43.
Mills, Dr. Wesley, on breath measure, 30;
on ease of vocal action, 56;
on the function of the ear in tone production, 57.
Motor of the Vocal Instrument, 6.
Mouth, theory of its function, 1;
a resonator for the voice, 6.
Muscles of Respiration, 23.
Music Teachers, scientific, 4;
empirical, 4.
Nasal Cavities, as reinforcing agents in tone production, 2;
a resonator for the voice, 6;
illustrated, 7;
formation of, 8;
vibrations in, 8;
effect on resonance, 12;
Edward Everett's use of, 16;
as a resonator, 52, 53;
obstruction of, in Booth, 53.
Nasal Resonance, erroneous theories concerning, 1, 2;
Madame Rudersdorff recognized effect of, 2;
involved in head resonance, 52;
versus nasal tone quality, 53;
Lilli Lehmann on, 54;
Sembrich's study of, 54;
importance of, 54.
Natural Voice, what is meant by, 77.
Nervousness, a cure for, 27, 80.
Nostrils, relation of, to tone quality, 14.
O-sound, lip position for, 20;
illustrated, 21;
in exercises, 59, etc.
Oo-sound, lip position for, 20, 21;
in exercises, 59, etc.
Open Tones, 2, 5.
Oral Surgery, 2.
Oratorio, faulty diction in, 18.
Over-Conscientiousness, a deterrent to beautiful singing, 84.
Overtones, 45, 46.
Personality, effect on the voice, 83.
Pharynx, function of, 10.
Phillips, Adelaide, voice of, in declining years, 4.
Pitch of Tone, influence of resonance cavities on, 12, 13.
Placing the Voice (see Tone production).
Power of Tone, dependent on resonant cavities and breath control, 27.
Principles Advocated, 5.
Pronunciation, indifference of American singers to, 17;
W.J. Henderson on, 18;
change of attitude toward, 18;
importance of, to singer, 18;
relation of, to tone, 18;
Ffrangcon-Davies on, 18;
sing words rather than tones, 18;
Lilli Lehmann on, 19;
emotional power impossible without, 19;
Gounod on, 19;
Forbes-Robertson on, 19;
upper lip in, 19;
effect of smile on, 19.
Psychology of Vocal Culture, 82-85.
Pterygoid Muscles, and the under jaw, 10.
Public Schools, voice training in, 78.
Reeves, Sims, voice of, 4.
Registers, 38-42;
blending the, 2, 41;
not a natural feature of the voice, 2;
fallacy of theory of, 2;
a myth, 5;
the bΓͺte noire of vocalists, 38;
defined, 38;
Clara Kathleen Rogers on, 38;
Lilli Lehmann on, 39;
Ffrangcon-Davies on, 39;
function of, 12.
Everett, Edward, as a good speaker, 16.
Exercises, Breathing:
necessity of, 27, 33;
preliminary suggestions, 33, 34;
attitude in taking, 34;
I, to show what a deep breath is, 34;
II, slow inhalation with sudden expulsion, 35;
III, sipping the breath, with quick exhalation, 35;
IV, for rib expansion, 35;
V, slow inhalation with slow expiration, 36;
VI, rapid inspiration with slow expiration, 36;
VII, Farinelli's great exercise, 36;
VIII, the cleansing breath, 37;
half breath, 37.
Exercises, Vocal:
I, to establish nasal and head resonance, 58-61;
for speakers, 60, 61;
II, to establish head and nasal resonance, 61;
III, IV, V, upper resonance, 62-64;
VI, to enlarge the throat and thus magnify the tone, 64;
VII, for production of the vowel sounds in proper focus, 65;
VIII, to enlarge the throat and focus the vowels, 66;
IX, quick changing notes without changing resonance, 67;
X, for agility, 67, 68;
XI, to develop the use of the lips and under jaw, 68, 69;
XII, for facility and quick vowel change, 69, 70;
XIII, ascending and descending scale, 71;
XIV, the long scale, 71;
additional, 72, 73;
repose as a preparation for, 80.
Expiration, muscles of, 23, 24;
under controlled pressure, 24;
described, 25;
the lungs in, 25;
illustrated, 28, 29.
Face, training muscles of, 15.
Farinelli, breath control of, 36.
Ffrangcon-Davies, on pronunciation, 18;
on registers, 39;
on function of ear in voice training, 57;
definition of singing of, 83.
Focusing the Voice (see Voice placing).
Forbes-Robertson, on diction, 19.
Formes, Carl, voice of, in declining years, 4.
Freedom in Singing, 84.
Frontal Sinuses, function of, 12;
illustration of, 7.
Garcia, Manuel, inventor of laryngoscope, 2;
use of laryngoscope, 2;
Sir Charles Stanley on, 3.
Gounod, on pronunciation, 19.
Half-Breath, Sembrich and, 37.
Hard Palate, function of, 12.
Harshness, an indication of tension, 56.
Head Cavities, a resonator for the voice, 6;
effect of, on resonance, 12.
Head Tones, in previous years, 2;
wrongly termed, 5.
Helmholtz, on pitch of vowel sounds, 20;
on acoustics, 43, 49.
Henderson, W.J., on pronunciation, 18.
High Tones, breath control necessary for, 27.
Holmes, Oliver Wendell, on Edward Everett's voice, 16.
Hyoid Bone, 8, 10.
I-sound, described, 21.
Impatience, a deterrent to beautiful singing, 84.
Inspiration, muscles of, 23, 24;
process of, described, 25;
illustrated, 28, 29.
(See also Breath control and Breathing.)
Instrument, Musical, elements of, 43, 44.
Intensity, Involving Strain, a deterrent to beautiful singing, 84.
Kindergarten Teachers, instruction by, 78.
Koenig, on pitch of vowel sounds, 20.
Laryngoscope, and registers, 2;
Garcia the inventor of, 2;
usefulness of, 2;
limitations of, 3;
disappointing results of, 38;
not an instrument for the singer, 51.
Larynx, moving, 3;
viewed through the laryngoscope, 3;
illustrated, 7;
description of, 8, 9;
relation of size of, to pitch, 9;
automatic action of, 38;
not alone the vocal organ, 50;
reflex action of, 51;
force of tone does not originate in, 75;
must be left uncramped, 75.
Lateral Abdominal Breathing, 3, 25, 28.
Lehmann, Madame Lilli, on use of Ah, 19;
on registers, 39;
on nasal resonance, 54.
Life's Periods, 79.
Lind, Jenny, effects of wrong methods on, 4.
Lips, in articulation, 14;
position of, 20-22;
illustrated, 21, 22.
Lungs, a motor for the voice, 6;
illustrated, 24;
described, 25;
overcrowding, 31.
Mackenzie, Dr. Morell, on the laryngoscope, 3;
on singing and speaking, 17.
Macready, Wm. Charles, as a good speaker, 16.
Martel, voice of, at seventy, 4.
Maxillary Sinuses, 7, 8, 12.
May, Dr., breathing tests made by, 26.
McKinley, M.S., on Garcia and the laryngoscope, 2.
Mental Discord, a deterrent to beautiful singing, 84.
Meyer, Edmund J., on resonance, 43.
Mills, Dr. Wesley, on breath measure, 30;
on ease of vocal action, 56;
on the function of the ear in tone production, 57.
Motor of the Vocal Instrument, 6.
Mouth, theory of its function, 1;
a resonator for the voice, 6.
Muscles of Respiration, 23.
Music Teachers, scientific, 4;
empirical, 4.
Nasal Cavities, as reinforcing agents in tone production, 2;
a resonator for the voice, 6;
illustrated, 7;
formation of, 8;
vibrations in, 8;
effect on resonance, 12;
Edward Everett's use of, 16;
as a resonator, 52, 53;
obstruction of, in Booth, 53.
Nasal Resonance, erroneous theories concerning, 1, 2;
Madame Rudersdorff recognized effect of, 2;
involved in head resonance, 52;
versus nasal tone quality, 53;
Lilli Lehmann on, 54;
Sembrich's study of, 54;
importance of, 54.
Natural Voice, what is meant by, 77.
Nervousness, a cure for, 27, 80.
Nostrils, relation of, to tone quality, 14.
O-sound, lip position for, 20;
illustrated, 21;
in exercises, 59, etc.
Oo-sound, lip position for, 20, 21;
in exercises, 59, etc.
Open Tones, 2, 5.
Oral Surgery, 2.
Oratorio, faulty diction in, 18.
Over-Conscientiousness, a deterrent to beautiful singing, 84.
Overtones, 45, 46.
Personality, effect on the voice, 83.
Pharynx, function of, 10.
Phillips, Adelaide, voice of, in declining years, 4.
Pitch of Tone, influence of resonance cavities on, 12, 13.
Placing the Voice (see Tone production).
Power of Tone, dependent on resonant cavities and breath control, 27.
Principles Advocated, 5.
Pronunciation, indifference of American singers to, 17;
W.J. Henderson on, 18;
change of attitude toward, 18;
importance of, to singer, 18;
relation of, to tone, 18;
Ffrangcon-Davies on, 18;
sing words rather than tones, 18;
Lilli Lehmann on, 19;
emotional power impossible without, 19;
Gounod on, 19;
Forbes-Robertson on, 19;
upper lip in, 19;
effect of smile on, 19.
Psychology of Vocal Culture, 82-85.
Pterygoid Muscles, and the under jaw, 10.
Public Schools, voice training in, 78.
Reeves, Sims, voice of, 4.
Registers, 38-42;
blending the, 2, 41;
not a natural feature of the voice, 2;
fallacy of theory of, 2;
a myth, 5;
the bΓͺte noire of vocalists, 38;
defined, 38;
Clara Kathleen Rogers on, 38;
Lilli Lehmann on, 39;
Ffrangcon-Davies on, 39;
of the organ, 40;
of voice and instruments compared, 40, 41;
an artificial creation, 41, 42.
Repose, as a Preparation for Vocal Exercises, 80;
how to induce, 80.
Resonance, differing opinions concerning, 3;
principle of, 5;
nasal and head cavities in, 12;
influence of resonance cavities on pitch, 12;
pitch of vowels in, 20;
and power, 27;
and breath force, 31;
in general, 43-50;
development of science of, 43;
quality and power of, 44;
significance of, 45;
experiments to demonstrate, 46-50;
induced, 47;
sympathetic, 47, 48;
density of air and, 47;
volume and character of tones dependent on, 49;
head and nasal, 51-55;
relation of articulation to, 51;
focusing tone a matter of, 52;
effect of its absence, 54;
exercises to establish, 58-72.
Resonator of the Voice, 6.
Respiration (see Breath control and Breathing).
Respiratory Muscles, a motor for the voice, 6;
described, 23, 28;
action of, 25;
illustrated, 24, 29.
Rogers, Clara Kathleen, on registers, 38.
Rudersdorff, Madame, and nasal resonance, 2.
Santley, Sir Charles, on Garcia and the laryngoscope, 3.
Scale of Vowel Sounds, 20, 72.
Self-Repression, a deterrent to beautiful singing, 84.
Sembrich, Marcella, and the half-breath, 37;
use of nasal resonance, 54.
Singing, subtlety of, 4;
obstacles to, 5, 74, 84;
versus speaking, 5, 17;
mission of singer, 18;
defined as breathing, 23;
age to
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