SPEECH AND SONG. 101 



The vibration of the vocal cords makes the column of air itself 

 vibrate, and the vibration is communicated to the air in the upper 

 part of the throat, the nose, and mouth, from which finally it 

 issues as sound. The vocal cords are the " reeds " of the vocal 

 instrument, and as, owing to the extraordinary number and intri- 

 cate arrangement of their muscular fibers, they can change their 

 length and shape and thickness in an almost infinite variety of 

 ways, they are equal in effect to many different reeds. If the vocal 

 cords can not move so as to bring their edges almost into contact, 

 or if there is any substance between them which prevents them 

 from coming together, the voice is destroyed ; if there is anything 

 (such as a growth) in or on one of them, its vibration is more or 

 less checked, and hoarseness is the consequence. The primary 

 sound generated in the larynx is modified by the shape, size, and 

 density of the parts through which the vibrating column of air 

 has to pass before it issues from the " barrier of the teeth." These 

 " resonators," include the part of the larynx above the vocal cords, 

 with the little sounding-board, the epiglottis, covering it; the 

 upper part of the throat or pharynx, the nasal passages with cer- 

 tain echoing caves in the bones of the skull which communicate 

 therewith ; and the mouth, with the soft palate and uvula, tongue, 

 cheeks, teeth, and lips. It is to these resonators, as well as to the 

 size and shape of the larynx itself and those parts, like the feat- 

 ures of the face, are never exactly similar in any two individ- 

 uals that the distinctive quality, or timbre, of the voice is due. 



Timbre is the physiognomy of the voice by which the speaker 

 can be recognized even when unseen. Just as the face may be lit 

 up with joy, darkened with sorrow, or distorted with passion, so 

 may the voice be altered by strong mental emotion. This is due 

 to the influence of the mind on the nervous system, which con- 

 trols every part of the body : if it be stimulated, increased action 

 will be excited ; if disordered by shock, feeble irregular move- 

 ments will be produced, the limbs will shake, and the voice trem- 

 ble. From the effect of peculiarities of physical conformation on 

 the voice it will be readily understood that timbre may be, in some 

 degree, a national or racial peculiarity. There are also certain 

 physical types which correspond to particular timbres of the voice. 

 I have noticed this particularly in persons of like complexion even 

 when different in race. Thus, a certain sharp metallic clearness 

 of articulation is often found in individuals of ruddy complexion, 

 light yellow hair, and hard blue eyes, while rich, mellow tones, 

 with a tendency to portamento in ordinary speech, are often asso- 

 ciated with black hair and florid face. A remarkable point is that 

 the same voice may be altogether different in timbre in singing 

 from what it is in speaking. The difference is probably due to 

 the fact that in singing the resonators are, instinctively, or as the 



