1891.] 



on the Culture of the Singing Voice. 



339 



Here the anterior fourth of the glottic chink is closed, but the same 

 amount of ch)sure in the same position may be seen in the larynx 

 singing the note before the break. 



Now the voice mounts to high C sharp. The next pair shows the 



Fig. 9. 



Ojlt Jfi 



larynx while singing that note, and also the note on which the voice 

 broke into the head register. In that representing G sharp it can 

 be seen that the whole of the cavity of the larynx is smaller, and that 

 the vocal cords and the chink of the glottis are narrower. The 

 vocal cords appear to be much shorter, but as the anterior ends are 

 covered by the cushion of the epiglottis, it is impossible to say how 

 much shortened they really are. The arytenoid cartilages are closer 

 together and are inclined further forward in the high than in the low 

 notes of this register. The mucous membrane covering the lateral 

 walls of the larynx is wrinkled, showing that during the production 

 of this high note it is not capable of contracting to a sufficient 

 extent to present a smooth surface. In the high note even the 

 contact between the vocal cords, which can be seen in the lowest head 

 note, and which we saw occur in the production of notes in the 

 middle register, has disappeared, and there is a clear linear space 

 between the vocal cords the entire length of the glottis. 



The next pair represents high C sharp and a still higher note in 

 the subject of this voice, F sharp. In that representing F sharp we 

 may observe that the cavity of the larynx is greatly contracted, the 

 epiglottis is not so high as when C sharp was sung, in fact the four 

 walls of the larynx are crowded towards the centre and the epiglottis 

 is curled inward, the arytenoid cartilages arc almost if not quite in 

 contact, the vocal cords are very short and look like threads. The 

 most surprising revelation made in this picture is that there is no 



