THE 
MONTHLY MAGAZINE. 
No.411.] 
JULY 1, 1825. 
[ Price 2s. 
The Anatomy of SPrecn. 
MR. THELWALL'S SECOND LECTURE ON 
THE STRUCTURE AND OFFICES OF THE 
ORGANS OF VOICE. 
(Continued from No. 410, page 399.) 
Sect. III. Srconpary Orcans of 
Votcr. 
| pees complication of vibratory im- 
pulses in the phenomena of vocal 
and instrumental sounds thus admitted, 
it remains then to be considered, what 
are the portions of the frame that con- 
stitute the remaining apparatus, in the 
complicated mechanism of the human 
voice? In other words, What are, 
among vocal animals, and in the hu- 
man subject in particular, the secondary 
organs of modulation, whose specific 
vibrations, or whose partial unisons, 
are complicated with, and consequently 
modify, the original impulses of the 
larynx; constituting thereby the infi- 
nite diversities exhibited in the phe- 
nomena of vocal sound? How are 
their particular responses regulated ? 
and what are the expressive peculiari- 
ties, or characteristic intonations, that 
belong to each ? 
I. The first of these that shall be 
enumerated, is the Roor oF THE 
Movru; along which, the full, smooth, 
and powerfully swelling sounds appear 
to be propagated; those sounds that 
correspond, in a considerable degree, 
with the majestic swell of the organ.* 
“ As in an organ, from one blast of wind, 
Through many a row of pipes the sound- 
board breathes.” 
For the peculiar display of the full 
powers of this species of intonation, the 
*“ The palate, or roof of the mouth (says 
the ingenious Herries) answers a purpose 
somewhat similar to the body of a violin or 
guitar, to collect, rebound, and render 
melodious the tone. The voice, in gene- 
ral, is more deep { full he should have said] 
"and sonorous, according as the arch of the 
palate is more elevated.”—Elements of 
Speech, p. 19. To elevated he should have 
added expansive. The form of the arch of 
the mouth has certainly much to do with 
the sonorous fulness and agreeableness of 
the voice. 
Monrniy Mae. No. 411. 
mouth of the speaker, or singer, must 
be kept comparatively open: not in- 
deed with a strained and convulsive 
gape (as if a church-steeple were to be 
swallowed)—like the mouths of some of 
the ranting bawling vociferators of the 
stage, and of the conventicle; and who 
appear to have been misled by the too 
frequently-repeated and ill-understood 
exhortation of indiscriminating teachers 
— open your mouth ;” but with some 
separation of the teeth, and a compara- 
tive rounding, or ovaling of the lipss 
the back of the moveuble palate being, 
at the same time, and by such means, 
considerably elevated, so as at once to 
brace the fibres of the roof, and to 
close the passages from the larynx to 
the nasal and other superior organs. 
When this is done, the specific sound 
described will be heard in its full force ; 
and, at the same time, if minutely at- 
tended to, the palateal vibrations will 
be distinctly felt, as the swell of sound 
is propagated along its fibres.> 
IJ. Tur Nosrrits constitute another 
organ, of extensive power in modifying 
the original sounds of the larynx. 
Through these, we may distinctly trace, 
not only by internal sensation, but by 
the experiment of external touch, the 
vibrations that accompany the strong, 
firm, and deeply solemn tones, that 
harmonize with the Martial Trumpet, 
and the Mellow Horn :— 
“ Pours through the mellow horn her pen- 
sive soul.” $ 
The attitude of the mouth, for the 
more powerful production of these 
tones, especially of the flexible parts in 
the rear of the palate, should be di- 
rectly 
+ In the oral delivery of these lectures, 
the specific intonations, attempted to be de- 
scribed in this and the following paragraphs, 
were demonstrated to the ear, and the spe- 
cific organic positions exhibited at the same 
time: a fulness of illustration which it is 
impossible to supply by any mere combi- 
nation of written words. Of this see more 
in an ensuing note. 
+ “ In speaking or singing, we find 
the caverns of the nostrils considerably 
strengthen and sweeten the vocal tone.’— 
Ferries, p. 19. 
