The Voice and its Modifications. - 77 



bration of the chordae vocales occurs; the cheeks are brought near- 

 er the teeth ; the muscles at the posterior part of the jaw are felt to 

 act with greater force ; the lips are generally more advanced and 

 thus the depth of the oral cavity is increased. The notes are few 3 

 while the modifications and combinations are many. In conversa- 

 tion, the inspirations and expirations are not so forcible and irregu- 

 lar, nor do the thorax and vocal organs undergo such changes in 



position; the variations are not so numerous and their extent is more 

 limited. 



In singing, the sounds can be measured and regulated by rules 

 and with these sounds others can be formed in unison ; the notes are 

 more numerous and there are greater variations. In the acute sounds, 

 the opening of the glottis is smaller and the rapidity of the air is increas- 

 ed in its passage, while deep tones induce a position of the larynx the 

 reverse of the preceding ; the situation of the musician has some 

 effect on the ease or labor with which he sings, the muscles of the 

 trunk seem to vibrate in the gravest tones and he who would com- 

 prehend the more complicated movements of our best singers must 

 observe them during their masterly efforts. Recitative partakes of 

 both declamation and singing, and as we have spoken of both of 

 these, it is not necessary to dwell on the intermediate state. The 

 changes above mentioned are nearly all open to the ocular demon- 

 stration of every enquirer and it is only the more minute and com- 

 plicated internal movements of the vocal organs that have been sub- 

 jects for so much discussion. The lapse of every few years brings 

 a new theory and its author expects to sweep away the last cobweb 

 system, but perhaps a tissue of no firmer or better woven materials is 

 substituted. 



Ferrein leaned to the notion that this organ was like a stringed in- 

 strument. Dodart maintained that the larynx was a wind instru- 

 ment. Richerand and Copeland compare it to a French horn and 

 Cuvier to a flute. Mayer modified the opinions of Ferrein and Do- 

 dart. Blumenbach believes it to be like an iEolian harp. Magen- 

 die and Malgaigne liken it to a reed instrument. Geoffrey St. Hi- 

 laire to a reed and flute. Kratzenstein to a drum. Savart to a 

 bird call. To the catalogue we might make additions, but we have 

 presented a sufficient number to convince the reader of their contra- 

 riety and the only thread that can be furnished the student to extricate 

 himself from this labyrinth, is to advise him to adopt exclusively 



none of their doctrines but bear in mind that they are all partially cor- 



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