VOICE TIMBRE. 471 



We have given M. Savart's view at some length, in consequence of its 

 ingenuity, and of its seeming to explain as well as any other theory 

 the varied tones of which the human voice is susceptible. It cannot, 

 however, be esteemed established, inasmuch as it is diametrically op- 

 posed, in many of its points, to the observations and vivisections of 

 distinguished physiologists; who, it has been seen, affirm, that voice is 

 produced solely by the inferior ligaments; that all the parts above 

 these may be destroyed, and yet voice continue ; and that a wound in 

 the ventricles, which permits the exit of air through the parietes of the 

 larynx, does not destroy the function. Our notions on this point must 

 not, therefore, be considered definite. Farther experiments are neces- 

 sary; and, in all deductions from them, great importance will have to 

 be attached to the vital action of the organs, especially of the intrinsic 

 muscles, which are capable of modifying the situation of parts, and the 

 character of the function in myriads of inappreciable ways. It may 

 be added, that, more recently, Mr. J. Bishop, 1 from his numerous 

 investigations, has arrived at the conclusion, that the human voice 

 results from the vibration of membranous ligaments, in obedience, 

 first, to the laws of musical strings ; secondly, to those of reed instru- 

 ments; and thirdly to those of membranous pipes; and that the vocal 

 organs combine in reality the actions of each of these instruments, and 

 exhibit in conjunction the perfect type of every one of them. 



3. Timbre or Quality of Voice. 



In the preliminary essay on sound, attached to the physiology of 

 audition, it was remarked, that the cause of the different timbres of 

 sound, in the various musical instruments, has hitherto remained un- 

 explained. The same remark is applicable to the timbre of the voice. 

 Each individual has his own, by which he is distinguished from those 

 around him; and it is the same with each sex and period of life. In 

 this the larynx is, doubtless, concerned; but in what manner is not 

 clear. The feminine timbre or stamp, that characterizes the voice of 

 the child and the eunuch, would appear to be generally connected with 

 the cartilaginous condition of the larynx; whilst the masculine voice, 

 which is sometimes met with in the female, is connected with the osseous 

 condition of the parts, and especially of the thyroid cartilage. An 

 infinity of modifications may also be produced by changes in the thick- 

 ness, elasticity, and size of the lips of the glottis. The vocal tube 

 probably exerts great influence in this respect by its shape, as well as 

 by the nature of the material composing it. Such conditions, at least, 

 appear to modify the timbre of our wind instruments. The timbre of 

 a flute, made of glass or brass, is very different from that of one formed 

 of wood, although the instruments may resemble each other in every 

 other respect. The form of the body of the instrument has, also, con- 

 siderable effect. If it be conical, and wider towards its outlet, as in 

 the clarionet, or hautboy, the quality of the sound is shrill. If it be 

 entirely cylindrical, as in the flute, we have the soft quality, which cha- 



1 Proceedings of the Royal Society, No. 65, Lond., 1847. 



