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THONATION AND ABTICULATION 



161 



in his well-known vowel apparatus. He obtained the sound of u (oo) 

 by combining the fundamental tone b l with / 7> 2 ; the sound of o (oh) 

 by combining the same fundamental tone with ft 3 ; the sound of a 

 (ah) by combining b l with & 4 . He was, however, unable to repro- 

 duce the highest tones of e (eh) and i (ee) by the tuning-forks. 



The vowel tones were also studied by Konig with the aid of 

 his manometric flame apparatus (Fig. 102). This method is very 

 useful in analysing the complex nature of the vowel tones, since it 

 shows the difference in the form of sound-wave not only for the 



IT 







do 1 



FIG. 103. Flame pictures of the vowels a (ah), o (oh), u (oo), in three different keys. 



separate vowels, but for the same vowel at a different pitch. The 

 duration of the wave-periods is, however, the same for the different 

 vowels sung to the same note (Fig. 103). The alteration of the 

 form of the wave while the period is constant must be due to the 

 superposition of tones developed in the mouth, characteristic of 

 the vowels upon the tones emitted by the larynx. But it is not 

 possible from the simple wave-form shown by the flames to 

 determine the number, pitch, and strength of the partial tones 

 from which the different sung vowels result. 



Hallock (1896) employed a method founded on that of Konig. 

 He connected eight resonators in harmonic series with as many 

 Konig's manometric capsules, sang a vowel in front of them, and 

 then photographed the reflection of the flames in a mirror. From 



VOL. Ill M 



