498 



MOVEMENTS VOICE AND SPEECH. 



laryngoscopic investigation. It has a vibrant character, which is undoubtedly 

 modified by peculiar action of the resonant cavities, which latter has not been 

 described. It is not probable that its mechanism differs essentially, as re- 

 gards the action of the glottis, from that of the full chest-register, shown in 

 Fig. 170. 



The falsetto-register in the male undoubtedly involves such a division of 

 the length of the vocal chords that only a portion is thrown into vibration. 

 There is always an approximation of the chords in their posterior portion, 

 and sometimes also in their anterior portion. This is illustrated in Fig. I?l. 



I II 



FIG. 171. Appearances of the vocal chords in the production of the falsetto-voice (Mills). 

 I. The larynx during falsetto production ; after Mandl. 



II. The larvnx during the emission of falsetto tones ; middle range ; after Holmes. 

 III. The larynx of the female during the production of head-tones, as seen by the author (Mil 



The mechanism by which the vocal chords are approximated in portions 

 of their length has not been satisfactorily explained ; but laryngoscopic ex- 

 aminations leave no doubt of the fact of such action. The extent of this 

 shortening of the chords must vary in different persons and in the same per- 

 son, probably, in the production of falsetto-notes of different pitch. Accord- 

 ing to Mrs. Seiler, the shortening is due to the action of a muscular bundle, 

 called the internal thyro-arytenoid, upon little cartilages extending forward 

 from the arytenoid cartilage, in the substance of the vocal chords, as far as 

 the middle of the glottis ; but dissections made by Mills failed to confirm 

 this view. 



Some singers, especially tenors, have been able by long practice to pass 

 from the chest to the falsetto so skillfully that the transition is scarcely ap- 

 parent, but the falsetto is devoid of what is called vibrant quality. 



Vocal Registers in the Female. There is absolutely no difference between 

 the vocal mechanism of the chest-voice in the sexes. In the best methods of 

 teaching singing, one important object is to smooth the transition from the 

 chest-voice to the lower medium. The full chest-notes, especially in con- 

 traltos, closely resemble the corresponding notes of the tenor. 



According to the laryngoscopic observations of Mills, the mechanism of 

 the lower medium and upper medium in females does not radically differ 

 from the mechanism of the chest-voice. In these registers, the arytenoid 

 cartilages become more and more closely approximated to each other as the 

 voice ascends in the scale until, in the higher notes, they probably are firmly 



