Tuning-Fork on the Mechanism of the Human Voice. 353 



by straining the vocal cords beyond their proper tension. A 

 young lady, endowed with a fine soprano voice reaching to C in 

 alt. or 1024 vibrations, by straining the vocal cords on that note 

 raised to D, lost the power of exercising her voice for musical 

 purposes during nearly three years. Even Madame Goldschmidt 

 complains of the strain which the change of pitch has produced 

 in her vocal organs; and it is well known what an extended 

 range of flute-like sounds this charming and accomplished singer 

 possessed. Further, it is well known that the tones at the 

 extreme limits of phonation are never so pure in quality, or so 

 agreeable to listen to, as the notes within those limits ; and 

 moreover, when in order to execute a given note the vocal cords 

 are stretched beyond their normal elastic length, they do not 

 always so readily regain their tone of elasticity; and if this be 

 permanently impaired, the voice loses some of its range of notes, 

 and will be unable to regain the power to execute the melody ^as 

 before. The struggle to execute a pitch beyond the normal 

 limits sometimes gives rise to spitting of blood, and has been 

 known to produce apoplexy. These circumstances are surely 

 sufficient to render the reduction of the pitch of C to its former 

 limit of 512 vibrations imperatively necessary. 



The principle we wish to impress is, that the pitch of musical 

 instruments intended to accompany the human voice should be 

 made subordinate to the anatomical structure and mechanism of 

 the human organs, instead of the latter being rendered subor- 

 dinate to the former. Consequently the pitch of C should again 

 be 512 vibrations; and we advise all persons interested in the 

 choice of pianos and other musical instruments intended for 

 vocal accompaniments, to insist upon having them of that pitch. 



There appears to have been a general complaint against the 

 present pitch of our musical instruments by almost all the 

 higher class of singers ; and on appealing to one of the most 

 scientific of our pianoforte-makers for his opinion, he stated 

 that the pitch had ruined many a fine voice, but, as long as the 

 public demand for the higher pitch remains, it is not in the 

 power of the instrument-maker to remedy the evil. We know 

 how strongly Sir John Herschel protested against the decision 

 of the Committee of the Society of Arts, and all parties appear 

 to have considered the decision at which they arrived as only 

 a temporary measure; and its complete failure to produce uni- 

 formity is a confirmation of his views, and shows the necessity 



for further investigation. 



These remarks have not been written as a mere theory, but in 

 consequence of the numerous cases of injury to the human organs 

 of voice from the above-mentioned causes which have been from 

 time to time submitted to the author's opinion. 



