COLUMBIA UBRARIES OFFSITE HEALTH SCIENCES STANDARD I8!BHI HX641 37457 QP306 .H 1 5 Voice production and RECAP HALLiDCK VOIC. - ...DUCTION AND ANALYSIS Q^Vbblo A^ CoUegc of ^fjpsiiciang anh burgeons! Hibrarp Digitized by the Internet Archive in 2010 with funding from Open Knowledge Commons (for the Medical Heritage Library project) http://www.archive.org/details/voiceproductionaOOhall i; YoiCE Production AND Analysis. BY Prof. William Hallock AND Dr. Floyd S. Muckey. Neav York City, August, 1897. The fact that the study of voice jDroduction requires a knowl- edge of acoustics as well as of anatomy, lead us to unite our forces in what we agreed should be an impartial experimental research. The following articles which appeared in the " Look- er-On " during the siunmer of 1896, give approximately the present state of oui* investigation ; the final presentation of our results may differ in form and in details, but will not in the broad and general principles set forth. WILLIAM HALLOCK, Columbia Univebsity. FLOYD S. MUCKEY, 8 West 33d Street. VOICE PRODUCTION AND ANALYSIS. By Prof. Wm. Hallock. Dr. Floyd S. Muckey. Thousands of persons whose voices naturally are pleasant, sweet, acceptable, find, as the result of train- ing, of learning" to sing, that their voices are ruined. The result of their efforts is ability to perform all sorts of vocal gymnastics. They have the trill and tremolo and arpeggio and many other accomplishments. Their singing, however, has no heart, no soul. The voice is merely the wreck of its former self, and the vocal organs are irreparably damaged. This result of the present methods of voice-culture is all the more remarkable when it is remembered that other physical training, if properly conducted, does not injure the bodily organs. Any one by gymnastics can be made a better athlete than he is naturally. A person who is taught to play the piano may not always develop into an artist. The muscular exercise required by such training does not, however, result in cramped fingers or in loss of sensation. Why, then, do the present meth- ods of instruction in vocal music result so frequently in irretrievable injury to the voice and vocal organs ? To answer this question, not empirically, but scientifically, is the purpose of this series of articles. Must we not admit that somethino- is wrono- in the method of training these vocal shipwrecks ? And since these results follow most all of the " methods " as apphed by various teachers, is not the inference justi- 2 THE LOOKER-ON. fied that, even if the correct method lurks somewhere amid this mass of error, it is not sufficiently understood nor strictly and definitely appHed ? Joseph Henry once said that if the fundamental law of the universe were told to us this minute, it would undoubtedly be too sim- ple for us to understand or to apply immediately. We shall revert to this subject later on. After some personal experience mth a ruined voice, and considerable study of the mechanism of the vocal apparatus, one of us (Dr. Muckey) was led to make some scientific investigations of the problem involved in the satisfactory production of a correct tone. This neces- sarily included the question of the strict scientific defi- nition of a tone accepted as artistically correct. The other part of the research then becomes the study of the conditions which enable a singer to produce the nearest possible approximation to such a tone. In this first article is discussed the means of tone analysis and tone modification. In later articles wiU be considered the question of the proper use of the vocal mechanism. In conclusion a reuime of the results of our work on voice-analysis wiU be given. Resonance is the keystone of our work. It is at once our tool and the object upon which we labor. For our purpose resonance may be defined as the re-enforcement of a tone by a quantity of more or less confined air, the inherent rate of vibration of wliich is identical with that of the tone re-enforced. Such a quantity of air receiv- ing successive impulses from the vibrating object comes into vibration itself, thus giving to the surrounding air a much greater amphtude of vibration and consequently greater intensity and carrying power of the tone. The jew's-harp is an excellent illustration. In it the mouth cavity re-enforces the tones of the httle tongue. In fact ]'OICE PRODUCTION AND ANALYSIS. 3 the size of the cavity in this case, selecting its own pitch from tlie complexity of sounds produced by the harp, and so re-enforcing- it, makes it the characteristic tone, which varies Avith the size and shape of the mouth cavity. To a lesser extent do the cavities of the mouth and nose act selectively upon the tones produced by the vocal cords, thus modifying- the klafig-tint {Timbre^ klang- /a?'bc) of the tone, as in articulation, but never deter- mining- the characteristic j^itch (fundamental), which is entirely controlled in the larynx. This point will be more fully explained in the second article, when the management of the vocal cords is treated. Fig. 1 is a section through the head and neck, show- ing- the location of the parts essential to our study. Many of the parts will be readily recognized. One is at once struck with the great size of the cavity of the nose and upper pharynx, even as compared with that of the mouth. The soft palate (12) acts as a door between these two resonators. When it is drawn back and closed (as in Fig. 2), it cuts off the upper cavity entirely, leav- ing- only the mouth available, for it is impossible for air- waves in the mouth to set the air in the nose in motion through either the bony roof of the mouth, or the flesh of the soft palate. The vocal cords are attached in front to the middle of the thyroid cartilage (Fig. 1 No. 6), and, at the back, to the arytenoid cartilages (No. 14), which sit upon the rear upper part of the cricoid carti- lage (No. 17). No. 17 sits directly upon the top of the A^andpipe. The sound-waves from the cords pass out, under and behind, the epiglottis (No. 13) ; thence past the soft palate (No. 12), either into the nasal cavity and out the nostrils or over the tongue, under the hard palate (No. 11) and roof of the mouth, and out between the teeth and lips. Nos. 2, 3, 4, are the turbinated THE LOOKER-ON. bones which bulge out into the nose cavity, breaking- it up into narrow passages, which is also done by the septum, or partition, which divides the nasal cavity into a right and left half. This irregularity and complexity of the S2)aces and passages enable the nasal cavity to lend Fig. 1. — Vertical section of the head to show h)cation and relative size of the resonance cavities. 1. Frontal sinus; 2, 3, and 4. Turbinated bones; 5. Hyoid bone; 6. Thyroid cartilage; 17. Cricoid cartilage; 7 and 18. Top ring of the trachea; 9. Sphenoidal sinus; 10. Entrance to the eustachian tube ; 11. Hard palate; 12. Soft palate; 13. Epiglottis; 14. Arytenoid cartilage ; 15. Arytenoideus muscle; 16. Vertebra. resonant re-enforcement to a much greater range of tones than if it were regular and simple. This is a fact of fundamental importance in the discussion of klang-tint and articulation, to be treated in another article. No. 10 is the entrance to the eustachian tube, leading to VOICE PRODUCT/ON AND ANALYSIS. the inner ear. No. \) is the s[)henoidal sinus, and No. 1 is the frontal sinus. It is sometimes urged that these cavities, together with the antra, aid in resonance, hut it is practically impossihle, since at hest their openings are small, and they are usually closed entirely, as is the Fig. 2. — Vertical section of the head similar to Fig. 1, but showing how raising the soft palate, 12, and closing the passage dimini.sh the space available for resonant re-enforcement by cutting off the large cavity of the upper pharynx and nose. cavity of the inner ear. A closed cavity can not re-en- force a tone. This statement applies also to the cavities below the vocal cords ; that is, the " chest cavities." Vi- brations of the air in them may take place, and possibly may exert some influence on the cords, but they cannot aid in the resonant re-enforcement of the tone. The in- tensity, or carrying- power, of a tone depends upon the THE LOOKER-ON. height " of the air-wayes, and may be obtained by in- creased activity of the source of sound (of the cords) or by resonant re-enforcement. The former method strains the cords and exhausts the breath ; the Latter requires no effort, only the correct use of our resonance cavities, as will be shown later. Of course the pitch of the tone depends upon the length of the air-waves, or rate of vibration. Our control of pitch will be discussed, to- gether with the larynx, in the second paper. It will be seen, then, that the cavities available for resonant modification and re-enforcement of tone are those of the upper and lower pharynx, the mouth, and the nose. The muscles which control the size, arrange- ment, and openings of these are the muscles of the soft palate, tongue, jaw, and lips. It is quite easy to deter- mine whether the nose cavity is in use and the soft palate door down. While singing the tone, gently close the mouth. If the palate is closed, the tone will stop ; if it is open, the tone will continue through the nose. Again, while singing, gently close the nose with thumb and finger, it will not affect the character of the tone if the palate is cutting off the nasal resonance, but will give it a nasal (s/c) tint if the palate is down. The apparatus employed for the analysis of tone is practically that devised and used by Konig and Helm- holtz, but with some essential modifications. It depends upon resonance ; that is, upon the fact that a hollow sphere Avith a circular opening, about one-fourth to one- sixth the diameter of the hollow sphere, will re-enforce one pitch, and one only. Its air can normally vibrate at that rate, and at no other. The pitch of the tone which such a " resonator " will pick out depends upon the diameter of the sphere and that of the oj^ening. Fig. 3 shows a section of such a resonator, as made by Konig. VOICE PRODUCTION AND ANALYSIS. 7 B is the opening- ^vltll a slight lip, with Avhieh it is tuned. C is a sUght conical extension at the back, oj)posite to B. If this extension is put into the ear it will be found that all sounds are heard faintly, except those of the pitch to which the resonator is tuned, and this is greatly re-enforced. With sets of such resonators one is in a position to determine, by listening, whether a given tone is present in any complex sound. This method is very accurate and delicate, but very incon- venient. Konig devised a better way of observing what the resonators are doing. We have, however, decidedly modified Konig's apparatus. The resonators A (Fig. 3) are so mounted in a plank P that the point C is flush with the back. A block, H, screwed upon the back of P, has a conical hole conaxial with the resonators, into which fits the conical plug G. The inner end of G is hollowed out to leave a small cavity D, over which a thin membrane of rubber is stretched. The latter is bound around the end of G. Gas enters the cavity D l)y the tube E, escaping by the central tube, and burn- ing in the small flame at F. When the tone of this resonator is sounded, the air in A responds (that is, it vibrates), making the drum-head at D vibrate, thus causing the little flame at F to jump at the same rate as the vibrations of the tone. Looking simply at the flame w^e see little change, since its jumps are so rapid, 128 to 1024 per second, that the eye fails to distinguish them. If, however, we observe the flame in a moving mirror each jump will appear in a different place, and hence be visible. A stationary flame viewed in such a rotating mirror appears as a line of light ; a jumping flame appears like the teeth of a saw, the distance between the teeth depending upon the relation of the rapidity of motion of the flame to that of the mirror. Similarly, if 8 THE LOOKER-ON the image of such a flame fall upon a moving photo- graphic plate, the trace developed will be a true report as to the state of rest or agitation of the flame. Such are the principles and devices underlying the apparatus shown in Figs. 4 and 5. Fig. 4 is the front view, show- ing the eight resonators of various sizes, and the rotat- ing mirror, and a few of the small flames, and the camera at the back. In Fio\ 5 are seen the " manomet- ric caf)sules " with their connecting tubes and little flames. A spherical resonator stands upon its mouth on the corner of the table, and our standard fork with its cylindrical resonator stands upon the stool. A device at the back of the camera enables us to move the photo- grajihic plate across an opening through which fall the. images of the flames. This gives a record of the report of each flame and its resonator, upon any tone produced in front of them. Fig. 6 is such a record when a cer- tain voice was singing a (^as in father), upon the pitch of our standard fork, which is 128 vibrations per second, or about " bass C." The number of vibrations that the fundamental or characteristic tone or pitch of a string, bears to the rate of its overtones, harmonics, or upper partials, is the ratio of 1 to 2, 3, 4, 5, 6, etc. Hence our resonators are tuned to bass C, and its first seven overtones, whose rates of vibrations and apj)roximate pitches are given below. Fundamental, 128 vib. per sec. about bass C " " middle C u u u Q " • " treble G u u u J] u a u Q U U U ^Jy " " high C 1st overtone 256 2d 384 3d 512 4th " 640 5th " 768 6th " 896 7th " 1024 VOICE PRODUCTION AND ANALYSIS. Si The number of points in the lines in Fig. 6 are pro- portional to the above numbers ; that is, to 1, 2, 3, 4, etc. If any one of these tones had been absent, there would have been no points in its line. The above series of overtones of a string' were adopted because they are the overtones in the voice, and, moreover, as will be made evident in the second paper, because the vocal apparatus is a stringed instrument, both in theory and practice. Thus an instrument has been obtained which can analyze certain complex sounds. It is our purpose to discuss the results obtained with it in investig-atino- voices of all degrees of merit, from our own to those of the de Reszkes'. These results manifest the effects of resonance upon carrying power, upon /clang- tint (timbre), and upon articulation. It will, however, be necessary first to discuss the vi- brations of strings, reeds, and membranes, and the possi- ble operations of our vocal mechanism, and the laws which govern them. This will form the subject of the second paper. ( To be continued in September number. ) VOICE PRODUCTION AND ANAL- YSIS. By Prof. Wm. Hallock. Dr. Floyd S. Muckey.. II. N the present paper we discuss the behavior of vibrating strings, reeds, etc., and apply the conclu- sions directly to the explanation of the mechanism of Voice Production. In a later article the results ob- tained in our photographic analysis of various voices, es- pecially those of noted singers, will be considered. If we examine a string attached at each end and vi- brating, we shall find that three factors control the rate of vibration — in other words, the pitch of the tone emitted. These factors are the length, weight, and ten- sion of the string. The rate of vibration of a string is inversely proportional to the length of the string — i.e., a string of half the length of another will vibrate twice as fast, and hence will si-ive the octave. The rate is pro- portional to the square root of the stretching force. If 178 THE LOOKER-ON. we wish to raise the pitch of a string to the octave by increased tension, Ave must put upon it not twice, hut four times, the stretching- force. The rate is inversely proportional to the weight of the string. A string- of half the weight would give the octave, other things being equal. It will be shown later that the larynx contains the means for varying these three factors. The klaufj- tint (timbre) of the tone produced by a string depends upon the number and relative strength of the overtones, or harmonics, or upper partials. The mathematical theory, as well as the experimental results, show that these overtones form a series whose rates of vibration, together with that of the fundamental or pitch tone, are proportional to the natural numbers 1, 2, 3, etc. For every vibration of the fundamental there are two in the first overtone, three in the second, and so on. Note»well that these are in harmony with the fundamental and each other, at least to No. 6, then also 8, 10, and 12. There are several very satisftictory ways of showing how a string divides up into segments when vibrating to its various overtones. Fig. 1 gives a series of photo- graphs of a vibrating string taken by Prof. W. L. Robb, and kindly given for use here. Photograph marked A shows the string swinging, as it does when giving its "fundamental" or pitch tone. This is its slowest rate, and consequently produces its lowest-pitched tone. It will be seen that the string moves as a whole from one side to the other in a very simple motion. A string vi- brating in this way would give a j>wi'e or simple tone. A "pure tone" is one Avhich is produced by one single rate of vibration, as a tuning-fork with its resonator. This is the definition universally adopted in the science of acoustics. It might be well for writers upon music to conform to this usage and not call a tone by Melba VOICE PRODUCTION AND ANALYSIS. 179 *^pure," when they mean smooth or fine or pleasing, and when the fundamental has at least three or four overtones with it. B shows the same string* as A, only now vibrating to the first overtone, the octave, twice as rapidly, having a " node," or point of rest, in the center, and two segments. One readily sees that the effective length in B is one-half that in A. In C we have the second overtone the fifth above the octave, with two nodes and three segments, and Avith one-third the effec- tive length of A. D is the third overtone, the double octave, with three nodes and four segments. E is a photograph of the same string vibrating so as to give several overtones at once. It is not known at present which overtones are active in E. If now we turn our attention to the case of a vibrat- ing reed or rod, fastened at one end and free at the other, we find its pitch controlled by its length, thick- ness, and elasticity. The ratios of the rate of vibration of the fundamental to its overtones are about as 1 to 6i^ to 7, and to the squares of the odd numbers, 3", 5"-, etc. Note well in this connection that there are five overtones in a string before we come to the first over- tone of the reed ; also that none of the overtones of the reed are in simple harmony with either the fundamental or with each other; also that their pitch varies with the varying form of the reed. In the case of disks and membranes there are no har- monious overtones. In fact, Helmholtz classes reeds (rods), disks, and membranes as sources of sound "with inharmonic overtones." Musical instruments and voices differ from each other in Maiuj-thit ; that is to say, in the relation of the num- ber, pitch, and intensity of the overtones to the funda- mental. It is this relation that makes one piano " tin 180 THE LOOKER-ON. panny," and another rich and melodious ; that makes one voice strident and disagreeal)le, anotlier sweet and full of feeling-. A pure tone cannot be varied except in intensity. Its character remains the same. A lip organ pipe or a flute cannot give the rich, full tone of the A^iolin, because it is practically a pure tone. In articu- lation the different vowel sounds are entirely due to this variation of klanfj-t'iiit. This will be shown very clearly in the photographs with the last article. The klang-tint of instruments is controlled in various ways, according to the method of tone production. For example, in the piano the main factors are the length and weight of the string, the hardness and shape of the hammer, the sharpness of the blow% and the distance of the point struck from the end of the string. To these may be added the resonant qualities of the frame and sounding-board. But when the j^iano is finished, its tone, its klang-tint, is determined; the performer can do very little to change the klang-tint of a tone w ithout at the same time varying its intensity. The enormous superiority of a good violin over a poor one lies in the resonant properties of the w^ood, and the cavity and openings. That which gives to the violin its greatest flexibility of tone, and enables it, better than any other instrument, to give voice to the feeling of the composer and performer, is the opportunity it offers the player of producing tones the most varied, from harsh discord to the sweetest melody. This is done by the manner in w^iich the string is bowed, and the distance from the brldo-e to the bow. It is the bowino- that dis- tinguishes the tones of a Wilhelmj from those of the tyro. In spite of all this the source of the power of the \aolin lies in the fact that the string when properly con- trolled has the most overtones and the most harmonic. VOICE PRODUCTION AND ANALYSIS. 181 The only tone source which equals, and indeed excels, the violin in flexibility is the human voice. We must now seek to discover the causes o£ this marvelous power. R5 I. Fiof. 2 shows three views of the Lirvnx : I, a section vertical from front to back ; 11, the left side of the cartilages ; III, the left side with some of the muscles. e is the large thyroid cartilage, the front point of which forms the " Adam's apple," just behind which is the front attachment of the vocal cords. This cartilage is hinged upon the cricoid, r/, by two projecting horns d. Upon the back, top part of the cricoid sit the tv\o arytenoid cartilages 6, which form the rear attachment of the vocal cords. The thyroid is held in place by muscles running up to the soft palate and head, and down to the collar-bone. When the muscles h are contracted, the front edge of the cricoid is drawn up, closing the niche c, and tilting on the hinge r/. The back top of the cricoid, with the arytenoids, is thereby carried back- ward, lengthening the cords slightly and stretching them more tightly. The muscles //, which thus control the tension of the vocal cords, are " intrinsic " and " in- voluntary " — d'.e., they are not directly controlled by the will. (J is the top of the windpipe ; /" is the hyoid 18? THE LOOKER-ON. B t Ti^Z. Fiii^. bone, and / is the top o£ the epiglottis. Fig. 3 gives various views of the arytenoids upon the cricoid. Fig. •i is a view of the larynx from the back. Fig. 5 shows four photographs of the vocal cords, looking down upon them. The front attachment is out of sight at the bot- tom of the pictures, being covered by the epiglottis ; I is the cords themselves, with the apparent slit, /.', be- tween them ; at the back, hh are the arytenoid cartilages. The " vocal muscle " is attached to the outside of the arytenoid cartilage at a point near u. It extends for- ward through the thick part of the cord and is attached near the cord to the front of the thyroid. When these muscles are contracted they cause the arytenoids to ro- tate around a point near hb, throwing the forward ends, o, inward toward each other. This rotation of the arytenoids results in a shortening of the effective length of the cords and a consequent raising of the pitch. In I and II the person is singing low G, and the whole length of the cord is in vibration. Ill shows the position when the octave G (bass clef) is sung, and IV when G (mid- dle G) is the note. A comparison of II, III, and IV, VOICE PRODUCTION AND ANALYSIS. 183 markino' the especially as to the position of the crosses front and rear points of the arytenoids, will show how the cartilages are rotated and the cord shortened as the pitch rises. The advantage of this method of raising the pitch is evident, if we remember that to get the oc- tave by this method we shorten the string to one-half, while if we rely solely npon increased tension the stretch- Figure 6. inof force must be increased fourfold. Figf. 6 shows a section at right angles to /, Fig. 2, and hence to the cords, a is the cricoid and e the thyroid cartilage ; /, /, are the vocal cords forming the slit, A*; 7?^ shows a section of the vocal muscle in each cord. In proportion as this muscle is drawn tighter and tighter, it holds more and more of the cord still, finally allowing only the extreme edge of the cord to vibrate. This secondary action of this muscle results in a lessening of the weight of the vibrating part of the cord, thus tending also to raise the 184 THE LOOKER-ON. pitch of the tone. The muscles which control the aryte- noid cartilages are intrinsic and involuntary. Figure 7 . Fig\ 7 is a schematic representation of the vocal cord, showing the location of the vocal muscle in, and how it sends its fibers into the body of the cord. When m is uncontracted, or but slightly so, the cord may vibrate from the edoe as far back as >', but as m is tightened more and more it holds the vocal cord first as far as .9, then ^, and finally for the highest notes (IV, Fig. 5) only the part between u and the edge k is allowed to vibrate, giving thus a much lighter string and thus helping to get a high pitch with a minimum of tension. It will be seen that we have in the larynx the means for controllino' the three factors which determine the pitch of a string — length, tension, and weight. More- over, the tuning mechanism of a reed, plate, or membrane is lacking. Actual analysis shows the overtones of the vocal cords to belono- to the series of a strino-, and not to that of a reed, plate, or membrane. We are thus forced to the conclusion that, both in its action and in its resulting tone, the larynx is a string VOICE PRODUCTION AND ANALYSIS. 185 instrument. The J:hjri(j-tlnt of the voice is not controlled as it is in any other instrument ; in fact, it would be al- most impossible to so control it mechanically. In the first article it was pointed out that a volume of air more or less inclosed can act to reenforce a tone of its own par- ticular jjitch. Now we have, in the lower and upper pharynx, mouth, and nose, resonant cavities, the size and opening's of which are sufficiently under our control to enable us to reenforce certain tones or pitches at the expense of others. In articulation we vary these cavities so that their resonant effect changes the Manrj-tint from that of one vowel to another. It must, however, be borne in mind that these overtones, whose variation en- ables us to articulate, and to put feeling into the voice, are originated in the cords themselces, and that they are modified only as to their relative ijitensiff/ by the reso- nant cavities above. Any other origiu of the overtones is absolutely incompatible, as well with theory as with observed facts. Another fact that must be accepted is that the only resonance available, either for reenforce- ment or modification, is the resonance of the air in the above cavities. Any vibrations that may occur in the air in the chest are useless for reenforcement, since the cavity is closed, and a closed cavity cannot reenforce a tone. Resonance from the spine, jaw, or muscle is simply ridiculous. These are often referred to as " valuable sounding-boards." Bone is 48.6 per cent, water, and the other structures are from 75 per cent, to 90 per cent, water. Imagine the tones of a piano with water-logged sounding-board ! Let any one take an ordinary tuning- fork, and, striking it, press the shank upon a board, and hear the tone-sound. Then, striking it again, try to get a similar reenforcement by pressing the shank upon his friend's skull or spine or cheek or neck. If he tries ISO THE LOOKER-ON. it upon himself he may get a sHght reenforcement, but we do not sing for our own ears. We must then eonchide that since the intrinsic mus- cles are ample for the control of pitch they should be left free to do that, and not be overpowered by the ex- trinsic, voluntary, interfering muscles of the palate and tongue, whose duty it is to control the khiiKj-tlnt of the tone ; i.e., to articulate and to give expression. The two systems of muscles should be as independent as the bellows and the 2)erformer on an organ. The intrinsic muscles can and will satisfactorily control pitch, if not interfered with. The extrinsic muscles can and will ar- ticulate if they have not been applied to the improper function of controlling pitch. Voice-Production and articulation must be independent. The following article, which will appear in the next number, will be devoted to an examination of the results of an analysis of voice?, with special reference to the method of Voice-Production. The effects of improper use of the resonance cavities, and of the interfering muscles of the soft palate and tongue, will be described. The way in Avhich these defects may be corrected will be indicated. (7b he continued.^ VOICE PRODUCTION AND ANAL- YSIS. By Prof. Wm. Hallock. Dr. Floyd S. Muckey. III. In the two articles Avhicli have already appeared, we endeavored to set forth some of the principles of acous- tics and anatomy which are involved in scientifically correct voice production. We shall now attempt to ap- ply the principles, and illustrate their effect upon the character of the tone produced. It will be well at first to use one voice as a type to show variations due to method and articulation, and then show where the same pecu- liarities are present in other voices. In the estimation of a great number of teachers and l^upils, carrying power is the great thing in a voice, it must be able to fill the large auditorium with a full tone whose pitch shall be readily recognized, even a piano tone must carry to the back rows, and toj) gallery. To do this a tone must have " fundamental" and plenty of it. The fundamental must do the heavy work, it must be the backbone of the wiiole tone. Those who will not ad- mit that carrying j)ower is the siimmuin honuiii hold that the really desirable thing is the quality of the tone, the timhre, the klang tint. This quality is due to the relative intensity and number of the overtones which are present with the pitch tone or fundamental. It would seem, natural that a tone to be well rounded and 376 Till-: L()(>Ki:i!-ON. "symnietricar' should have :i linn, strong fundamental wi^li tlie overtones well developed, but their relative strength diminishing as tliey rise in pitch in the series. Such a tone is well represented in Fig. 1, which is ana, tis ill IV/tlier, in tlic voice which has been most studied. It will be seen tliat as the pitch rises tlie serrated effect is less pronounced, that is, tlie strength of the overtones becomes less ; yet a careful count of the negative shows that for one wave in the first line (fundamental), there are two in the second (first overtone), three in the third (second overtone), and so on, to eight in the top line, which is the limit of our ai3paratus. Compare Fig. 1 with Fig. 2 which is the same vowel by the same voice, except that here the palate is raised and the i:>roduction is forced, giving a rough hard tone. It will be seen that the overtones are stronger than the fundamental. The tone is top-heavy. Also note that number four is so overpoweringly strong that it forces its rate throngh 5, G, 7, and 8, and drowns them out if they are present. Fig. 3, is another voice, d as in marble, tliis tone is over- whelmingly strong in 3, with little or no fundamental, and nothing above 3, and yet this is the favorite tone of a great authority on voice production. It is much too strong in the middle, and weak at each end. Fig. 4 is still another «, much too strong in 5. As to the effects of articulation upon the tone, one only needs to compare Fig. 1, a. Fig. 5, a as in late. Fig. 0, ee as in meet. Fig. 7, o as in no, Fig. 8, oo as in food, to see that it is the overtones which determine the vowel. It must be said, however, that in Figs. 5 to 8 the fundamental should be stronger for a good tone with carrying power. A great many people have been kind enough to per- mit us to make such photographic record of their tones. VOICE PR OD UGTION AND A NA L YSIS. 377 Although the first effect was to bring out, in its finest details, the extreme complexity of the subject, still, as evidence accumulated, it emphasized, even more forcibly, the essential but distinct parts played by the funda- mental and overtones in moulding a tone. In spite of the fatigue and rush of the close of the Met- ropolitan Opera season, most of the greatest artists kind- ly consented to sing a few tones into our inartistic ap- paratus, and enable us to put the final test to our idea as to what constitutes a good tone. It must be remembered that these artists acted under unaccustomed difficulties. It is not for them to sing a simple tone into a box. Their forte is to thrill an audience. Moreover the depth of the serrations must be compared in each photograph by itself. Because, had the singer produced a louder tone or nearer to the aj^paratus, all the serrations would have been more pronounced ; for examx)le, we can draw only a very poor conclusion as to the strength of a voice from our photograph, but we can judge its character. In order to see the waves in the fundamental clearly, the picture should be looked at obliquely. In the ladies' voices the difficulty is still greater because singing an octave higher than our fundamental, the api:)aratus can record only three overtones, and at that time only re- corded two, numbers 2, 4, 6 and 8 in the male series. As the pitch of the fundamental rises, the number of ac- companying overtones decreases, so that the highest so- prano or falsetto tones are nearly "pure." In Fig. 9, we have Nordica's a with its strong fundamental and its well marked overtones. Her ee in Fig. 10, is character- ized by that same 2)owerful fundamental, indeed it must doubtless be admitted that she has a truly great voice. Fig. 11, is a photograph of Scalchi's voice. It will be 378 TJIK LOOKER-ON. seen that lier a is not qnite so symmetrical as Fig. 9, being a little stronger in 2 arid weaker in 3. This is much better than to have 3 stronger than 2. The brilliancy of Calve' s voice may be accounted'- for possibly by the strength of 3 in her a Fig. 12. The remainder of the figures are as follows : Fiff. 13. Jean tie Rezke « ^ „ „ ,, , , , ° all of tJiese tones are character- Fipf. 14. do. ec \ • i , ^ ^- ^ ° y izeu by a reJatively very Fiff. 15. Ednard Je Eezke a [ , „ , . , ° strong tnndamental. Fig. 16. do. ee) Fig. IT. Arimondi a \ tliese tones seem a little forced, Fiff. 18. Cremonini a \ the fundamental is not Fig. 19. Ancoua il ) strong enough. A careful comparative study of the above will develop certain individual characteristics, but we believe will also manifest the presence of a good strong backbone to the tone in its fundamental, together with a compara- tively sj^mmetrical supply of overtones to give fulness and flexibility. The conclusion which we draw from these examples may be briefly stated. The above characteristics of a good desirable tone, with quality and carrying power not forced, can best be obtained by a use of the vocal mechanism which shall give to the larynx entire control of pitch by the intrinsic, involuntary muscles, leaving the /tZ<2/^^ ^mzf or articulation, to the extrinsic, voluntary muscles of the pharynx, mouth, etc. One must ahvays bear in mind the all important part played by resonant reenforcement in the mouth and nose cavities. How can all this be done % The soft palate is the tell- tale. Take a small mirror, seat yourself with your back to a window or a lamp. So hold the mirror that the light is reflected into the mouth at the same time that you see VOICE PR OD UCTIOX A ND A NA L YSIS. 379 the interior of the mouth reflected in the mirror. Study carefully the aj^pearance of the mouth and pharj^nx Avhen all the muscles are relaxed, then produce a tone without disturbing this general ]30sition of rest. When this is easy for low tones, run up tlie scale, never permitting any motion of the soft palate or phar- ynx. When one can sing up and down the scale with the soft palate and pharynx stationary, it is pretty cer- tain that the extrinsic muscles are not interfering with the action of the intrinsic. It must be remembered that this exercise is intended to train the intrinsic muscles in the complete control of pitch, independent of any action of the extrinsic muscles. After this is accom- plished, a proper use of the extrinsic muscles and reson- ance cavities will give the tone its desired quality. It is well to hold the nose, once in a while, to see if the tone is really coming out through the nasal resona- tors. Do not be discouraged and conclude it is impos- sible. It is being done by many, and with excellent re- sults. AVe have endeavored to express our beliefs upon this complex subject, and the reasons therefore. Our one object is to arrive at the truth. If we are in error, the sooner we know it the better. Hence we are glad to hear the other side, and to discuss the question. If we succeed in lessening the number of voices wrecked by false methods, we have accomplished our j)urpose and sliall feel amply rewarded. Fig. 3, p. 6. — Section of resonator and its manometric capsule. A. Reson- ator. B. Mouth of resonator where air-waves enter. C. Small extension through which the air-waves strike upon the rubber drum between D and C. D. Space behind the drum to which the gas enters through the tube E, and from which the gas passes out and burns at F. G. Wooden plug carrying gas tubes and hollowed out to form the space D. The rubber is stretched and tied over the end of G. H. Block to hold G. P. Plank on which the whole is mounted. Fig. 4, p. 8. — General view of the apparatus showing the resonators, the rotating mirror and the camera at the back. Fig. 5, p. 8. — General view showing the capsules and their attachments, the flames reflected in the mirror, and the sliding plate-holder at the back of the camera. A spherical resonator stands on the corner of the table and our standard tuning fork with its cylindrical resonator is on the low stool. Fig. 6, p. 8. — Photograph of the motion of the flames -while singing the vowel a as in father. The lower line is the fundamental, and the others are the 1st, 2d, 3d, etc., overtones in the order of their pitch. One wave of the fundamental corresponds to two in the first overtone, three in the second, four in the third and so on. it "n D C B A Fig. 1, p. 175 I . fl- Fig. 5, p. 182. Fig. 1, Art. III. Fig. 2, Art. III. Fig. 3, Art. III. Fig. 4, Art. III. Fio. 5, Art. III. Fig. 6, Art. III. Fig. 7, Art. III. Fig. 8, Art. III. Fig. 9, Akt. III. FiCx. 10, Art. III. Fig. 11, Art. III. Fig. 12, Art. III. Fig. 13, Akt. III. Fig. 14, Art. III. .:^Ml ,ll i »|| .^M>»» ***** ♦ %»|iMk % «>«^%iii fiiyiik%^«M»^ *Nkfc% « %% 1 *%^'^''Mii*v\'*i^%%i,%%^ . Ft J I"), Art. III. Fig. 16, Art. III. Fig. 17, Art. III. Fig. 18, Akt. 111. Fig. 19, Akt. III. COLUMBIA UNIVERSITY This book is due on the date indicated below, or at the expiration of a definite period after the date of borrowing, as provided by the rules of the Library or by special ar- rangement with the Librarian in charge. DATE BORROWED DATE DUE DATE BORROWED DATE DUE JUN2 1964 i r^\i l\n^ti^ r^« * * C2S'e38)M50 Annex ,P306 » _ E15 Ilallock Voice production and analysis Knne^