Scan 25
Musical Courier 1897-09-15: Vol 35 Iss 915, 1897
77 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 26. See the scan on archive.org.
1Voice Training.
2By FLOYD S. MUCKEY, M. D.
3Article V.
4THE next question to be answered is how to get any desired pitch without effort on the part of the singer and with the least possible strain on the vocal apparatus. If the voice is a string instrument, then the vocal cords are strings and should be subject to the same laws which regulate the action of strings.
5There are three things which determine the pitch of a string, and these are length, weight and tension; the shorter the string the higher the pitch; the lighter the string the higher the pitch; the more tension on the string the higher the pitch. Lessening the length of a string one-half raises the pitch one octave; lessening the weight of a string one-half raises the pitch an octave; while we must quadruple the pulling force to raise the pitch an octave by increased tension. It is very important to thoroughly understand these laws of vibrating strings, because it is the lack of their application to the vocal cords which underlies a great deal of the straining of the vocal apparatus, and the ill effects which follow this process.
6We believe that all of these factors should be brought into use in raising the pitch of the vocal cords. We also believe that nearly all singers make use of but one factor, and that is increased tension. By means of a camera devised and constructed by Professor Hallock we have been able to photograph the vocal cords while they were producing tones of different pitches. These photographs (Fig. 10) demonstrate that we can at least get a shortening of the vibrating portion of the cord while raising the pitch. In Photograph I., I is the cords themselves with the apparent slit or glottis k between them, at the back b b are the arytenoid cartilages, to which the vocal cords are attached posteriorly.
7The vocal muscle (thyro-arytenoideus) is attached to the outer angle of the arytenoid cartilage at a point near n. It extends forward, lying just outside the cord, and is attached to the thyroid cartilage near the front end of the cord. When these muscles contract they cause the arytenoid cartilages to rotate around a point near b in each cartilage, throwing the front angles o inward toward each other, separating the rear angles. This rotation brings the posterior ends of the cords together, thus shortening their effective length and consequently raising their pitch. In Photographs I. and II. low G is being produced, and the cords are vibrating throughout their entire length.
8Photograph III. shows the position of cords and cartilages for the middle G. In this picture the rear angles of the arytenoids have been separated and the front angles approximated, as shown by the position of the crosses, marking the situation of these angles. In Photograph IV. the cords are producing high G. Here we have a still further shortening of the cords. In this picture only about one-half the length of the cord is vibrating. This alone would give a rise of an octave in pitch. The vocal muscle, which lies just outside the cords, sends in fibres which are inserted into the substance of the cord itself. We think it is reasonable to suppose that the rotation of the arytenoid cartilages brings these fibres into position so that they can contract, and thus damp the outer portions of the cord.
9The more rotation of the arytenoids we get the more of these fibres would come into action, and we would thus get a gradual lessening of the weight of the cord, which would aid very materially in raising the pitch. Here then is a mechanism which, if made use of, would probably give us a range of two octaves in pitch without any increase in tension. Fig. 11 is a section of the larynx at right angles to the cords, showing the position of the vocal cords and the vocal muscle; a is the cricoid, and e the thyroid cartilage; ll are the vocal cords forming the glottis k; m shows a section of the vocal muscle in each cord. Fig. 12 is a schematic representation of the vocal cord l and the vocal muscle m, showing how it sends fibres into the substance of the cord.
10When m is uncontracted, or but slightly so, the cord may vibrate from the edge k as far back as r, but as m is tightened more and more it holds the cord first as far as s, then t, and finally for the highest notes (IV. Fig. 10), only the part between u and k is allowed to vibrate. At the same time that the lessening of the length and weight of the cord is being accomplished there is another mechanism which is gradually increasing the tension. Fig. 18 shows three views of the larynx. I. a vertical section from front to back. II. the left side of the cartilages. III. the left side, with some of the muscles. E is the large thyroid cartilage, the front part 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 a by two projecting horns, d. Upon the back, top part of the cricoid sit the two arytenoid cartilages b, which form the rear attachments of the vocal cords. The thyroid is held in place by muscles running up to the skull and down to the sternum and collar bone.
11When the muscles h are contracted the front edge of the cricoid is drawn up, closing the niche c (or where the hand is pointing), and tilting on the hinge d. This carries the upper and back part of the cricoid with the arytenoids backward, and thus stretches the cords. The amount of increased tension thus brought about is sufficient to give any required pitch, if at the same time we get the other two factors, yet it is not enough to put any strain on the vocal apparatus. Why do not all singers get this mechanism? Observation of a great many singers while producing tone has taught us that we do not get the rotation of the arytenoid cartilages if the muscles of the soft palate, constrictor muscles of the pharynx and tongue are strongly contracted.
12These muscles are all attached directly or indirectly to the thyroid cartilage. When they pull the effect is to fix the arytenoids so firmly on the cricoid that it is impossible for the vocal muscle to do the rotating. Without this rotation we lose the shortening and lessening of weight of the cords, and then must depend entirely upon the increased tension for raising the pitch. This means increased effort on the part of the singer, and increased strain on the whole vocal apparatus as the pitch rises. For example, if to pro-
14ISIDORE LUCKSTONE,
15The Accompanist and Musical Director. Style, Repertoire, Finish.
16VOCAL CULTURE.
17PERMANENTLY IN NEW YORK.
18Studio: 836 Lexington Ave., or address Musical Courier.
20Tina
21Baxtini Humphrey
22.. SOPRANO. ..
23Opera, Concert and Oratorio.
24ADDRESS:
25THE LONDON MUSICAL COURIER,
2621 Princes St Cavendish Square, Oxford Circus W.
28Broad Street Conservatory of Music,
29GILBERT RAYMONDS COMBS, Director.
301331 South Broad Street, Philadelphia, Pa.
31– ILLUSTRATED CATALOGUE FREE –
33ALEXANDER SILOTI,
34Liszt's Favorite Pupil.
35In America, January until April.
36Address THE WOLFSOHN MUSICAL BUREAU,
37131 East 17th Street, New York. one of two readings
38131 East 17th Street, New York, one of two readings
40The National Conservatory of Music
41OF AMERICA,
42126 & 128 East 17th St., New York.
43Dr. ANTONIN DVORAK, Director.
45A thorough musical education at nominal cost. The National Conservatory is the only musical institution in this country empowered by the Congress of the United States to confer diplomas, degree of Doctor of Music or other honorary degrees.
47ANNUAL ENTRANCE EXAMINATIONS:
48SINGING—September 15, from 9 to 12 A. M., 2 to 5 P. M. and 8 to 10 P. M. Chorus, 8 to 10 P. M.
49PIANO and ORGAN—September 16, 10 to 12 A. M., 2 to 4 P. M.
50VIOLIN, VIOLA, 'CELLO, CONTRABASS, HARP—September 17, 10 to 12 A. M., 2 to 4 P. M. Orchestra and all Wind Instruments 2 to 4 P. M. one of two readings
51VIOLIN, VIOLA, CELLO, CONTRABASS, HARP—September 17, 10 to 12 A. M., 2 to 4 P. M. Orchestra and all Wind Instruments 2 to 4 P. M. one of two readings
52CHILDREN'S DAY—September 18, Piano and Violin.
53Diplomas will be given to all students who satisfactorily complete the full course in any department of the Conservatory. For special excellence in any course an Honorable Mention will be given in addition to diplomas. The degree of Doctor of Music will be conferred only in the case of a musician of remarkable talent and achievement, who may or may not be a graduate of the Conservatory such degree to be conferred upon the verdict of an international jury of musicians. (Certificates of standing and progress will be given to pupils unable to complete a full course.)
55DANNREUTHER STRING QUARTET.
56TWELFTH SEASON—1897-98.
57Now booking engagements for public and private concerts.
58Address MR. G. DANNREUTHER,
59Care G. Schirmer, 35 Union Square, New York.
61GERTRUDE MAY STEIN,
62The Contralto.
63ADDRESS:
64THE HENRY WOLFSOHN MUSICAL BUREAU, . . . 131 East 17th St., or 965 Park Ave., New York.
66OSCAR SAENGER
67(BARITONE).
68Vocal Instruction.
69Teacher of Josephine S. Jansby Contralto; Mme. de Pasquali, Soprano; Joseph S. Baernstein, Bass, E. Leon Rainis, Bass, and other prominent singers now before the public.
70STUDIO: 30 WEST 59th STREET, NEW YORK.
71After October 1, 51 East 64th Street.
73Signorina TECLA VIGNA,
74VOICE CULTURE and DRAMATIC ACTION.
75Auditorium School of Music, Odd Fellows' Temple, Cincinnati
76SUMMER TERM, July 1. FALL TERM, September 1.
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