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Updated: May 21, 2025
While giving out the high notes the Orang thrusts out his lips into a funnel shape; but in uttering the low notes he holds his mouth wide open, and at the same time the great throat bag, or laryngeal sac, becomes distended. According to the Dyaks, the only animal the Orang measures his strength with is the crocodile, who occasionally seizes him on his visits to the water side.
With appropriate adjustments of the laryngeal muscles and air pressure this is kept up indefinitely, and a series of puffs from the larynx is produced. The glottal lips open partly by yielding sidewise, that is, they are compressed, and partly by being shoved upward and outward.
While the cry is being uttered, the great membranous bag under the throat which communicates with the organ of voice, the so-called "laryngeal sac," becomes greatly distended, diminishing again when the creature relapses into silence. M. Duvaucel, likewise, affirms that the cry of the Siamang may be heard for miles making the woods ring again. So Mr.
He also gives one mechanical rule, so obvious as to seem rather quaint. "Every singer must place his mouth in a natural smiling position, that is, with the upper teeth perpendicularly and moderately removed from the lower." Beyond this Mancini says not a word of mechanical vocal management. There is no mention of breathing, or tone reflection, or laryngeal action.
Exactly what changes are made in the larynx, and by what means, have already been described, and will be again considered in more than one part of this volume. The main fact is that owing to a multitude of neuro-muscular mechanisms the different parts of the respiratory and laryngeal apparatus are brought to work in harmony for the production of tones.
His mouth is usually dry, the digestive processes are at a low ebb, the aroma of food causes no secretion of saliva, tickling the nose causes no sneezing; he catches no cold. The laryngeal reflex is lost and food may be quietly inhaled; the entire process of metabolism is low.
Breath-control is a complete fallacy. The doctrines of registers and laryngeal action are utterly valueless. Chest resonance, nasal resonance, and forward emission, are scientifically erroneous. The traditional precepts are of no value, because nobody knows how to follow or apply them. Empirical teaching based on the singer's sensations is of no avail.
Both the quality of the tone and the vowel are determined by the combined adjustments of the laryngeal muscles and of the muscles which fix the shape and size of the resonance cavities. The power of the tone is regulated by the force of the breath blast; for each degree of power some special adjustment of the vocal cords is required.
The "breath-band" advocates hold that the glottic stroke is the key to correct laryngeal action. As a rule they instruct their pupils to attack every tone, throughout all their practising, with the stroke of the glottis. In the course of time the automatic valvular action is supposed to become so well established that the singer can dispense with the glottic stroke in public performance.
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