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Updated: May 21, 2025
The adjustments of the laryngeal muscles involve probably the most minute variations in degree of contraction performed in the whole voluntary muscular system. What we do know of the mechanical operations of the voice is exceedingly interesting, and a further knowledge of the subject is greatly to be desired. But we can never hope to clear up all the mystery of the vocal action.
This should be so done that there is no waste; in other words, that there be perfect co-ordination between the breathing and the laryngeal mechanism. The vocal bands must be so related in function to the expiratory mechanism that the outgoing blast of air shall be as effective as possible.
In brief, the adjustment of the breathing and laryngeal mechanisms resulting in the adequate and suitable approximation of the vocal bands for tone-production constitutes the coup de glotte, or, as the author prefers to term it, the "attack." To get this perfect should be one of the aims of teachers and one of the ambitions of students.
Suffice it to say here that the old masters did not refer the registers to changes in the laryngeal action. They were treated simply as different qualities of tone, each quality best adapted to be sung only in a portion of the voice's compass. In the early decades of the nineteenth century the registers of the voice received much attention from vocal theorists, especially in Paris.
Curtis says of these unconscious laryngeal contractions: "Such movements are very common with normal people, and are comparatively easy of demonstration." The apparatus used by Hansen and Lehmann in their experiments consists of two large concave reflectors.
Several of these topics have already been critically examined. The rules for registers and laryngeal management were seen to be of no value to the student of singing. So also was it observed that all instruction which attempts to utilize the singer's sensations is futile.
Theoretical writers generally do not claim that the control of the breath brings about the correct laryngeal action, but merely that it permits this action by noninterference. Several authorities however, notably Shakespeare, maintain that in effect this system of breath-control embodies the old precept, "Sing on the breath." Th. The "Breath-band" System
Now we actually reverse these percentages, prevent the vast majority of cases from developing serious laryngeal symptoms at all, and save from seventy to eighty per cent of those who do.
Hylobates agilis, hair on the arms of; musical voice of the; superciliary ridge of; voice of. Hylobates hoolock, sexual difference of colour in. Hylobates lar, hair on the arms of; female less hairy. Hylobates leuciscus, song of. Hylobates syndactylus, laryngeal sac of. Hylophila prasinana.
But the vocal cords are wedded in phonation, and by their attrition the node is formed. Very often strands of tough mucus appear spanning the chink or slit between the cords when they are drawn up in tone-production. The presence of these bands of mucus is an assured precursor of the node. Often they indicate the existence of a node which is hardly perceptible through the laryngeal mirror.
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