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Updated: June 21, 2025
The degree to which any one succeeds in his earliest efforts to sing a scale will depend on the readiness with which he can use a variety of neuro-muscular mechanisms indeed, all those associated with the respiratory, laryngeal, and resonance apparatus. Fortunately for the voice-user, this apparatus has all been in use in ordinary speaking.
Owen, Prof., on the Corpora Wolffiana; on the great toe in man; on the nictitating membrane and semilunar fold; on the development of the posterior molars in different races of man; on the length of the caecum in the Koala; on the coccygeal vertebrae; on rudimentary structures belonging to the reproductive system; on abnormal conditions of the human uterus; on the number of digits in the Ichthyopterygia; on the canine teeth in man; on the walking of the chimpanzee and orang; on the mastoid processes in the higher apes; on the hairiness of elephants in elevated districts; on the caudal vertebrae of monkeys; classification of mammalia; on the hair in monkeys; on the piscine affinities of the Ichthyosaurians; on polygamy and monogamy among the antelopes; on the horns of Antilocapra Americana; on the musky odour of crocodiles during the breeding season; on the scent-glands of snakes; on the Dugong, Cachalot, and Ornithorhynchus; on the antlers of the red deer; on the dentition of the Camelidae; on the horns of the Irish elk; on the voice of the giraffe, porcupine, and stag; on the laryngeal sac of the gorilla and orang; on the odoriferous glands of mammals; on the effects of emasculation on the vocal organs of men; on the voice of Hylobates agilis; on American monogamous monkeys.
In short, all the accepted theories of attack rest on an unscientific basis. Vocal theorists generally treat the subject of attack as connected in some way with registers and laryngeal action.
Even if we make large deductions from the above, the performances of those who have reached the highest laryngeal control must remain marvellous, all the more when it is remembered that this control over the larynx, to be efficient for musical purposes, must be accompanied by a corresponding mastery of the art of breathing.
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.
In listening to the harsh, raucous cries of many street vendors, when calling out their wares, the hearer frequently feels a sense of actual pain in his own throat. Involuntary and unconscious contractions of the laryngeal muscles, somewhat similar to those under consideration, are well known to experimental psychologists. Prof.
While the psychological process is complex, this process is performed unconsciously and involuntarily. Even though the attention may be definitely turned to the sympathetic sensations themselves, the mental imitation and the laryngeal adjustments seldom rise into consciousness. As a rule, the entire operation is purely sub-conscious.
Morgan in the same journal mentions the case of a boy of nineteen, who seemed to be affected with laryngeal catarrh, and who exhibited distinct diphthongia. He was seen to have two glottic orifices with associate bands. The treatment was directed to the catarrh and consequent paresis of the posterior bands, and he soon lost his evidences of double voice.
The delicate laryngeal muscles are specially subject to the injurious effects of strain. These effects vary in extent and character, according to the degree of throat stiffness, to the extent and duration of the faulty use of the voice, and to the individual characteristics of the singer. A very slight degree of undue tension may not sensibly injure the voice.
The hyoid bone, serving as a medium of attachment for the tongue, may also be considered a portion of the larynx. By means of the extrinsic muscles the larynx is connected with the bones of the chest, neck, and head. While the muscular structure of the vocal organs is thoroughly known, the actions of the laryngeal muscles in tone-production have never been absolutely determined.
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