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Updated: June 5, 2025
This forward poise of the body is another illustration of the sound logic that lies in the application of physical laws to voice-production.
Invaluable for the detection of diseases of the throat which impair the voice and which have to be cured either by treatment or operation before the voice can be restored to its original potency or charm, its value in studying the physiology of voice-production and the functions of the vocal organs is doubtful.
Of the epiglottis, a flexible cartilage, it is necessary to say little, as its function in voice-production, if it have any, has never been determined. It hangs as a flexible protective lid over the glottis, and food in being swallowed passes over and about it.
The physiology of voice-production not only offers a rational method, it also enables the student to guide his own development, to advance his physical welfare, and, because he knows the why and wherefore of things vocal, to perceive what is best in the performance of others and to profit by it.
The basis, therefore, for the division of voice-production into registers is not haphazard, but rests on the science of physiology.
From all that has been hitherto said it will be inferred that one of the best tests of a good attack, or any other feature in voice-production, is the absence of escape of breath, as such, from the mouth.
Moreover it can be felt that the lungs fill more readily when air is taken in through the nostrils than when inspiration takes place through the mouth. That breath should be taken in through the nostrils is, like all rules in the correct physiology of voice-production, deduced from incontrovertible physical facts.
Idina had a contralto voice, with tones in it almost as deep as those of a very young man. It was musical, and gave an effect of careful training, as if she had studied voice-production and had become self-conscious through over-practising. "It's strange, the resemblance in those names," the other woman murmured, almost as if speaking to herself.
Thus again is illustrated the close analogy between vocal art and physical law, and further evidence given of the value of a physiological method of voice-production as opposed to those methods that are purely empirical.
This is unfortunate, because the blending of the registers, the smoothing out of the voice where one register passes over into another, the elimination of the "break" between them, is one of the greatest problems which the teacher of voice-production is obliged to solve. Like so many other branches in the art of voice-production, the subject is complicated by initial misunderstandings.
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