,transcriber's note3 ,text enclosed by underscores is in italics 7italics74 ,text enclosed by equal signs is in bold face 7bold74 ,illustration3 ,portrait with inscription - ,yours faithfully ,charles ,wesley ,emerson ,p ,s ,y ,c ,h ,o ,v ,o ,x ,,or ,,the ,,emerson ,,system ,,of ,,voice ,,culture4 ,,by ,,charles ,,wesley ,,emerson4 ,founder of the ,emerson ,college of ,oratory1 ,,boston1 ,,mass4 ,illustration3 logo ,,emerson ,,publishing ,,company ,,millis1 ,,mass4 #aibc ,,copyright1 #ahig4 ,,by ,,charles ,,wesley ,,emerson4 ,,contents ,voice1 the ,natural ,reporter of the ,individual4 ,organs that ,produce1 ,reinforce1 and ,give ,resonant ,forms to the ,voice4 ,relation of the ,proper ,use of the ,voice to ,health4 ,relation of the ,proper ,use of the ,voice to the ,nervous ,system4 ,relation of ,pitch to ,resonance4 ,methods for ,cultivating the ,voice4 ,exercises4 ,rhythm4 ,quality of ,voice4 ,vocal ,technique4 ,index4 8,when a man lives with ,god1 his voice shall be as sweet as the murmur of the brook and the rustle of the corn40 ,,psycho ,,vox4 ,,voice1 ,,the ,,natural ,,reporter ,,of ,,the ,,individual4 ,it is true in nature1 in both organic and inorganic matter1 that sound reports the quality of substance1 that is1 the quality of the sound indicates the quality of the object which produces it4 ,this is very apparent in the animal kingdom4 ,the naturalist knows by the tone of the bird's voice what kind of bird it is4 ,the hunter knows by the voice of a wild animal heard in the distance whether it is carniverous or herbiverous2 for in the voice of the former he hears something which is savage1 something which tears1 while in the latter he hears the softer tones of the milder animal4 ,in this treatise ,i shall consider the human voice as the natural reporter of the individual1 his character1 and his physical and mental states4 ,i am not considering the individual in any narrow sense1 but in the sense of his entire being--body and mind4 ,modern research shows that the mind affects all parts of the body1--the brain most immediately4 ,i would not be understood1 however1 to imply that the brain thinks1 or that any part of the body thinks2 but that the soul uses the body in this world as a medium through which to manifest its thoughts1 emotions1 and purposes4 ,one of nature's laws is expression4 ,what is inmost shall be outermost4 ,what is spoken in secret 8shall be proclaimed upon the housetops40 ,this law is never supplanted1 never circumscribed1 it always was1 is1 and ever will be constant in its action4 ,the mind expresses its degree of development through the vocal mechanism4 ,as the individual rises in development1 more thought is expressed in his voice4 ,the voice of a baby has little mind in it2 it reports little more than physical sensations4 ,if its physical sensations are agreeable1 the 8coo0 tells it more clearly than words could4 ,as the mind continues to develop1 one power after another manifests itself in the voice until we hear thought1 affection1 and choice speaking in unmistakable tones4 ,the voice is educated through inducing right states of mind while using it4 ,mont ,blanc rises shoulder to shoulder with other mountains2 then1 towering above them1 its brow pierces the clouds4 ,one speaking while inspired with a sense of its sublimity need not be told not to speak on a high pitch1 for he will feel no impulse so to do4 ,education means to draw out2 therefore all true education is from within4 ,if there ever was an age of the world in which this needed to be said1 it is to-day4 ,materialism has spread all over the civilized world1 influencing men in religion and in education4 ,i admit that man is influenced by environment1 but it must be remembered that man is not confined to material environment alone1 his immediate environment is ,spirit4 ,man learns not only from without1 but from within2 not through sense merely1 but through soul4 ,singing is heart speaking to heart2 inward life speaking to inward life4 ,the power of moving the feelings is the power by which the world is governed4 ,a person may possess reason1 but reason must speak in the form of feeling before it becomes effective in influencing others4 ,elementally considered1 the singing and the speaking voices are one4 ,good teaching for the one is good teaching for the other4 ,the first step in educating the voice is to teach the pupil to think in sounds4 ,the voice is capable of expressing every mental activity--intellectual as well as emotional4 ,the voice rarely fails to reveal the lower order of feelings1 as physical pleasure or pain2 it can also reveal the higher realm of feelings1--benevolence1 love of truth for its own sake1 love of good1 sympathy with all conscious being1 hope1 faith1 and all spiritual perceptions4 ,the mind must be trained to the perception of beautiful vocal sounds2 it must hold these sounds as ideals while practising with the voice4 ,it is at this point that the chief difficulty in vocal culture arises1 viz41 that of keeping the mind constantly and exclusively concentrated upon its ideals4 ,if a person holds the right ideal steadily before his mind while properly practising1 repetition will cause this ideal to take dominating possession of the tones1 and thus shape them to itself and become incarnated in them4 ,i once heard a most interesting conversation between two gentlemen1 one of whom was a ,russian violinist4 ,a young ,italian had been entertaining a company by playing upon a violin4 ,the ,russian asked to see the instrument1 and said to a gentleman sitting near1 8,this is a very old violin--probably a hundred years old40 ,the other replied1 8,i suppose it must be very valuable1 then1 for we are told that the longer a violin is played upon the better it becomes40 8,ah1 my friend10 continued the ,russian1 8that all depends upon what kind of music has been played upon it4 ,the tone of this violin indicates to my mind that it has deteriorated in value in consequence of its having been compelled to discourse music of an inferior quality40 ,what a revelation in nature6 ,the molecules that compose the wood of a violin can be marshalled into harmony by the music played upon it6 ,if in the mind of the violinist there is melody and harmony of a high order1 it finds its way through his fingers into the bow that touches the strings1 and all the molecules of the resounding wood waltz into harmonious forms4 ,what a spectacle for the eye of reason to see all these molecules begin to form into line and step out to the concord of sweet sounds born of the mind of the musician6 ,if this principle is true of the violin1 is it not pre-eminently true of the vocal organism which was designed by its infinite ,creator for the especial purpose of responding to the activities of the mind that inhabits it8 ,as the mind thinks mystery1 grandeur1 or solemnity1 the vocalized breath is shaped into corresponding forms of expression4 ,in the throat is a beautiful instrument1 made by ,him who made the soul to require such an organ for its expression4 ,it is a fatal mistake to consider the voice as something separate from the man4 ,the true voice is the soul incarnated in tone4 ,the mission of the voice is to communicate to others what is in the soul of each4 ,the eyes of no two persons receive the same rays of light4 ,all men know more than one man1 because each person has his own individual point from which to view life and the world4 ,if we listen not to the report of others1 our lives will contain but little truth4 ,a person with a grand intellect lies as open to the thoughts of others as the placid lake to the stars which it nightly reflects4 ,narrow minds will entertain only those thoughts which come to them through some channel in favor of which they maintain a prejudice4 ,the receptive mind will 8prove all things0 by entertaining all things1 and then 8hold fast that which is good40 ,this power to communicate thought through sound is beautiful and mysterious4 ,a person listening to an orchestral composition often finds that the thoughts awakened in him correspond to those which inspired the composer4 ,i know that ,beethoven believed in ,god's government on earth1 because once while listening to one of his compositions1 which no words accompanied1 visions arose before my mind4 ,i saw the early condition of this world2 ,i heard a sound as if a thousand wild animals were tearing each other into fragments with snarls1 and yells1 and fierce cries4 ,the blood was flowing1 and their eyes were shooting fire4 ,i next saw men tearing each other as the beasts had done before4 ,i saw the glitter of arms and the coats of mail2 ,i saw the onset and heard the shock of the charge4 ,i saw men fall1 and then there went up a groan of agony which finally merged into a cry toward heaven for help4 ,it was a universal prayer of suffering humanity4 ,then there came a voice to which all heaven seemed to contribute1 a voice that was helpful1 a voice of forgiveness1 a voice that seemed to soothe the cry of agony1 and fully answer the prayer4 ,old things had passed away1 and behold1 all things had become new4 ,there was a new heaven and a new earth wherein dwelt righteousness4 ,human beings ,i saw1 not as 8trees walking10 but as gods crowned with love1 glory1 and immortality4 ,it was then ,i was made to realize what the apostle meant when he said he was caught up into heaven and saw things unlawful to utter1--not against the laws of man1 but above the laws of language4 ,the composition of ,beethoven made me think what words could not tell4 ,in the poem1 8,aux ,italiens10 ,owen ,meredith describes the power exerted upon the minds of others through a composition of ,verdi when rendered by ,mario4 ,of all the operas that ,verdi wrote1 ,the best1 to my taste1 is the ,trovatore2 ,and ,mario could soothe with a tenor note ,the souls in purgatory4 ,the moon on the tower slept soft as snow1 ,and who was not thrilled in the strangest way1 ,as we heard him sing1 while the gas burned low1 8,non ti scordar di me60 ,the ,emperor there1 in his box of state1 ,looked grave1 as if he had just then seen ,the red flag wave from the city gate1 ,where his eagles in bronze had been4 ,there was something in the voice of the singer which caused the ,emperor's mind to see the red flag standing where 8his eagles in bronze had been40 ,the ,empress1 too1 had a tear in her eye4 ,you'd have said that her fancy had gone back again ,for one moment under the old blue sky ,to the old1 glad life in ,spain4 ,the tones of ,mario caused the ,empress to see her early home2 and the chief character in the poem to see his first love1 and to even smell the flower he had seen her wear4 ,meanwhile1 ,i was thinking of my first love1 ,as ,i had not been thinking of aught for years1 ,till over my eyes there began to move ,something that felt like tears4 4 4 4 4 4 4 4 4 4 4 ,for ,i thought of her grave below the hill1 ,which the sentinel cypress tree stands over1 ,and ,i thought1--8,were she only living still1 ,how ,i could forgive her and love her60 ,and ,i swear1 as ,i thought of her thus1 in that hour1 ,and of how1 after all1 old things were best1 ,that ,i smelt the smell of that jasmin-flower ,which she used to wear in her breast4 ,an orator1 by his tones as well as by his words1 causes definite mental activities to take possession of his audience1 thus influencing them with the action of their own minds4 ,the language of tone is the language of the spheres1 it is the language of the invisible world1 it is the language of the angels4 ,the soul knows what tones to employ for the purpose of communicating its own activities to other souls4 ,the impulse of the soul constructs the form of the tone which communicates its thought to the audience4 ,there is no such thing as true voice which soul has not formed4 ,the proper study of the voice is a study of the manifestations of the soul4 ,life is rich and valuable if we live from the interior4 ,life is disappointing1 life is the blasting of all highest hopes1 life is the shatterer and annihilator of all ideals1 if we live not from the soul4 8,in the beginning was the ,word1 and the ,word was with ,god1 and the ,word was ,god40 8,all things were made by ,him2 and without ,him was not anything made that was made40 ,think what an estimate the ,bible puts upon the 8,word60 ,the ,word1 which is the fruition of the soul in manifestation1 is used as a symbol of the relation of ,jesus ,christ to the ,father4 ,the ,word is represented as being the ,truth1 the ,life1 the ,creative ,energy1 and the ,being of ,god ,himself4 ,man's word1 when he lives truly1 is but an expression1 a moving out upon the world1 and upon the hearts of others1 of the love1 the truth1 the worship of his soul4 ,true words1 then1 are not sounds separate from the spirit2 they are the incarnated soul4 ,i would never teach voice1 ,i would never teach oratory1 if words were not1 in their true nature1 ,divine things1 if they were not forms of the spirit and of the soul6 ,,organs ,,that ,,produce1 ,,reinforce1 ,,and ,,give ,,resonant ,,forms ,,to ,,the ,,voice4 ,,voice ,,defined4 ,the human voice is that sound1 caused by the vibration of the vocal cords in the larynx and reinforced by the resonant chambers1 which reports the physical and mental states of man4 ,,cause ,,of ,,voice4 ,voice is caused by the contraction of the muscles of expiration1 which brings sufficient pressure upon the lungs to drive the air from them out between the vocal cords1 thus causing their edges to vibrate1 thereby throwing the column of breath into such rapid vibration as to produce sound4 ,,organs ,,that ,,produce ,,voice4 ,larynx1 7,including ,vocal ,cords71 ,lungs1 ,muscles of ,respiration4 ,,larynx4 ,the larynx is the principal organ of voice4 ,it is situated in the front of the neck1 and forms the prominence sometimes called 8,adam's apple02 it also forms a part of the anterior boundary of the pharynx4 ,at the upper part it has the form of a triangular box1 with one angle directly in front4 ,it is composed of nine cartilages moved by muscles1 and lined with mucous membrane4 ,six of its cartilages are in pairs2 three are single4 ,the three single cartilages are the thyroid1 cricoid1 and epiglottis2 the three pairs are the arytenoid1 cuneiform1 and cornicula laryngis4 ,the larynx is sometimes called a music-box2 from it proceeds the sound called voice4 ,illustration3 ,,side ,,view ,,of ,,the ,,larynx ,,and ,,two ,,rings ,,of ,,the ,,trachea4 ,,vocal ,,cords4 ,across the larynx are stretched the true vocal cords4 ,illustration3 ,,shape ,,of ,,the ,,glottis ,,when ,,at ,,rest4 ,illustration3 ,,the ,,glottis ,,dilated4 ,illustration3 ,,glottis1 ,,closed1 ,,and ,,muscles ,,closing ,,it4 ,each cord consists of a band of yellow tissue1 covered by mucous membrane4 ,by means of the action of the muscles of the larynx that connect with the cartilages which enter into its structure1 the vocal cords are so adjusted that when the muscles of expiration force the air1 which is compressed in the lungs1 out between these cords1 their edges are set in vibration4 ,this is the beginning of the sound which we call voice1 but before it is heard in speech or song it is reinforced by the chambers of resonance4#a ----- #a ,for the function of the false1 or superior vocal cords1 see pp4 #fh-ga1 ,physical ,culture4 ,,pitch4 ,the various degrees of pitch in the compass of the voice depend upon the rate of vibration of the vocal cords4 ,this rate of vibration1 the pressure of breath being the same1 is caused by the different degrees of tension of the vocal cords4 ,if the vocal cords are drawn thin and short1 the pitch will be high2 as the tension diminishes1 the pitch will be lower4 ,the greater the number of vibrations to the second1 the higher will be the pitch4 ,a sound consisting of sixteen vibrations to the second produces the lowest pitch that has been recognized by the human ear as sound2 while more than #ch1jjj vibrations per second have not been heard4 ,the lowest rate of vibration on record of any voice is about forty-four vibrations per second1 while the highest rate in any voice on record is a little over nineteen hundred4 ,,loudness4 ,different degrees of loudness of voice are caused by different degrees of amplitude of the waves of vibration4 ,,the ,,lungs4 ,the two lungs are the essential organs of respiration2 the right lung has three lobes1 the left1 two4 ,the base of each lung rests upon the convex surface of the diaphragm4 ,illustration3 ,,front ,,view ,,of ,,the ,,heart ,,and ,,lungs1 ,,and ,,large ,,blood-,,vessels4 ,the root of each lung is formed by the bronchus and blood-vessels1 which enter the lung a little above the middle of its inner surface1 and connect it to the heart and trachea4 ,with the exception of the root1 the surface of each lung is free and moves in the cavity of the thorax4 ,the bronchus is one of two tubes which arise from the bifurcation of the trachea4 ,it conducts the air from the trachea to either lung4 ,the bronchial tubes are sub-divisions1 or ramifications1 of the bronchus and terminate in the air-cells4 ,,muscles ,,of ,,respiration4 ,inasmuch as voice is vocalized breath1 it is important to give attention to respiration4 ,the principal muscles used in the ordinary movements of inspiration are3-- ,i4 ,diaphragm4 ,,ii4 ,levatores costarum4 ,,iii4 ,external intercostals4 ,the principal muscles used in expiration are3-- ,i4 ,internal intercostals with the infracostals4 ,,ii4 ,triangularis sterni4 ,transversalis4 ,,iii4 ,abdominal muscles ,rectus4 ,internal oblique4 ,external oblique4 ,there are many accessory muscles which aid in violent respiratory movements1 both inspiratory and expiratory4 ,all the muscles which elevate the scapula may act through it upon the ribs2 the three scalene muscles act directly upon the first rib4 ,the principal muscles of inspiration may be assisted by the ,i4 ,serratus posticus superior4 ,,ii4 ,serratus magnus4 ,,iii4 ,pectoralis major4 ,,iv4 ,pectoralis minor4 ,the principal muscles of expiration may be aided by the following muscles3-- ,i4 ,serratus posticus inferior1 ,,ii4 ,longissimus dorsi1 ,,iii4 ,sacro lumbalis1 and all the muscles which tend to depress the ribs4 ,illustration3 ,,the ,,diaphragm4 ,,diaphragm4 ,the diaphragm separates the cavity of the thorax from the cavity of the abdomen1 and constitutes the floor for the heart and lungs to rest upon1 and also a close-fitting cover for the contents of the abdomen4 ,therefore it is evident that the moving of the diaphragm moves the organs which are immediately above and those below it4 ,in reposeful breathing the enlargement of the cavity of the chest is chiefly accomplished by the contraction of the diaphragm4 ,as it contracts it presses upon the abdominal viscera4 ,the abdominal muscles antagonize the diaphragm by pressing back the abdominal viscera1 thus causing its ascent as soon as the diaphragm has become relaxed4 ,as the diaphragm contracts1 the air rushes through the nostrils or mouth to fill the lungs4 ,by lifting the ribs the thorax can be sufficiently enlarged to meet ordinary demands for breath2 therefore the lungs would not immediately suffer if the diaphragm was not contracted4 ,the principal sufferers in such a case would be the stomach1 liver1 and intestines1 for without this exercise which the contraction of the diaphragm gives them they would not as vigorously perform their functions4 ,it is taught in many works on physiology that men inhale by means of the contraction of the diaphragm chiefly1 while in adult women the diaphragm is exercised little1 if any1 during respiration4 ,this statement was first given in early physiologies without due warrant from close observation4 ,this idea1 having once found its way into a standard work1 has continued in successive works until now4 ,this theory is of such vital interest to all that the authority for it should be carefully examined4 ,it is a fact that more women than men breathe wholly by means of elevating and lowering the ribs2 it is also a well-observed fact that the healthiest women and the healthiest men breathe alike1 with no movement of the upper part of the chest during reposeful respiration4 ,it is only when an unusual amount of air is required that the healthiest men and women ever move the upper part of the chest during respiration2 then the diaphragm is exercised vigorously1 and the movements of the ribs take place only for the purpose of enlarging the cavity of the thorax beyond what it is possible for the diaphragm alone to accomplish4 ,during the last twenty-five years ,i have cured hundreds of people1 both men and women1 of dyspepsia and its attendant weaknesses by teaching them how to exercise the diaphragm in respiration1 and in the production of tone4 ,to say nothing of the incorrect way in which women breathe1 ,i find that a majority of men breathe improperly4 ,the shape of the diaphragm1 when it is relaxed1 resembles an open umbrella4 ,when the diaphragm is flattened by contraction it no longer retains its dome-like shape1 and thus gives greater depth to the thorax4 ,,difference ,,in ,,the ,,action ,,of ,,the ,,diaphragm ,,during ,,expiration ,,of ,,the ,,breath ,,and ,,during ,,the ,,production ,,of ,,tone4 ,during expiration of breath the diaphragm is fully relaxed1 while during the production of tone it should be somewhat contracted4 ,in the proper adjustment of the diaphragm and abdominal muscles during voice production1 the diaphragm by its contraction resists1 to some extent1 the pressure caused by the contraction of the abdominal muscles1 and thus only gradually yields to the force brought against it by the contraction of these muscles1 in consequence of which a firm and steady support is given to the voice4 ,,breathing ,,through ,,the ,,nose4 ,the question is often asked1 8,should one breathe through the nose or through the mouth80 ,nature has so constructed the organs of respiration and determined their action that a person in health breathes through the nose1 while a person in ill health often breathes through the mouth4 ,by 8breathing through the nose10 of course1 is meant reposeful breathing4 ,in extraordinary breathing some persons are obliged to breathe through the mouth1 but this is always an indication of exhaustion or weakness4 ,every person should1 if possible1 maintain the habit of breathing through the nose4 ,illustration3 ,median ,section of ,mouth1 ,nose1 ,pharynx1 and ,larynx3--a1 septum of nose2 below it1 section of hard palate2 b1 tongue2 c1 section of velum pendulum palati2 d1 d1 lips2 u1 uvula2 r1 anterior arch or pillar of fauces2 i1 posterior arch2 t1 tonsil2 p1 pharynx2 h1 hyoid bone2 k1 thyroid cartilage2 n1 crycoid cartilage2 s1 epiglottis2 v1 glottis2 #a1 posterior opening of nares2 #c1 isthmus faucium2 #d1 superior opening of larynx2 #e1 passage into sophagus2 #f1 mouth of right ,eustachian tube4 ,,organs ,,which ,,reinforce ,,voice4 ,the organs that reinforce voice are its resonant chambers1 viz43-- ,nares1 ,mouth1 ,pharynx1 ,trachea4 ,resonance means resounding or sounding again1 and is caused by means of the air conveying the vibrations of one substance to another substance4 ,this is familiarly illustrated in the echo4 ,there are two classes of resonant chambers2 one class is comparatively fixed1 and consists of the nares and trachea2 the other class may1 for convenience1 be termed the transient forms of resonance4 #b;,a transient resonant chamber is one that is formed on the instant for a particular purpose1 and may be broken as quickly4 ,elements of speech are formed by producing a succession of definitely formed but transient molds of resonance4 ,the pharynx is for the purpose of reinforcing the tone1 giving it projection and some assistance in proper direction4 ,all the other transient resonant molds are for the purpose of producing elements of speech4 ----- #b ,see ,tyndall on sound1 page #bbg4 ,,nares 7,nasal cavities74 ,the nares are the cavities in the head extending through the nose to the pharynx4 ,the walls of the nares are smooth1 and1 with their turbinated bones1 suggest the inside of a sea-shell4 ,,pharynx4 ,the pharynx is a membranous sac4 ,it has seven openings1 the two posterior nares1 the two ,eustachian tubes1 the larynx1 the sophagus1 and the isthmus faucium1 which is the opening into the mouth4 ,illustration3 ,,larynx1 ,,trachea1 ,,and ,,bronchi4 ,,trachea4 ,the trachea1 or windpipe1 is a cylindrical tube extending from the lower part of the larynx to where it divides into the bronchi4 ,the interior surface is firm and beautiful4 ,,organs ,,which ,,give ,,resonant ,,forms ,,to ,,voice4 ,lips1 ,upper gum1 ,hard palate1 ,soft palate1 ,tongue1 ,nares4 ,although the quality of the voice produced by the vocal cords of the human being cannot be distinguished from that produced by the vocal cords of the lower animals the organs which resound it give it a distinct quality4 ,no one of these agents alone molds the tone1 but their proper relation to each other constitutes resonant molds as definite as those into which melted ore is cast to give it form and stamp4 ,this proper relationship cannot be secured by exercising the organs in any strictly mechanical way1 but only by forming definite ideal tones in the mind and exercising the voice while these ideal tones are firmly fixed as steady objects of thought4 ,if these mental objects drop from the mind at any time during the vocal practice1 no mechanical ingenuity can possibly take their places in rightly affecting the voice4 ,later in this work1 ,i shall more fully elaborate this point4 ,,relation ,,of ,,the ,,proper ,,use ,,of ,,the ,,voice ,,to ,,health4 ,many years of observation and study have convinced me that the voice exerts a powerful effect upon the whole physical system4 ,it either builds up the body1 sustains its power and adds to its health1 or it devitalizes the body and brings a dangerous strain upon the entire system4 ,the voice cannot be a reporter of the person1 mental and physical1 without holding the most delicate relations to mind and body4 ,the exercise of the voice subtly and vitally affects the organs that promote health and give life4 ,i could give many illustrations showing that the wrong use of the voice has injured health1 and that its right use has promoted health2 but if the principles involved in this chapter are fully understood1 ,i need not relate incidents to prove that the voice is a life-giver or a death-dealer1 depending entirely upon how it is used4 ,the ,greeks were taught the right use of the voice as a part of their physical1 intellectual1 and moral culture4 ,in modern times we have neglected voice culture to a very great extent1 and have suffered much ill health in consequence4 ,,relation ,,of ,,the ,,proper ,,use ,,of ,,the ,,voice ,,to ,,the ,,vital ,,organs4 ,,effect ,,of ,,the ,,voice ,,upon ,,the ,,lungs4 ,great wisdom is exhibited in the construction of the human lungs4 ,in the arrangement of the air cells1 the greatest possible amount of surface is presented in order that the air may freely enter the blood4 ,the lungs are largely made up of blood vessels1 bronchial tubes1 and air cells4 ,when a person breathes1 the oxygen1 entering the lungs through the trachea and the bronchial tubes1 penetrates the thin walls of these cells and passes at once into the blood4 ,when the blood enters the lungs it is dark in color1 but when it leaves the lungs it is of a light vermilion hue4 ,the oxygen which has been taken into the lungs has wrought this change4 ,so wonderful is this element of nature that some have called it life4 ,if there is an elixir of life in the material world surely it is oxygen1 for it has to do minutely and intimately with every power of the human body4 ,the more a person breathes this oxygen as it is mixed in the common air1 the more life and power he possesses4 ,it is essential to perfect health that every avenue to the lungs should be kept open and free1 and that the air cells should be kept clear1 for if the walls of the cells thicken1 oxygen cannot penetrate them4 ,if these cells are not properly filled during respiration1 the walls thicken1 and substances collect in the cells4 ,if any trouble occurs in the air cells1 except for traumatic reasons1 it will first be found in the apexes of the lungs4 ,in the production of tone1 whether on a low1 high1 or medium pitch1 the vocal cords are drawn so closely together that the air cannot immediately escape from the lungs2 therefore1 unable to get out readily1 it is pressed up into the apexes of the lungs by the expiratory muscles1 filling the air cells to the utmost1 thus keeping them clear and their walls thin and healthy4 ,in correct singing or speaking1 the apexes of the lungs are filled with air4 ,tubercule seeks devitalized tissue for its development4 ,therefore tuberculosis usually begins in the apexes of the lungs because they are not kept clear and healthy through proper respiration and vocal exercise4 ,voice was given to man to make him strong and expressive1 to give him life and power4 ,,the ,,effect ,,of ,,the ,,voice ,,upon ,,the ,,stomach4 ,the stomach is the principal organ of digestion4 ,out of the nutriment taken into it all the tissues of the body are renewed4 ,it lies under the diaphragm1 and is held in place by the abdominal muscles4 ,the stomach is moved during respiration1 descending with every inspiration1 and rising with every expiration4 ,in addition to this exercise during the production of tone1 the stomach is held firmly between the diaphragm and abdominal muscles4 ,at the close of the tone the muscles which thus hold the stomach relax4 ,illustration3 ,a view of the ,organs of ,digestion1 opened in nearly their whole length2 a portion of the sophagus has been removed on account of want of space in the figure2 the arrows indicate the course of substances along the canal3 #a1 the upper lip1 turned off the mouth2 #b1 its frnum2 #c1 the lower lip1 turned down2 #d1 its frnum2 #e1 #e1 inside of the cheeks1 covered by the lining membrane of the mouth2 #f1 points to the opening of the duct of ,steno2 #g1 roof of the mouth2 #h1 lateral half-arches2 #i1 points to the tonsil2 #aj1 velum pendulum palati2 #aa1 surface of the tongue2 #ab1 papill near its point2 #ac1 a portion of the trachea2 #ad1 the sophagus2 #ae1 its internal surface2 #af1 inside of the stomach2 #ag1 its greater extremity or great cul-de-sac2 #ah1 its lesser extremity or smaller cul-de-sac2 #ai1 its lesser curvature2 #bj1 its greater curvature2 #ba1 the cardiac orifice2 #bb1 the pyloric orifice2 #bc1 upper portion of duodenum2 #bd1 #be1 the remainder of the duodenum2 #bf1 its valvul conniventes2 #bg1 the gall-bladder2 #bh1 the cystic duct2 #bi1 division of hepatic ducts in the liver2 #cj1 hepatic duct2 #ca1 ductus communis choledochus2 #cb1 its opening into the duodenum2 #cc1 ductus ,wirsungii1 or pancreatic duct2 #cd1 its opening into the duodenum2 #ce1 upper part of jejunum2 #cf1 the ileum2 #cg1 some of the valvul conniventes2 #ch1 lower extremity of the ileum2 #ci1 ileo-colic valve2 #dj1 #da1 ccum1 or caput coli2 #db1 appendicula vermiformis2 #dc1 #dd1 ascending colon2 #de1 transverse colon2 #df1 #dg1 descending colon2 #dh1 sigmoid flexure of the colon2 #di1 upper portion of the rectum2 #ej1 its lower extremity2 #ea1 portion of the levator-ani muscle2 #eb1 the anus4 ,illustration3 ,,liver4 ,the inferior or concave surface of the liver1 showing its subdivisions into lobes3 #a1 center of the right lobe2 #b1 center of the left lobe2 #c1 its anterior1 inferior1 or thin margin2 #d1 its posterior1 thick1 or diaphragmatic portion2 #e1 the right extremity2 #f1 the left extremity2 #g1 the notch in the anterior margin2 #h1 the umbilical or longitudinal fissure2 #i1 the round ligament or remains of the umbilical vein2 #aj1 the portion of the suspensory ligament in connection with the round ligament2 #aa1 pons hepatis1 or band of liver across the umbilical fissure2 #ab1 posterior end of longitudinal fissure2 #ac1 #ad1 attachment of the obliterated ductus venosus to the ascending vena cava2 #ae1 transverse fissure2 #af1 section of the hepatic duct2 #ag1 hepatic artery2 #ah1 its branches2 #ai1 vena portarum2 #bj1 its sinus1 or division into right and left branches2 #ba1 fibrous remains of the ductus venosus2 #bb1 gall-bladder2 #bc1 its neck2 #bd1 lobulus quartus2 #be1 lobulus ,spigelii2 #bf1 lobulus caudatus2 #bg1 inferior vena cava2 #bh1 curvature of liver to fit the ascending colon2 #bi1 depression to fit the right kidney2 #cj1 upper portion of its right concave surface over the renal capsule2 #ca1 portion of liver uncovered by the peritoneum2 #cb1 inferior edge of the coronary ligament in the liver2 #cc1 depression made by the vertebral column4 ,,effect ,,of ,,voice ,,upon ,,the ,,liver4 ,the liver is a glandular organ1 intended for the secretion of bile from the blood4 ,it is situated under the diaphragm and partially over the stomach2 therefore the exercises which produce pressure and relief upon the stomach1 exert the same effect upon the liver4 ,that the liver may properly perform its function it is necessary for it to be thus exercised4 ,one cannot speak or sing well without moving the diaphragm1 and when this is moved it moves nearly all the organs contained in the trunk of the body1 and especially promotes the healthy activity of the lungs1 stomach1 liver1 and intestines4 ,,effect ,,of ,,the ,,improper ,,use ,,of ,,the ,,voice ,,upon ,,the ,,mucous ,,membrane4 ,mucous membrane lines all those passages by which the internal parts communicate with the exterior1 and is continuous with the skin at the various orifices of the surface of the body4 ,the mucous membrane1 beginning with the lips1 lines the mouth1 throat1 sophagus1 stomach1 and in short1 the entire alimentary canal4 ,it also lines the nares1 larynx1 bronchial tubes1 and air cells4 ,it is one because unbroken4 ,its function is to secrete mucous for the purpose of preventing dryness4 ,sympathetic relations exist throughout the whole human system1 and especially between different parts of the same organ2 if one part of the mucous membrane is injured1 another part is as liable to suffer as that immediately injured4 ,if congestion takes place in any part of this mucous membrane1 it may cause congestion in some remote part of the membrane1 without affecting the intervening parts4 ,there is a certain common misuse of the voice which creates in the pharynx an irritation called 8clergyman's sore throat40 ,by the law of sympathy1 this congestion is likely to be communicated from the pharynx to the mucous membrane of the stomach4 ,it may also attack the mucous membrane of the bronchial tubes and through them affect the lungs4 ,although this disease caused by the misuse of the voice is called 8clergyman's sore throat10 it is not confined to clergymen2 it prevails to a considerable extent among school teachers1 lawyers1 and auctioneers4 ,it is dangerous for one to enter upon any form of public speaking without having a sufficient knowledge of the voice to use his own correctly4 ,this is true not merely because it gives power to speak more effectively1 but because it enables one to preserve his own health1 and thereby prolong his usefulness4 8,clergyman's sore throat0 is caused by making too close a chamber of resonance in the pharynx while speaking4 ,this is a confirmed habit with a very large number of persons2 in fact1 it might almost be said to be a prevailing difficulty1 but it does not always cause a sore throat until the voice is more constantly used than it ordinarily is in private life4 ,a clergyman or others may for years have practised this habit without feeling the effect upon the throat2 but as soon as they come to speak steadily for a half hour or more1 and that1 too1 for the purpose of being heard in a large room1 begin to realize a huskiness which soon develops into an irritation of the throat4 ,this finally develops into a congestion1 and sooner or later into a cough1 which results in the breaking down of the powers of the individual1 and if it does not receive immediate and proper attention consumption may be the result4 ,no medicine1 however good1 can give more than a temporary relief4 ,so long as the cause 7which is the misuse of the voice71 remains1 the difficulty must return4 ,sometimes 8clergyman's sore throat0 is not introduced by huskiness2 the first symptom observed is that of dryness or irritation4 ,this is especially true if the voice is characterized by a metallic element4 ,all these evils can be cured by proper vocal education1 providing the patient does not wait too long4 ,illustration3 ,,convolutions ,,and ,,fissures ,,of ,,the ,,outer ,,surface ,,of ,,the ,,cerebral ,,hemisphere4 ,,relation ,,of ,,the ,,proper ,,use ,,of ,,the ,,voice ,,to ,,the ,,nervous ,,system4 ,the vocal organs may be said to be tools1 and the nerves the workmen appointed to use them4 ,nerves are whitish and elastic bundles of fibers1 with their accompanying tissues4 ,they transmit nervous impulses between nerve centers and various parts of the animal body4 8,nerves are composed of one or more 7sometimes nearly a hundred7 nerve fibers1 each fiber forming a means of communication between two parts more or less distant from each other40--,dutton4 ,the brain is contained in the cranium1 and may be said to be the controller of the entire nervous system4 ,from it proceed twelve pairs of cranial nerves4 ,i4 ,olfactory1 nerve of smell1--distributed in the mucous membrane of the nose4 ,,ii4 ,optic1 nerve of sight1--distributes its branches to the eye ball4 ,,iii4 ,motor oculi1--motor of the eye4 ,,iv4 ,patheticus1--assists in moving the eye4 ,v4 ,trigeminus1--nerve of sensation1 motion1 and taste4 ,,vi4 ,abducens1--assists the movements of the eye4 ,,vii4 ,facial 7or nerve of expression71--moves the face1 ear1 palate1 and tongue4 ,by means of this nerve the tongue is directly connected with the brain1 and receives its impulse of action therefrom4 ,,viii4 ,auditory1--nerve of hearing4 ,,ix4 ,glosso-pharyngeal1 nerve of sensation and taste1--it is distributed to the back of the tongue1 middle ear1 tonsils1 and pharynx4 ,x4 ,pneumogastric1--the auriculo-laryngo-pharyngo-sophago-trache o-pulmono-cardio-gastro-hepatic nerve4 ,it is a nerve of sensation and motion1 probably receiving its motor influence from its spinal accessory4 ,,xi4 ,spinal accessory furnishes motor power to the pneumogastric4 ,,xii4 ,hypo-glossal1--motor of the tongue4 ,it communicates with the pneumogastric and sympathetic nerves4 ,illustration3 ,,diagram ,,of ,,the ,,first ,,six ,,cranial ,,nerves1 ,,with ,,their ,,chief ,,branches ,,of ,,distribution4 ,illustration3 ,,diagram ,,of ,,the ,,last ,,six ,,cranial ,,nerves1 ,,with ,,their ,,chief ,,branches ,,of ,,distribution4 99 99 99 99 99 ,my principal object in writing of the relation of the voice to the nervous system is to show anatomical and physiological reasons for denominating the voice the reporter of the states of mind4 ,we have before us the names of the nerves which connect the organs of speech with the organ of thought4 ,through some of the cranial nerves the mind immediately discharges its impulses upon certain organs1 both consciously and subconsciously4 ,this is illustrated by the motor occuli1 patheticus1 and abducens1 which move the eye sometimes consciously and sometimes subconsciously4 ,this shows that these nerves may1 and often do1 act upon the eye1 without any conscious plan or purpose on the part of the individual4 ,the mind often manifests1 through the cranial nerves1 states of mind of which the person is unconscious4 ,while consciousness is the power by which one knows his own states of mind1 there is no proof that consciousness takes note of all one's states of mind4 ,the proof that it does not is found in the fact that people1 through involuntary acts1 often manifest mental activities of which they are unconscious4 ,spontaneous expression is truest4 ,the facial nerve causes the muscles of the face to portray the thoughts and feelings of the soul more truthfully than any artist could delineate them with pencil and brush4 ,before we can properly teach vocal culture and oratorical expression we must understand the principle of spontaneous manifestation by means of cranial nerves as distinct from purposeful forms of expression4 ,the facial nerve not only acts as a motor of expression through the face1 causing it to reveal thought and emotion1 but acts in the same manner upon the tongue1 causing it to form and modulate tones in song and speech4 ,again note the nature of the hypo-glossal cranial nerve1 which is not only a motor of the tongue1 causing it to act spontaneously1 but is distributed also to the muscles of the neck which are concerned in the movements of the larynx4 ,the purpose of this distribution is probably to associate the action of the tongue with that of the larynx which is necessary for articulate speech4 ,all the motions of the tongue are performed through the medium of these nerves4 ,illustration3 ,the drawing exhibits the cerebral connection of all the cerebral nerves except the first4 ,it is from a sketch taken from two dissections of this part4 ,d4 ,posterior optic tubercle4 ,the generative bodies of the thalamus are just above it4 ,e4 ,cerebellum4 ,h4 ,spinal cord4 ,i4 ,tuber cinereum4 ,k4 ,optic thalamus divided perpendicularly4 ,w4 ,corpus restiforme4 ,x4 ,pons ,varolii4 b b4 ,optic nerves3 this nerve is traced on the left side back beneath the optic thalamus and round the crus cerebri4 ,it divides into four roots2 the first 7g g7 plunges into the substance of the thalamus1 the next runs over the external geniculate body and surface of the thalamus1 the third goes to the anterior optic tubercle1 the fourth runs to ,d1 the testis or posterior optic tubercle4 ,c4 ,third pair common oculo-muscular1 arising by two roots like the spinal roots of the spinal nerves1 the upper from the gray neurine of the locus niger1 the lower from the continuation of the pyramidal columns in the crus cerebri and ,pons ,varolii1 p t4 d1 ,fourth pair1 apparently arising from the inter-cerebral commissure 7,i c71 but really plunging down to the olivary tract 7o t7 as it ascends to the optic tubercles4 e m4 ,motor or non-ganglionic root of the fifth pair1 arising from the posterior edge of the olivary tract4 e4 ,sensory root of the fifth pair running down between the olivary tract and restiform body to the sensory tract4 f4 ,sixth pair1 or abducens1 arising from the pyramidal tract4 g4 ,seventh pair1 facial nerve1 or portio dura1 arising by an anterior portion from the olivary tract and by a posterior portion from the cerebellic fibers of the anterior columns as they ascend on the corpus restiforme1 ,w4 h4 ,eighth pair1 portio mollis1 or auditory nerve1 with its two roots embracing the restiform body4 i4 ,ninth pair1 or glosso-pharyngeal2 and j4 ,tenth pair1 or par vagum1 plunging into the restiform ganglion4 ,j ,j4 ,fibers of the optic nerve plunging into the thalamus2 immediately below these letters is the corpus geniculatum externum4 k4 ,eleventh pair1 or lingual nerve2 the olivary body has been nearly sliced off and turned out of its natural position2 some of the filaments of the lingual nerve are traced into the deeper portion of the ganglion1 which is left in its situation2 others which are the highest are evidently connected with the pyramidal tract4 ,illustration3 ,the course and distribution of the ,hypoglossal or ,ninth pair of nerves2 the deep-seated nerves of the neck are also seen3 #a1 the hypoglossal nerve2 #b1 branches communicating with the gustatory nerve2 #c1 a branch to the origin of the hyoid muscles2 #d1 the descendens noni nerve2 #e1 the loop formed with the branch from the cervical nerves2 #f1 muscular branches to the depressor muscles of the larynx2 #g1 a filament from the second cervical nerve1 and #h1 a filament from the third cervical1 uniting to form the communicating branch with the loop from the descendens noni2 #i1 the auricular nerve2 #aj1 the inferior dental nerve2 #aa1 its mylohyoidean branch2 #ab1 the gustatory nerve2 #ac1 the chorda tympani passing to the gustatory nerve2 #ad1 the chorda tympani leaving the gustatory nerve to join the submaxillary ganglion2 #ae1 the submaxillary ganglion2 #af1 filaments of communication with the lingual nerve2 #ag1 the glosso-pharyngeal nerve2 #ah1 the pneumogastric or par vagum nerve2 #ai1 the three upper cervical nerves2 #bj1 the four inferior cervical nerves2 #ba1 the first dorsal nerve2 #bb1 #bc1 the brachial plexus2 #bd1 #be1 the phrenic nerve2 #bf1 the carotid artery2 #bg1 the internal jugular vein4 ,the study of the functions of the cranial nerves convinces me that the state of mind which conceives a tone acts upon the organs of speech through the cranial nerves in a way to give vocal expression4 ,in perfect expression the conception and the expression are absolutely synchronous4 ,,relation ,,of ,,pitch ,,to ,,resonance4 ,in the production of a good tone there is an exact relation between pitch and resonance4 ,this relation is provided for in nature and a disobedience to it brings an unpleasant quality into the voice4 ,this is true in both speech and song1 for the speaking and singing voices rest upon the same fundamental principles4 ,speech is one application or use of the voice1 song is another4 ,the voice of true speech is as melodic as the voice of song4 ,there are1 however1 many persons who use their voices better when they sing than when they speak1 while others use their voices better in speaking than in singing4 ,there is a difference between tone and noise4 ,voice is produced by a succession of vibrating waves of air4 ,in a musical tone the waves are regular in their succession2 in noise they are irregular4 ,resonance1 or echo1 is produced by the universal law of reflex action which manifests itself in light1 sound1 etc4 ,how interesting and delightful is the echo6 ,it makes the mountains1 like the morning stars1 sing together for joy4 ,listen to a thunder storm among the mountains4 ,there is a sudden explosion1 then a silence1 as the vibrating waves of mighty amplitude pass over the valley to wake the voice of the mountain beyond1 which1 standing like a sentinel on guard1 speaks in thunder tones to the next1 and that repeats the sublime echo until all the mountains join in the chorus1 answering back to the heavens4 ,this law of sympathy1 undulating from mountain to mountain1 so inspired the ,greeks that they said the gods spoke to each other from mountain peak to mountain peak4 ,every pitch in the human voice has its corresponding chamber of resonance1 formed by the nares1 by the trachea1 by the pharynx1 or by the mouth1 and sometimes by more than one of these4 ,the transient resonant chambers are formed by the adjustment of the lips1 and by the relation of the tongue to the upper gum1 the hard palate1 the soft palate1 and the pharynx4 ,with the exception of the pharynx1 these and the nasal forms constitute the resonant chambers which produce the different elements of speech in our language4 ,the tone1 though smooth when it leaves the vocal cords1 may be made harsh by the transient resonant chambers4 ,the nares resound different intervals of the scale in different portions of their length1 never resounding two intervals in the same portion4 ,the cultivation of the voice is produced1 first1 through perfecting the forms of the transient chambers of resonance2 second1 through establishing perfect freedom and regularity in the action of the vocal cords2 third1 through developing the rhythmic impulses of the tone4 ,no person ever speaks continuously in a perfect monotone2 the pitch is constantly changing with the varying thoughts2 as the pitch changes1 the resonant chambers change the quality4 ,nature1 unhindered1 never reports the same quality on two different degrees of pitch4 ,it is not that the individual1 while speaking1 intends to change the quality2 but nature has so arranged the vocal organs and so determined the laws of acoustics1 that unless the voice be interfered with by wrong mental determination1 she herself changes the quality as the voice rises or falls4 ,it is a law of acoustics that a low pitch is resounded in a comparatively large resonant chamber2 a high pitch in a comparatively small one4 ,a simple and instructive experiment in illustration of this principle is this3 ,take a large bottle1 strike a ,c tuning fork1 hold it over the empty bottle1 and no sound will be heard4 ,the bottle does not respond1 because the cavity is too large for the pitch of the fork4 ,if water is poured into the bottle1 the air column inside thereby being shortened until the proper sized chamber is formed1 by then holding the high-pitched tuning fork over it1 the sound of the fork will be resounded by the resonant chamber and the tone will burst forth quite loudly4 ,use any number of tuning forks1 each on a different key1 and a resonant chamber can thus be made which will resound each fork4 ,i once tried an experiment with two tuning forks which were fastened to sounding boxes and which had been tuned to exactly the same pitch4 ,i struck one fork and stopping its vibration1 the sound of the other1 vibrating responsively1 was distinctly heard4 ,the same result was achieved when one of the tuning forks was placed in a remote part of the room4 ,i also placed the fork upon the piano1 struck it1 and the string of the same pitch1 in connection with its overtones1 responded4 ,in order that any resonant cavity may resound1 the pitch that belongs to that cavity must be struck4 ,every room in a house1 in consequence of its size1 its form1 and the material of which it is constructed1 resounds to a certain pitch4 ,sometimes in the course of conversation the globe of a chandelier in the room resounds4 ,this is because the pitch which is agreeable to its size1 form1 and substance is struck4 ,,overtones4 ,overtones are tones above in pitch1 but harmonic with the fundamental tone4 ,they are caused by the vibration of the aliquot parts of a string as distinct from that of its whole length4 ,these parts being shorter vibrate with greater rapidity1 thereby giving a higher pitch than the fundamental note1 though in perfect harmony with it4 ,an overtone can be discovered by holding near one of the vibrating aliquot parts a chamber of the right size1 form1 and substance to reinforce the tone of one of these parts4 ,this resonance would be loud enough to be distinguished from the fundamental tone4 ,the vocal cords act in like manner with the string described1 and produce fundamental tones and overtones4 ,in the vocal mechanism which produces the human voice1 the resonant chambers are so graded in size as to correspond exactly with the fundamental note and all its overtones2 therefore1 an overtone as distinct from the fundamental tone is never heard1 but reveals its presence only by enriching the voice4 ,,methods ,,for ,,cultivating ,,the ,,voice4 ,,freedom ,,and ,,right ,,direction4 ,freedom of tone is secured by the delicate adjustment and elasticity in the action of those parts which form the transient resonant molds4 ,the hindrances to freedom of voice are produced by holding the vocal organs too rigid and close while forming these molds4 ,i have spoken of the deleterious effect upon the health caused by the misadjustment of the tongue in its relation to the pharynx1 which results in 8clergyman's sore throat40 ,another malformation of a resonant chamber is produced by holding a portion of the tongue too near the posterior portion of the roof of the mouth4 ,a third is produced by holding the tongue too near the hard palate2 a fourth by holding the tongue too near the front teeth4 ,all these false adjustments are reported in throaty1 rasping1 and squeezed tones of the voice4 ,the first object in the cultivation of the voice should be to establish habitual openness and freedom throughout the vocal aperture and this1 too1 by the shortest possible method4 ,this method should consist1 not in giving definite attention to first one portion of the vocal tube and then to another1 but in securing a unified action of all the parts4 ,by vocal practice1 while holding the right mental concept1 a clear and open passage from the vocal cords to the anterior portion of the nares can easily be secured4 ,,dominant ,,center ,,of ,,the ,,voice4 ,the tone must be idealized with reference to place and form4 ,the student should imagine the tone outside that resonant chamber of the nares most distant from the vocal cords4 ,this will bring the consciousness outside that part of the nose which is between the eyes4 ,the anterior portion of the nares is1 so far as place and consequent resonance are concerned1 the dominant center of the voice4 ,my reason for calling this the dominant center of the voice is that when the tone is perfectly directed toward this chamber1 all the resonant passages open freely through the entire nares1 mouth1 and pharynx to the vocal cords2 and also the tongue has a tendency to relax its rigidity4 ,,mental ,,concept4 ,it is important1 however1 that the mind should not think of this locality as being in the nares1 but outside1 and think of it1 too1 as an ever expanding and luminous globe which moves in a forward and downward curve4 ,beauty of voice is largely due to the fact that the vocal aperture is in the form of a curve4 ,unpleasant qualities in the voice are caused by the vocal column being made to move in angles instead of curves4 ,that the voice may be shaped to the vocal aperture1 it is necessary to hold in the mind a curve as an object of thought4 ,voice is in the mind before it is expressed in sound4 ,the mental form precedes1 causes and accompanies the physical form4 ,this curve should become a fixed mental object during all vocal practice1 whether in speaking or in singing4 ,holding this object must become a habit so firmly established that the mind will ultimately act above consciousness in forming it4 ,the vocal organs always react upon ideals held in the mind4 ,thus1 if a flat object is held in the mind while using the voice1 the tone tends to flatness2 if a round one1 it tends to roundness2 if a narrow form1 it tends to narrowness2 if a contracting figure1 it tends to contraction2 if a free1 elastic1 expansive one1 it tends to freedom1 elasticity1 and expansiveness4 ,the figure of an expanding globe gives the voice the qualities last described4 ,this figure1 moving in the form of a curve1 unites to the above qualities that of beauty1 for the curve always awakens in the imagination the sense of the beautiful4 ,tone is vocalized breath4 ,it is observable that the higher order of animals usually begin their tones in the form of the nares resonance4 ,when the cow lows for her young the tone is resounded in the nares before the mouth opens4 ,the same thing is to be noticed in the mother horse calling to her young4 ,she begins the tone with the nares resonance1 and as the impulse increases she opens her mouth to let forth the whinnie so full of feeling4 ,no animal excels the house cat in the correct use of the voice4 ,she begins her tone as a nares resonance1 and when her mouth opens1 the tone which is moving in the right direction indicates that her vital energies are fully aroused4 ,she acts upon the same principle that a man does in aiming a gun4 ,he aims before he fires4 ,nature aims the tone before she gives the explosion4 ,the mightiest of all voices is that of the lion4 ,he distinctly guides his tone with the nares resonance4 ,if he did not so direct it1 the blast of tone which shakes the very earth would rend his throat4 ,many people injure their throats by letting on a power of voice which is not properly guided4 ,the only reason a person's throat ever suffers from continued use of the voice is because the tone is not properly directed4 ,some public speakers after using their voices for an hour1 or even half an hour1 feel an irritation in their throats1 but if their tones were properly directed1 they could use their voices without injury as long as their general strength would permit4 ,the moment the current of tone is turned from its proper direction1 the voice is being injured4 ,all the muscles of respiration work in a harmonious manner with each other when the tone is properly directed2 they work improperly together in a way to produce friction when the tone is not centered4 ,,tone ,,quality4 ,one prevailing difficulty with voices which are not perfectly educated is that the wrong quality is given for the pitch4 ,each interval of the scale requires a different resonant quality1 and this necessitates a difference in the sizes of the resounding chambers4 ,this difference is provided for in the graded sizes of the different portions of the nares1 and in the pharynx and trachea4 ,however1 notwithstanding the freedom of the resonant chambers here mentioned1 this proper quality of the voice would be interfered with in the speaking and singing words1 or even elements of words1 the freest of which are vowels1 unless the transient chambers of resonance were perfectly formed4 ,if words seem to interrupt and injure a singing tone1 it is because the transient resonant chambers in which they are formed are not properly constructed4 ,the only way to perfect the forms of the transient resonant chambers is by holding the elements of speech in the mind as distinct objects of thought while speaking or singing them4 ,such is the natural service of the vocal organs to the mental concepts1 that these mental objects will1 through the cranial nerves which control the organs of speech1 externalize themselves by producing exact molds of resonance4 ,it takes time and practice to develop the power of holding the elements as distinct objects of thought2 it takes still more time and practice to develop the power of holding these sounds as mental objects while the mind materializes them in the voice4 ,this power1 like all powers1 grows in the ratio of repetition guided by continued mental concentration4 ,one should never attempt to locate the tone in any particular resonant chamber by saying1 8,now ,i will practise for head resonance1 or now ,i will practise for chest resonance40 ,i have known such attempts to result in much injury to the voice4 ,if the direction of the tone is kept steadily toward the globe of light in front of the nares1 while at the same time imagining this globe to move in a forward and downward curve1 and if1 in addition1 the transient molds of resonance are perfectly formed1 each interval of the scale will be resounded in its proper resonant chamber4 ,the high notes will be resounded in the front part of the nares1 then as the voice descends in pitch it will be resounded farther back in the nares1 until the note is so low that the posterior part only can resound it2 finally1 as the pitch continues to grow lower1 the nares cannot resound it at all4 ,at this point the pharynx takes it up until the pitch becomes so low that the trachea1 being larger than the pharynx1 produces the resonance which is heard in the chest only4 ,after the proper direction has been established1 viz41 toward the globe of light in front of the anterior portion of the nares1 it should never be changed1 for this direction keeps the nares1 pharynx1 and trachea open and free1 so that each pitch of the voice will be resounded in that portion of the resonant chambers which by its size is suited to its pitch4 ,what ,i have thus far said of the resonant chambers in the nares1 pharynx1 and trachea applies to the fundamental tone2 but while the fundamental tone is resounding in the trachea1 pharynx1 or nares posteri1 smaller portions of the nares and transient resonant chambers may be resounding the overtones1 so that many resonant chambers may be resounding at the same time1 thereby giving the richest possible quality to the tones of voice4 ,,exercises ,,for ,,securing ,,freedom ,,and ,,proper ,,direction ,,of ,,tone ,,and ,,for ,,establishing ,,right ,,habits ,,in ,,the ,,use ,,of ,,the ,,voice4 ,,nares ,,resonance4 ,,exercise ,i4--,while the lips are closed1 give a nares tone represented by the letter m2 then opening the mouth1 without changing in any degree the character of the tone and not allowing any breath or voice to pass through the mouth1 prolong the tone1 holding before the mind the ideal concept for direction of tone previously described4 ,the lips should be again closed just before the tone ceases4 ,repeat this on different intervals of the scale1 ranging from a comparatively high pitch to a comparatively low one4 ,the reason the sound represented by m should be used in securing this freedom and direction of tone is because this letter best represents the tone which proper resonance of the nares produces4 ,in vocal practice1 one should begin on a comparatively high pitch and descend to a lower one1 because the front of the nares resounds the high notes of the scale1 and therefore assists in fixing consciousness of the direction of tone4 ,then1 too1 while using the voice1 the mind should never hold as an object of thought the idea of going up to a tone1 for the reflex action of such an idea upon the vocal organs is to produce a squeezed and strained effect4 ,the mind should develop the consciousness of being higher than the note it would give1 so as to feel as if descending upon a note1 rather than trying to reach to its height4 ,if this first exercise1 which gives direction to the vocalized column of air1 is practised on successive intervals of the scale1 it will fix this direction as a habit4 ,hence1 it is very important that there should be much repetition in descending and ascending the scale2 otherwise1 the voice might be open and resonant on some notes1 while on others it would be constricted and forced1 and consequently bring those false breaks into the voice which have been called registers4 ,registers are not natural to the voice1 but created by its wrong use4 ,,exercises ,,for ,,forming ,,transient ,,resonant ,,chambers ,,for ,,beautiful ,,word ,,elements4 ,,exercise ,,ii4--,sing the sound represented by m-nom on the different intervals of the scale1 commencing on a comparatively high pitch1 descending and ascending a number of times4 ,begin the tone with the pure nares resonance as described in the previous exercise4 ,allow the sound which is represented by m-n to blend with the resonance which constitutes the vowel o1 closing the lips before the tone ceases4 ,in this exercise we blend the vowel o with the resonance in the front of the nares1 thus directing the mind1 which guides the vocal action1 as far as possible from the throat1 where it would cause constriction4 99 99 99 99 99 ,,exercise ,,iii4--,to gain greater facility for uniting the free resonant elements of speech in a forward and downward curve1 other words may be practised1 viz41 ,most-men-want-poise-and-more-royal-marg in4 ,each word should first be sung separately on each note of the scale1 repeating the word several times on each interval4 ,with each repetition the mind should be concentrated upon the ideal form of the word1 thus making the resonant mold more and more perfect4 ,a few words of explanation in regard to the vocal elements used will make the exercise more clearly understood4 ,m-,o-,s-,t4 ,the resonance in forming the s being near the teeth1 and that forming t being a puff of breath at the point of the tongue1 aid in fixing the attention of the mind upon the imagined curve4 ,m-,e-,n4 ,the added resonant element in this word is e1 which1 by being joined to m on the one side and n on the other1 will assist in directing the mind to the curve while giving the vowel e4 ,w-,a-,n-,t4 ,here we have the aid of the letters n and t together with the position of the lips for w in assisting to join the vowel a1 as heard in awe1 to the expanding globe moving in the forward and downward curve4 ,p-,o-,i-,s-,e4 ,in this word we are again aided in locating the resonance by the necessity of forming the sounds of p and z at the very front of the mouth4 ,a-,n-,d4 ,here the student has his chief assistance in the resonant element1 represented by the letter n1 and somewhat by the letter d1 for bringing the attention of the mind to the globe in its relation to the curve while forming the resonant element represented by the letter a4 ,m-,o-,r-,e4 ,here again the student has the assistance of the frontal nares element1 represented by the letter m with the vowel o1 which by this time he has joined with it4 ,the new resonant element in this word is r4 ,in forming this element there seems to be a prevailing tendency to constrict the throat1 but now1 by joining it with elements which have been associated in the mind with the expanding globe1 this stricture is removed4 ,r-,o-,y-,a-,l4 ,the next word to be joined to this chain is r-o-y-a-l4 ,here we are depending upon previous practice in giving it the luminous curve tendency4 ,m-,a-,r-,g-,i-,n4 ,the new elements in this word are the sound of a as heard in far 771 and the vocal element represented by g4 ,the letter g represents an element1 in forming which many people constrict the throat1 giving what is called a 8throaty0 tone4 ,our object in using a1 as heard in far1 in this connection1 is to introduce the largest and freest transient chamber of resonance which the organs of the mouth are capable of forming4 ,the ,italian has been much used in vocal practice1 and it is a good element1 providing it is not introduced too early in a student's course of study1 and if in its introduction it is always joined to the frontal nares mold as in ma4 ,after practising upon the elements of speech described above1 the student may practise them in the sentence form4 ,most men want poise and more royal margin4 ,repeat this exercise upon various intervals of the scale1 beginning upon a comparatively high pitch1 and descending to a comparatively low one4 ,by the practice of these exercises the student develops the ability to make each word and element of speech perfect without breaking the steady1 sustained current of the tone4 99 99 99 99 99 ,,exercise ,,iv4 ,sing ma-za-ska-a1 commencing upon a comparatively high pitch1 descending and ascending the scale4 ,after having made the true forms of the above-mentioned elements of speech habitual1 the student may concentrate his practice upon the resonant form of a1 as heard in far4 ,thus1 this vocal element1 being joined with the consonants m and z1 is aided in making its most perfect resonant mold1 while s1 being forward to give the right direction1 and k1 being strongly projected by the pharynx resonant chamber1 the is sent forward1 like a ball from a gun1 thereby developing projection of tone until at last the student may venture to practise upon alone4 ,while expressing these separate elements1 each must be held in the mind as a luminous globe moving in the forward and downward curve4 ,repeat this exercise on different intervals of the scale4 ,it may also be given in the form of arpeggios4 ,in practising these exercises1 the student must be careful never to strain the voice either for the purpose of reaching a high or a low note4 ,he should attempt to reach no pitch until it is perfectly easy for him to do so4 ,he should practise most upon those notes which are easily within the compass of his voice1 not continuing to repeat an element on the same interval of the scale1 but changing at least one note with each successive repetition1 that the voice may develop an evenness and the habit of reaching the resonant chamber which gives the right quality for the pitch4 ,,rhythm4 ,it is obvious that the vocal exercises above described develop musical expressiveness both in song and speech4 ,rhythm is an act of the feelings more than it is of the intellect4 ,the student should allow the feeling of rhythm to take full possession of him while he executes the musical variations4 ,rhythm causes the force of the voice to exert itself melodically4 ,were it not for rhythm1 the tone would move forward in a sort of sameness in force4 ,one can no more endure to listen to a voice that is not rhythmical in force than he can to one that is monotonous in pitch4 ,the feelings are benumbed by monotony1 while they rejoice in harmonious variety4 ,originally the word rhythm meant motion4 ,later it was used to express the relation of measure to motion4 ,to-day the word meter and the word rhythm are sometimes used synonymously4 ,rhythm is the name of the sense of relationship existing between duration and motion4 ,without rhythm there can be no real melody4 ,in poetry the rhythm celebrates the exact relationship the thoughts sustain to each other4 ,the rhythm creates a deeper interest1 and consequently a deeper feeling1 than would be created if this relationship were not celebrated by the regular recurrence of certain pleasing sounds4 ,in prose composition the relationship between the thoughts may be as perfect1 but this relationship1 although expressed melodically1 is not as rhythmically emphasized4 ,thought in voice form always manifests itself rhythmically4 ,in sculpture1 painting and architecture1 that which corresponds to rhythm in music and poetry is called symmetry4 ,symmetry involves proportion1 and gives a feeling of life to these forms of art4 ,,quality ,,of ,,voice4 ,there are certain characteristics of voice which are denominated 8qualities40 ,among these are3 ,color1 ,form and ,equilibrium4 ,by color of voice ,i mean that quality which affects us when we hear it1 just as color affects us when we see it2 so that color as applied to voice is really the name of the feeling it produces1 which is the same as that produced by color received through the sense of sight4 ,we judge of form of voice as we judge of color of voice1 that is1 by its effect upon the feelings4 ,there are certain tones which affect us as certain forms do4 ,when we see objects in equilibrium1 we speak of them as being well poised1 or centered2 they give us the feeling of certainty2 right tones affect us in the same way4 ,other tones which lack center give us the same kind of mental pain which things do when we perceive they are not in equilibrium4 ,color appeals to the feelings2 form appeals to the intellect2 equilibrium appeals to the will1 so that color1 form and equilibrium appeal to the mind as a unit4 ,,the ,,four ,,forms ,,of ,,emphasis4 ,force 7,energy71 ,pitch1 ,volume1 ,time4 ,each form possesses a distinct meaning and expresses definite states of mind4 ,force indicates the degree of energy a particular thought arouses in an individual4 ,pitch includes slide or inflection1 and indicates the feeling aroused by the thought4 ,volume indicates the condition of the will--whether it is perfectly free or struggling against difficulties4 ,time indicates the value the intellect places upon the thought4 ,all forms of emphasis may be reduced to these four2 and these four may be combined in an infinite variety of ways4 ,,projection ,,of ,,tone4 ,the state of mind which will project the tone is that of reciprocity1 that is1 concentrating the mind upon persons in a distant portion of the audience1 as if receiving from them and giving to them1 thus establishing a sympathy between the speaker and the hearer4 ,this will project the tone without noise4 ,the mental effort of a speaker should be to draw his audience nearer that they may hear1 rather than to place his mind exclusively on sending his voice to a great distance4 ,this effort to draw the hearers nearer will give the voice carrying quality without interfering with its naturalness and sympathy4 ,,vocal ,,technique ,,as ,,illustrated ,,in ,,the ,,first ,,and ,,second ,,volumes ,,of ,,the ,,evolution ,,of ,,expression4 ,the doctrine of evolution is one of the latest1 and if well understood1 and looked at from a sufficiently high point of view1 appears the grandest of all the revelations which science has given4 ,the theory applied to organic being is substantially this3 there is1 potentially1 in every organism a higher manifestation4 ,its evolution is secured by the relation of its organic tendency to its environment4 ,in taking a limited or superficial view of the doctrine of evolution1 some have been led to look at matter as the only environment4 ,it is this which has made the age materialistic4 ,we are hardly aware of the extent to which this tendency to materialism biases and influences us in regard to religious and secular education4 ,those who have the most faith in ,god and ,his providence are scarcely conscious of how much they are affected by the prevailing thought that material environment alone shapes and influences the development of individuals and the destiny of the human race4 ,if we recognize that the spirit of ,god is our most immediate environment1 the study of evolution is safe4 ,this view is suggested even by the study of physical science4 ,the scientist1 in his analysis of matter1 ascertains that it is divisible into molecules1 and that nothing is an absolute solid4 ,each molecule has a sphere of its own1 in which it acts separately1 and1 in a certain sense1 independently of other molecules1 and vibrates as freely as oscillates the pendulum of a clock4 ,you say1 8,the pendulum of a clock has room to oscillate40 ,this is equally true of each molecule2 it has room to vibrate without interfering with other molecules or preventing them from vibrating4 ,all the molecules that compose a certain substance are rushing toward each other2 but a sacred sphere encloses each1 thereby establishing its eternal separateness4 ,this revelation of science of the eternal separateness of molecules points to the silent sea of ,thought which encloses every molecular island4 ,what is this silent sea of thought but the presence of ,deity8 ,if ,he encloses every molecule1 does ,he not surround the human soul8 ,is it unscientific to say1 in the language of scripture1 8,in ,him we live1 and move1 and have our being08 ,whither shall ,i go to escape ,his presence8 8,if ,i ascend into heaven1 ,thou art there2 if ,i make my bed in hell1 behold1 ,thou art there4 ,if ,i take the wings of the morning and dwell in the uppermost parts of the sea1 even there ,thy hand shall lead me and ,thy right hand shall hold me40 ,if we take a sufficiently broad view1 science itself will lead us up the shining way to where we shall recognize ,his presence on the throne of the universe4 ,if we follow this doctrine of evolution1 step by step1 it will lead us to perceive that ,god is in every fact of nature4 ,watch an acorn as it develops into the sturdy oak4 ,no scientist will say that a material environment is its only condition of growth4 ,he will say1 8,there is life in the acorn itself40 ,what is this life8 ,here the great scientist bows his head4 ,the power of life in the acorn suggests to him the presence of the ,infinite4 ,were it not for ,god's purpose manifested in giving the acorn life1 the germ could not develop under the influence of the moisture1 the sunlight1 and the earth4 ,its dominating environment1 then1 is the presence of ,him who relates it to its material surroundings4 ,without the ,infinite ,mind in the universe there could be no evolution4 ,no man can be broadly and fully educated unless there is joined in his mind both the light of science and the light of revelation4 ,prophecy outruns science1 and is the herald of truth4 ,science1 no surer1 and vastly slower1 follows with its confirmations4 ,the doctrine of evolution1 studied in the light of divine revelation1 becomes of great value to us4 ,we cannot understand the doctrine of the ,evolution of ,expression until we first see evolution written on the broad expanse of nature4 ,the four volumes of the ,evolution of ,expression taught in this college represent the four principal steps in the unfolding of the powers of the orator4 ,it has been said that poets are born1 not made4 ,this statement contains only a modicum of truth4 ,we say such a one was born a poet because very early in life he seemed to show poetic feeling and to express his thoughts in poetic forms4 ,all great poets1 musicians1 and orators have been educated2 some may not have studied under masters1 but all have applied themselves to the means of education which was within their reach4 ,the study of eloquence has been1 to a great extent1 a sealed book4 ,it was observed that when the orator spoke on a lofty subject1 his voice became grand1 and was called 8orotund02 when he spoke on common subjects1 his voice became simple2 this was called 8pure tone02 when he spoke on subjects of mystery and sublimity1 the voice became 8aspirate orotund40 ,all these things were noted2 and teachers of oratory said to their pupils1 8,as the orators used the orotund1 aspirate1 pure tone1 etc41 we will teach you these forms of voice40 ,when ,webster spoke of the value of the ,constitution of the ,united ,states1 and used an orotund voice1 as only a ,webster could1 was he thinking of his voice8 ,no2 he was thinking of convincing his hearers of the great value of the ,union4 ,shall ,i affect people as did ,webster by using these tones when reading a passage from his speech8 ,no4 ,the human soul says1 8,i will respond to anything genuine2 but ,i can never be impressed1 though ,i may be amused1 by those who try to imitate the genuine40 ,webster's thoughts1 like vast waves of the ocean1 surged through his voice and formed themselves into tones clear1 direct1 incisive1 and sublime4 ,i recognize but one power in education1 and that is mind4 ,when ,god created my body1 ,he ordained that my soul should rule it4 ,when ,he made the mouth1 larynx1 muscles of respiration1 etc41 ,he ordained that the soul should rule them4 ,my soul1 master2 they1 servants4 ,the servant knows his rightful master's commands1 but the stranger he will not obey4 ,the infinite ,god rules all worlds1 and all parts of all worlds4 ,as ,god is the master of the illimitable universe1 so ,he has placed within man's body1 which is man's little universe1 a natural master--the soul4 ,all its agents must be commanded and employed by the master within4 ,for many years there has been an attempt to reduce vocal culture to the conscious manipulation of the vocal organs4 ,this was once my method of teaching2 but ,i have changed entirely and most radically4 ,i believe and have taught for many years that certain mental states produce definite effects upon the vocal organs4 ,our object in this college is to induce such states of mind as shall produce the desired effects in vocal expression4 ,the mental states operate directly through the cranial nerves upon the vocal organs1 and instantaneously change their activity4 ,in my early teaching ,i made an attempt to cultivate the voice by dealing directly with the vocal organs themselves1 but later ,i discovered that certain states of mind caused all the vocal organs to act in right relations to each other for the production of different tones4 ,i also found that certain states of mind affect and control all the muscles which aid in voice production4 ,to ascertain what states of mind produce certain effects1 and how to induce these states of mind1 was my field of study for a number of years4 ,at last ,i was rewarded by discovering what states of mind would induce the desired forms of expression1 and also what methods to use to cause the right activities of mind which would1 without fail1 bring the proper tones of voice in expression4 ,it devolves upon the teacher to know how to induce the states of mind which will produce the required action of the vocal organs1 and through this the desired tone4 ,every day in our work here in the ,evolution of ,expression1 we are obeying the true pedagogy of vocal technique4 ,the methods by which we induce certain states of mind in a pupil are definite and technical4 ,if ,i were writing for a teachers' manual1 ,i would tell the teacher how to induce in the pupil the proper states of mind2 but my present purpose is simply to show that certain states of mind will produce definite effects in the voice4 ,one who watches the effects of this method of teaching1 which depends for results upon inducing the required states of mind1 will marvel at the results4 ,not only can more be accomplished in three months than could be accomplished by the old methods in three years1 but results can be attained by this that could never be reached by any mechanical method4 ,we are now prepared to consider the ,evolution of ,expression1 the study of which involves the technique employed in this college for the cultivation of the voice as well as oratorical expression4 ,,animation ,,of ,,voice4 ,the name of the first chapter in the first volume is ,animation of ,voice4 ,this is the name of an effect1 not a cause4 ,a certain state of mind will produce ,animation of ,voice1 therefore ,i work to induce in the pupils the right state of mind1 which is as sure to manifest itself in ,animation of ,voice as a sufficient amount of excellent gunpowder set on fire in a good cannon is to discharge its contents4 ,the first physiological condition of the vocal organs in ,animation of ,voice is freedom4 ,the second condition is nerve energy4 ,if an elocutionist should be engaged in some public or private school to teach oratory and voice culture1 he would probably be requested first to teach the boys to open their mouths4 ,every previous effort to do this having failed1 an elocutionist is engaged for one hour a week to pry open the mouths of the boys4 ,the elocutionist might begin by saying1 8,john1 you do not open your mouth wide enough40 ,john tries1 but fails4 ,the teacher might go through the class in this way1 but with no better success4 ,at last comes recess1 and the teacher1 listening to the boys in the yard1 hears ,john1 who had the lockjaw in the schoolroom1 telling the boys about some incident--his mouth fully open4 ,the elocution teacher was outside of the boy2 and the key that would unlock his jaw was inside of him4 ,how stiff1 hard1 grinding1 and throaty was his voice in the schoolroom1 but now how open and free6 ,the nerves which control the organs of speech1 and the muscles that govern what is called facial expression have their roots directly in the brain4 ,superficially1 they are attached to its under surface1 but they also run up into the cerebrum4 ,the man within touches the keys in the brain1 and the vibrations extend to the organs of speech and the muscles of facial expression4 ,i strike a key of a piano1 and at a remote distance from the key the string vibrates1 filling the room with tone4 ,so this man within touches a nerve center in the brain1 which corresponds to a key upon the piano1 and this causes the vocal organs to respond in a way to give true expression to the thought4 ,nature gave ,john an object lesson by showing him a horse running away1 and as he tells his story she smiles and says1 8,i am making an orator of ,john40 ,john opens his mouth2 there is freedom in the vocal organs1 plenty of nerve energy--and the result is ,animation of ,voice4 ,it was ,john's desire to have the other boys see with their minds the things he was telling them of that caused his mouth to open4 ,there was no such inducement in the schoolroom4 ,a boy wants to know that he is of some use in the world4 ,he will open his mouth when he has a proper impulse for so doing4 ,to impart is natural to a boy2 if he has anything good1 and it is not too material1 he likes to share it4 ,the first thing to cultivate1 in order to open the vocal organs and free them from all hindrances1 is the disposition to impart to others what the mind has seen4 ,to be interested in the subject is not sufficient2 it is the desire to impart which will open the vocal organs1 free them and give them nerve energy4 ,,smoothness ,,of ,,voice4 ,the second chapter in this volume is ,smoothness of ,voice4 ,when the mind of the speaker is steadily concentrated upon the thought for the exclusive purpose of causing other minds to act upon it1 the tones under the repetition of drill gradually tend to evenness4 ,to get this result1 ,i once worked with pupils to make them hold the diaphragm and abdominal muscles in right relation to each other1 and in one way or another1 to manipulate all the organs which are actually employed in sustaining the tones2 but ,i found that as soon as a thought was held steadily in the mind of the pupil1 together with a dominating purpose to communicate that thought to others in a way to affect their minds in a definite manner the voice began to show evenness of support4 ,,volume ,,of ,,voice4 ,the third chapter is ,volume of ,voice4 ,volume is from the ,latin word volumen1 which signifies a roll4 ,originally1 it signified the form of a written parchment4 ,it now contains several significances1 among others1 that of a certain form and quality of voice4 ,by ,volume1 when applied to voice1 ,i mean that form and quality which affect the ear as a large column of free tone4 ,this column of tone is so perfectly guided that the sides of the vocal tube never interfere with its progress4 ,if the voice touches any side of the tube1 ,volume will not be reported in the tone2 for in ,volume all limitation is taken away1 and the voice1 like ,browning's ,squadron1 escapes through a narrow channel as if 8its inch of way were the wide seas profound40 ,the vessel must keep its inch of way2 an inch to the right or an inch to the left1 and it is dashed against the rocks4 ,a tenth of an inch to the right or left1 or upward or downward1 and the vocal column is dashed against the vocal tube1 and ,volume is destroyed4 ,nothing but the right thought can properly direct this vibrating column of air4 ,the desire to reveal the value and depth of the thought brings to the voice this quality called ,volume4 ,volume indicates the relation the will sustains to the thought1 that is1 whether the will is free in action4 ,notice the soliloquy of ,launcelot ,gobbo in the 8,merchant of ,venice40 ,the boy's conscience tells him to serve the ,jew1 while his inclination prompts him to run away4 ,his voice is squeezed because his will is not free4 ,no man has half a will while there is contention in his mind4 ,when a man serves the good with all his mind1 heart and strength1 his voice will have no hindrances in it4 8,as for me and my house1 we will serve the ,lord40 ,the voice of the man who lives in obedience to this divine service is free and reports ,volume4 ,the impulse springing from the well-formed thought knows how to hold the larynx1 the sides of the throat1 the soft palate1 and the tongue in a way to guide the voice free and unhindered along the prescribed avenue through which it ought to pass4 ,,forming ,,the ,,elements4 ,the fourth chapter is ,forming the ,elements of speech4 ,the pupil in his study at first considers the various aspects of the whole subject which has been presented4 ,at this point the aim is to impart each separate thought of the various aspects of the subject4 ,in this chapter of ,forming the ,elements1 the pupil's mind being dominated by the desire to place each thought separately and distinctly in the minds of his hearers1 the vocal organs act with great exactness and precision1 and in more and more perfect relation with each other4 ,by repeated drill in seeking to fix the attention of the hearers upon each thought1 great distinctness of utterance is gained1 and the elements of speech become more beautifully and accurately formed4 ,in ,animation we put such thoughts before the student as shall make the tones open and free and full of nerve energy2 in ,smoothness we give such objects of thought as shall make him sustain the tones2 in ,volume we give thoughts that will guide the stream of tone through the vocal tube without interference2 and in ,forming the ,elements we help the student by putting such objects of thought before him in connection with the text as shall enable him to concentrate the mind upon each separate idea4 ,,slide4 ,the first volume of ,evolution of ,expression deals with each composition as a whole in its various aspects4 ,the second volume deals with the ,parts of the composition considered as wholes4 ,when the mind in its development in expression is able to deal definitely with each separate part of the discourse by itself1 it is revealed by slides in the voice1 each new and distinct thought causes the voice to give a new and distinctive slide4 ,i am using the word 8,slide0 in the same sense in which the word 8inflection0 is often used4 ,slide is the continuation of the voice from one pitch to another4 ,an ascending slide is one in which the voice is continued from a lower to a higher pitch4 ,a downward or falling slide is one in which the voice is continued from a certain pitch to a lower one4 ,the rising circumflex is one in which the voice starts on a certain pitch1 continues to a lower1 and then rises to a higher4 ,in the falling circumflex the voice starts on a certain pitch1 rises to a higher one1 and then falls to a lower without ceasing4 ,the physiological condition of the vocal organs which produces ,slide is determined entirely by the tension of the vocal cords4 ,with the same degree of tension and power of stroke1 a long string vibrates more slowly than a short one4 ,if the vocal cords are sound and healthy we are perfectly unconscious of their existence4 ,we cannot teach the vocal cords how much to contract or lengthen when giving a certain pitch4 ,we are compelled to leave it to the mind not only to hear the pitch1 but to impel the proper contraction of the vocal cords in its production4 ,if the mind can control unconsciously the contraction of the muscles of the larynx1 it can as easily control the tongue1 the size of the throat1 the pectoral muscles1 and1 in short1 all the muscles that influence the voice4 ,,vital ,,slide4 ,when the mind has separated one thought distinctly from the other main thoughts of the subject1 and has become intensely attracted to it with a special desire to communicate it as distinct from the others to the minds of the hearers1 all the muscles will act in a way to produce ,vital ,slide4 ,this principle of ,vital ,slide may be illustrated by 8,the ,forging of the ,anchor40 ,when the mind becomes aroused with this selection there is in the quality of the voice something of the spirit of the fife1 the drum1 and the military movement4 ,swing in your strokes in order2 let hand and foot keep time2 ,your blows make music sweeter far than any steeple's chime2 ,but while ye swing your sledges1 sing1 and let the burden be1 ,the anchor is the royal king1 and royal craftsmen we4 ,it is the energy of the mind which causes the energy of the muscles4 ,the energy of the contraction of the muscles causes the report of that energy in the voice4 ,under ,vital ,slide we consider the relation of the muscles of respiration to the vocal cords4 ,there are two sets of respiratory muscles1 the muscles of inspiration and the muscles of expiration4 ,if the thought requires for expression an increase of vitality in the voice1 the muscles of expiration contract more strongly1 thus giving greater density to the air in the lungs4 ,the air1 being an elastic substance1 in seeking egress or relief presses strongly against the vocal cords1 which are forced apart with such energy as to give an expression of greater vitality to the tone produced4 ,it is not necessary to exert the will consciously on the different muscles which act upon the vocal organs4 ,it is not necessary to call the roll and say1 8,triangularis sterni1 ,diaphragm1 ,abdominal muscles1 ,intercostals1 contract6 ,abdominal muscles1 you must contract only just enough to overcome the contraction of the diaphragm4 ,now1 all together--one1 two1 three1 contract60 ,one should not think anything about these muscles4 ,he should be no more conscious of their action than he is of the beating of his heart4 ,,slide ,,in ,,volume4 ,in giving ,volume of voice1 the vocal aperture is made as open as it can be and still have the elements of speech definitely formed2 and the vibrating column of air is guided through the aperture without being biased by it4 ,the chief agents which guide the voice through this aperture are the sides of the throat and the tongue in its proper relation to the pharynx1 hard palate1 and soft palate4 ,when we combine ,slide with ,volume there must be an exact relation between the contraction of the vocal cords and the proper position and action of these vocal organs4 ,freedom of will expressed in volume is that quality of voice which suggests no hindrance1 no limitation4 ,the 8voice of thunder0 is not known by its degree of noise1 for it may be so distant as to be only perceptible to the senses1 yet it is still recognized as thunder from its illimitable quality1 in other words1 its volume4 ,loudness is not a necessary quality of volume1 but illimitation is4 ,listen to the voice of a young martyr1 who has been condemned by the ,roman emperor to be flung into the amphitheater1 there to be devoured by ferocious beasts4 ,her father1 who does not see the truth as she sees it1 pleads with her to abjure her faith and worship the old gods4 ,she turns to him and says1 8,father1 ,i would1 but ,christ in me will not40 ,light shines in the eyes of the old man as he looks at her and says1 8,i believe ,god is in thee40 ,her will was absorbed in the divine will1 and that divinity spoke through her4 ,even ,he who made the world spoke in her voice4 ,the roar of the lion1 though terrible1 could not drown her tones1 though low1 devout1 and tender4 ,some who heard the voice from heaven saying1 8,this is my beloved ,son in whom ,i am well pleased10 said it thundered4 ,this does not indicate that the voice was loud1 but that it had the quality of illimitation1 and so impressed the imagination as nature's voice4 ,it is the ,christ1 speaking through man's voice that has turned this world 8upside down02 that has lifted up the cross of ,christ1 before whom all the kings of earth tremble1 and become like chaff on the summer threshing floor4 ,,forming ,,pictures4 ,the fourth chapter in ,volume ,,ii4 is ,forming ,pictures4 ,the picturesque voice is that voice which causes the imagination of the hearers to create pictures of the things described by the language of the speaker4 ,it is the unnoticed voice1 the voice which attracts no attention to itself4 ,the picturesque voice is not an end1 but a means1 and therefore may properly be called the artistic voice1 because it so appeals to the imagination of the hearer as to cause images to arise in his mind4 ,this voice may be called the suggestive voice because it suggests what tone cannot literally actualize1 but that which can be perceived only by the imagination4 ,the characteristics of this voice are elasticity and shading4 ,in this quality of the voice which ,i have termed elasticity1 the vocal organs do not seem to report themselves1 but only the thought and sentiment4 ,by shading1 ,i mean the degree of density in the tone where the thought and not the word seems to be stressed4 ,the vocal organs are held under firm but most delicate control4 ,here the voice may suggest great noise but make none1 and in all ways cause the mind of the hearer to listen to sounds it does not really make4 ,the picturesque voice springs from the desire to make other minds think what it cannot literalize4 ,the state of mind which produces this voice is that of asking the hearer to imagine real things that cannot be presented to the senses4 ,for an illustration of this1 read the poem1 8,midsummer10 by ,trowbridge4 ,there is a voice of fact and a voice of power4 ,the voice of fact gives information2 the voice of power appeals to the imagination4 ,the artistic voice is the voice of the imagination4 ,one of the offices of the imagination is that of image making4 ,in children this power is very noticeable4 ,when some children think of a thing1 an image of it rises in their minds2 they suppose this image to be a fact of experience1 and1 with no thought of falsehood1 describe it as such4 ,because of this they are frequently whipped for lying2 and this power of mental image making1 which1 if properly developed1 would be of inestimable value to the child1 instead of being guided1 is cruelly interfered with and arrested4 ,this power of mental image making is always highly developed in great artists4 ,great musical composers first hear the music in their minds1 and then make it intelligible to others through the noted page4 ,the great painter carries objects in his mind long before he puts them on canvas1 and is able as well to create new objects suggested by things he has seen4 ,an architect sees in his mind the magnificent temple1 when as yet not a stone of which it is to be built has left the quarry4 ,john ,b4 ,gough declared that sometimes he was unable to distinguish persons whom he saw in the audience from those which his imagination created4 ,wordsworth did not write 8,the ,daffodils0 while looking at the flowers as sense objects4 ,it was afterwards1 when he saw them as they lived in his imagination1 that he wrote of them in a way that has made them real to the imaginations of others4 8,for oft when on my couch ,i lie1 ,in vacant or in pensive mood1 ,they flash upon that inward eye1 ,which is the bliss of solitude2 ,and then my heart with pleasure fills1 ,and dances with the daffodils40 ,i have dwelt upon the physiology of the voice1 showing its relation to psychology4 ,in the third and fourth volumes of the ,evolution of ,expression we deal with the direct relation of psychology to ,oratory4 99 99 99 99 99 ,,index4 ,a ,animation of voice #ajb-ajd ,b ,breathing through the nose #cj ,c ,center1 dominant1 of the voice #gc1 #gd ,cerebrum1 cut of #eb ,cerebral connection of cerebral nerves1 cut of #fb ,chambers1 fixed resonant #cc ,chambers1 transient resonant #cc ,clergyman's sore throat #di-ej ,d ,diaphragm1 cut of #bf ,diaphragm1 description of #bg ,diaphragm during the expiration of breath and the production #cj of tone1 difference in the action of the ,e ,emphasis1 four forms of #ib ,exercises for forming transient resonant chambers for #hc-he beautiful word elements ,exercises for securing freedom and proper direction of tone #ha-hb and for establishing right habits in the use of the voice ,expiration1 muscles of #bc1 #bd ,f ,forming the elements #ajg1 #ajh ,forming pictures #aad-aag ,g ,glottis1 cuts of #ag ,h ,health1 relation of the proper use of the voice to #ci ,i ,inspiration1 muscles of #bc1 #bd ,l ,larynx1 cut of #af ,larynx1 description of #ad ,liver1 cut of #de ,liver1 effect of the voice upon the #dg ,loudness #bj ,lungs1 cut of #ba ,lungs1 description of #bj ,lungs1 effect of the voice upon the #dj-db ,m ,ma-za-ska-a #hg-hh ,mental concept #gd-gf ,m-nom #hc ,most-men-want-poise-and-more-royal-marg in #hc-hf ,mucous membrane1 effect of voice upon the #dg ,n ,nares1 description of #cd ,nares1 cut of #cb ,nares resonance #ha1 #hb ,nerves1 description of cranial #ec-ed ,nerves1 cut of cranial #ef1 #eg ,nerve1 cut of ,hypoglossal #fc ,nervous system1 relation of the proper use of the voice to the #ec ,o ,organs1 name of organs that produce voice #ad ,organs1 description of organs that produce voice #ad-cc ,organs1 name of organs that reinforce voice #cc ,organs1 description of organs that reinforce voice #cc-cg ,organs1 name of organs that give resonant forms to voice #cg ,organs1 description of organs that give resonant forms to voice #cg-ci ,overtones #gj1 #ga ,p ,pharynx1 description of #cd ,pharynx1 cut of #cb ,pitch #ai1 #bj ,r ,respiration1 muscles of #bc ,resonance1 relation of pitch to #ff-gj ,rhythm #hi1 #ij ,s ,slide #aji1 #aaj ,slide in volume #aab-aad ,smoothness of voice #aje ,stomach1 effect of the voice upon the #db ,stomach1 cut of #dd ,t ,trachea1 description of #cg ,trachea1 cut of #cf ,technique1 vocal1 as illustrated in the first and second volumes #id-aag of the ,evolution of ,expression ,tone1 projection of #ib-ic ,tone quality #gg-hj ,v ,vital organs1 relation of the proper use of the voice to #dj ,vital slide #aaj-aab ,vocal cords1 description of #ad ,vocal cords1 cuts of #ag ,voice1 the natural reporter of the individual #a-ab ,voice defined #ac ,voice1 cause of #ac ,voice1 methods for cultivating the #gb-hh ,voice1 right direction and freedom of the #gb1 #gc ,voice1 quality of #ia ,volume of voice #aje-ajg 99 99 99 99 99 ,,the ,,works ,,of ,,charles ,,wesley ,,emerson 99 99 99 99 99 ,,philosophy ,,of ,,gesture or1 ,,expressive ,,physical ,,culture ,the psychological and physiological basis and teaching principles of the ,emerson ,system of ,expressive ,physical ,culture and ,responsive ,drill-,value of ,art ,models1 ,aesthetic ,laws of ,expression explained with illustrations drawn from classic art4 99 99 99 99 99 ,,psycho ,,vox or1 ,,the ,,emerson ,,system ,,of ,,voice ,,culture ,considering the voice as the natural reporter of the individual4 ,the relation of the proper use of the voice to the nervous system and to health4 ,exercises for securing freedom and proper direction of tone and for establishing right habits in the use of the voice4 99 99 99 99 99 ,,physical ,,culture ,how to attain health1 strength1 grace and beauty1 bodily education without the use of apparatus4 ,thirty-eight illustrations prepared especially for this work4 ,a hand book for student and teacher4 99 99 99 99 99 ,,evolution ,,of ,,expression ,four ,volumes ,selections chosen from classical literature4 ,explanatory notes for the study of each chapter4 ,compiled with special reference to the needs of teachers and students of both literature and expression4 ,the only published work on the principles underlying the ,emerson ,system of ,oratory or ,expression4 99 99 99 99 99 ,,the ,,perfective ,,laws ,,of ,,art ,four ,volumes ,a compilation of selections illustrating the sixteen perfective laws of art applied to oratory4 ,this work is adapted to the use of all advanced students in expressive reading4 ,it consists of sixteen chapters1 with a key to the study of each chapter4 99 99 99 99 99 ,,six ,,lectures ,one ,volume ,lectures embracing advanced principles of ,education4 ,the ,power of the ,ideal1 ,the ,law of ,power in ,oratory1 ,how to read the ,bible1 ,the relation of ,art to ,man1 etc4 ,a book of vital interest to students of ,oratory1 to teachers of all branches of education and to professional men4 99 99 99 99 99 ,,emerson ,,publishing ,,company ,,publishers ,,millis1 ,,mass4 99 99 99 99 99 ,transcriber's ,notes3 ,typographical errors have been corrected as noted below3 ,page #cd1 ,the pharnyx is for the ,the pharynx is for the ,page #eb1 ,,of ,,the ,,cerebrai ,,hemisphere ,,of ,,the ,,cerebral ,,hemisphere