Resonance in Singing and SpeakingFillebrown, Thomas
Science
Resonance in Singing and Speaking
Fillebrown, Thomas
Voice culture
The nostrils should be dilated as much as possible, as a free, wide,
open nose gives a free, well-rounded tone, while a contracted nostril
induces the nasal tone so much dreaded. A proper training of the
facial muscles makes this dilation possible. Lifting the upper lip and
projecting it forward aids the action to a great degree.
There is a strong tendency to unity of action between the nostrils and
the lips and the soft palate. The soft palate moves downward and
forward when the upper lip protrudes and the nostrils dilate, and
moves backward and upward when the nostrils are contracted and the
upper lip allowed to rest upon the teeth.
As a rule the best singers have full, round, wide, open nostrils,
either given by nature or acquired by practice.
THE FACE
Not only must the lips and nose be trained, but the muscles of the
face also. These muscles are capable, if educated, of doing important
service.
The artist on the operatic stage or the speaker on the platform,
without facial expression begotten of muscular activity, may lessen by
half his power over an audience. To train the facial muscles is a
complicated task. To do this, stand before a mirror and make all the
faces ever thought of by a schoolboy to amuse his schoolmates. Raise
each corner of the lip, wrinkle the nose, quilt the forehead, grin,
laugh. The grimaces will not enter into a performance, but their
effect upon it will be markedly beneficial.
CHAPTER II
THE SPEAKING VOICE AND PRONUNCIATION
A generation ago the speaking voice was even less understood than the
singing voice. That the two were intimately connected was but half
surmised. Only an occasional person recognized what is now generally
conceded, that a good way to improve the speaking voice is to
cultivate the singing voice.
In 1887 I published a paper in the _Independent Practitioner_ defining
the singing voice and the speaking voice as identical, and contending
that the training for each should be the same so far as tone formation
is involved, a conclusion at which I had arrived several years before.
Subsequent experience has only served to confirm this opinion.
Public-domain text, read in full here on John Shaqi.
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