The voicebox in a man is situated almost exactly in the middle of the throat; in woman its position is, for reasons partly explained on page 64, considerably higher. It moves downwards in inspiration, and upwards in expiration; and the more vigorously we breathe, the more marked are these movements. In the act of swallowing the voicebox rises quickly, and in yawning it goes down so completely that the whole windpipe may vanish into the chest, and even the part of the ring cartilage may disappear. When singing in what is called chest-voice the voicebox rises gradually with each higher tone. Changing the mode of tone production, and singing--say an octave higher--in falsetto, the voicebox makes quite a leap upwards, and then again rises gradually with each higher tone, just as in chest-voice, but in a lesser degree. The voicebox, however, does not stand so high for the lowest falsetto as for the highest chest tones. It is possible, of course, to limit these movements to a minimum, but a teacher who insists upon his pupils keeping their voice-boxes perfectly still commits a serious mistake, because it is always injurious to do violence to nature. It is one thing to keep the voicebox steady, thereby facilitating the working of some of those muscles which act immediately upon the vocal ligaments; it is quite another thing, as will be seen below, to attempt to prevent movements which have to serve a great purpose. In _whispering_, the voicebox occupies a different position in the throat for each vowel. I invite the reader to try the following curious experiment. Let him take the larynx gently between the thumb and the first finger, and then _whisper_ OO (as in "food,") OH, AH, A (as in "name,") and E (as in "bee"). He will find that the voicebox rises with every succeeding vowel until at last it has completely slipped away from between the finger and thumb. Each one of these _whispered_ vowels has, as first ascertained by Helmholtz, its exact pitch, whether uttered by a little child or by an old man, and the effect of the rising of the voicebox is to shorten the resonator, whereby the raising of the pitch is produced.