Voice production in singing and speaking, based on scientific principles — John Stuart Mill — John Shaqi
Voice production in singing and speaking, based on scientific principles
John Stuart Mill · en
In the hearing mechanism of man, the _inner ear_, or _labyrinth_, well
so named because of its complexity, is really situated in the inner
hardest portion of the "temporal" bone. It consists of a membrane and
a bony portion, the former containing the essential mechanism of
hearing, the latter being chiefly protective to it. The membranous
portion consists of a series of canals communicating with some
similarly membranous sacs, the whole being surrounded by and filled
with fluid. These latter communicate with an extension termed the
_cochlea_, which contains a central canal in which that collection of
cells is found which constitutes the _end-organ_, among them the
hair-cells, about which the nerve ends.
This end-organ in the cochlea may be compared very fitly to the
telephone which receives the message, and that portion of the brain
where the auditory tract ends, to the telephone at the distant end of
the path, the listener there representing consciousness. The auditory
path within the brain is long and complicated, there being, in fact,
many way-stations through which the message passes before it reaches
the final one.
The auditory nerve proceeds first to the lowest or hindermost portion
of the brain, known as the _bulb_, or _medulla oblongata_; thence a
continuation of the nerve tract passes forward to a central region,
the _posterior corpora quadrigemina_, then, by a new relay of
nerve-fibres, to the highest and most important part of the brain,
that most closely associated with consciousness, the _cortex of the
temporal lobe_, where there is situated the most important of all the
centres of hearing.
It will be apparent, on consideration, that "hearing" is a very
elaborate result, the outcome of many physiological processes
(initiated by physical ones), the initial and final being better
understood than the intermediate ones.
One asks, with natural curiosity and interest, "Is the auditory
apparatus of the highly endowed musician different from and superior
to that of the individual with little talent for music?"