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
Laryngoscopic picture of female larynx 112
42. Larynx during an attack of a common "cold" 113
43. The vocal bands as seen with laryngoscope during deep
inspiration 113
44. Diagram showing form of chest and abdomen in forced
abdominal breathing 122
45. The vocal bands during the production of a high-pitched tone 138
46. Water being poured into a tube until the remaining air-space
becomes a resonator of a tuning-fork 142
47. Soft palate, fauces, and tonsils 142-143
48. Nares and soft palate, from behind 142-143
49. Turbinated bones of the nose 143
50. Madame Seiler's division of the registers 155
51. Appearance of the vocal bands when sounding first E and
then F sharp 164
52. Diagram to show the nature of registers and breaks 166
53. Diagram of the processes involved in singing 186
54. Highly magnified diagramatic representation of a section
through the superficial part of the great brain 188
55. Nerve-cell from the outer rind of the great brain, much
magnified 189
56. Position of parts in sounding the vowel A 219
57. Position of the parts in sounding I 220
58. Position of the parts in sounding OU 222
59. Position of the parts in sounding T, K, F, R, N, and P 227
60. Vertical section of the auditory apparatus 237
61. Diagram of the auditory apparatus 238
62. Two of the ear-bones (malleus and incus), enlarged 239
63. The complete chain of auditory ossicles 240
VOICE PRODUCTION
CHAPTER I.
THE CLAIMS AND IMPORTANCE OF VOCAL PHYSIOLOGY.
To know consciously and to do with special reference to guiding
principles are to be distinguished from carrying out some process
without bearing in mind the why or wherefore. Science is exact and
related knowledge, facts bound together by principles. Art is
execution, doing, and has not necessarily any conscious reference to
principles.
While every art has its corresponding science, their relation is in
some cases of much greater practical importance than in others. While
a painter may be the better for knowing the laws of light, there can
be no question that he may do very good work without any knowledge
whatever of the science of optics. He is at least in no danger of
injuring any part of his person.