. Resonance in singing and speaking. dded—what all other instruments lack—an articulator. 1. The respiratory muscles and lungs for a motor. 2. The vocal cords for a vibrator. 3. The throat, mouth, and the nasal and head cavities for aresonator. 4. The tongue, lips, teeth, and palate for an articulator.These elements appear in as great a variety of size and proportion as do the variations of individual humanity, andeach element is, moreover, variable according to the will orfeeling of the individual. This susceptibility to change con-stitutes a modifying power which gives a variety in tone qual
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. Resonance in singing and speaking. dded—what all other instruments lack—an articulator. 1. The respiratory muscles and lungs for a motor. 2. The vocal cords for a vibrator. 3. The throat, mouth, and the nasal and head cavities for aresonator. 4. The tongue, lips, teeth, and palate for an articulator.These elements appear in as great a variety of size and proportion as do the variations of individual humanity, andeach element is, moreover, variable according to the will orfeeling of the individual. This susceptibility to change con-stitutes a modifying power which gives a variety in tone qualitypossible to no other instrument and makes it our wonder and 6 RESONANCE IN SINGING AND SPEAKING 7 admiration. The modification and interaction of these variousparts produced by the emotions of the singer or speaker givequalities of tone expressive of the feelings^ as of pain orpleasure, grief or joy, courage or fear. Part of po3-|terior eth- >moidalsiausj Pharynx Epiglottis Vocal cords Frontal sinus Part of theinfundibulum. Lip Teeth Tongue Figure 1.—Section of the head and throat locating the organs of speech and song, including the upper resonators. The important maxiilary sinus cannot well be shown.It is found within the maxillary bone (cheek bone). The inner end of the line markedNasal cavity locates it. TIMBRE The minute differences in these physical conditions, coupledwith the subtler differences in the psychical elements of the per-sonality, account for that distinctive physiognomy of the voicecalled timbre, which is only another name for individuality 8 RESONANCE IN SINGING AND SPEAKING as exhibited in each person. The same general elements enterinto the composition of all voices, from the basso profundo tothe high soprano. That the reader may better understand the proportion andrelations of the different parts of the vocal apparatus, a sec-tional drawing of the head is here produced, showing thenatural position of the vocal organs at rest. As the drawingrepr