Publisher's Synopsis
Excerpt from The Effects on the Vocal Cords of Improper Methods of Voice Production and Their Remedy
If we take up any work upon the voice and study the photographic appearances of the cords during the emission of certain notes, we remark that the cords are not vibrating longitudinally, but that their free borders approximate, touch or overlap, and that the posterior opening of the Chink is longer or shorter and different in appearance for each note. I wish to put on record here my opinion, of the absolute impossibility of photographing the vocal-cords during the proper emis sion of tone, from the very fact that the laryngoscopic mirror placed in the pharynx interferes with the right focus of the respiratory attack, and it is only possible to observe the vocal-cords in the photograph when the so-called stroke of the glottis is used in the emission of a note. The photographs of singers' cords, and the deductions that have been drawn from their appearance during the emission of different notes, only demonstrate, in every case that I have ever seen, that the larynx is elevated by the pulling up of the thyroid, the cords relaxed, and the free borders more or less approximated. If we ask a singer who is in the habit of using the so-called high-chest method of costal-respiration to take a note (the attack entirely taken from the cords and focussed in the masque, bringing into play the harmonics lent by the sound-waves passing behind the uvula and soft-palate), introducing the smallest pos sible size of mirror, so that the color given to the note by nature's resonance-pipes, the antra and nasal cavities, will be as little as possible interfered with, we are surprised to find that on the emission of every note of the soprano medium register the cords appear equidistant from each other, throughout the entire extent that it is possible to see them.
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