Music Trade Review

THE
With which is incorporated THE MUSIC TRADE JOURUAL.
VOL. I I I .
NEW YORK, DECEMBER 20TH, 1880.
THE THROAT AND ITS AFFECTIONS.
No. 10
face over the larynx, endeavored to obtain a view of this portion of the vocal
A SERIES OP POPULAR PAPERS BY WHITFIELI} WARD, A.M., M.D., PHYSICIAN TO organs by allowing the light rays to pass directly from the sun into the open
mouth of the patient, and upon the mirror, instead of first concentrating
Tiiii METROPOLITAN HOSPITAL.
n.
THE INSTRUMENTS IN THE EXPLORATION OF THE THROAT.
idea of examining the vocal organs during life, first occurred, a little
±
less than a century ago to a member of the medical profession, who,
by promulgating it throughout the medical world, caused several gentlemen
to apply themselves to the task of devising means for its accomplishment.
As a result of their lalx>rs several ingenious instruments were constructed,
which, however, were destined to be shortlived on account of their impracti-
cableness. In 1854, long after the results of the aforesaid observations and
experiments had bee-n forgotten, M. Manuel Garcia, a singing teacher of Lon-
don, became possessed of the same idea—that of examining the larynx dur-
ing life, honestly believing that this idea was original with himself. The
manner in which this grand idea was conceived in the mind of the now
famous professor-—as narrated to me by Parson Price, a voice-trainer of this
city and a former pupil of Garcia—is both novel and amusing. As Garcia
was strolling along the banks of the Serpentine—a river in Hyde Park, Lon-
don—he chanced to stop and to glance into the placid waters of that stream.
At the same instant, the sun, issuing from behind a cloud, happened to strike
the exact spot at which he was gazing, converting, as it were, this portion of
tho river's surface into a mirror, which revealed to the vision of the observer
a brilliantly reflected image of his face. Upon opening the mouth, he like-
wise perceived distinctly every organ contained therein, accurately deline-
ated upon his temporary mirror. Having for the time being been satisfied
with the result of his experimentation, the professor resumed his walk.
When upon returning Garcia reached the scene of the above observations,
he halted, and with mouth widely opened sought to obtain another image of
the brocal cavity; but, lo and behold! none appeared, although he repeated
the experiment many times changing the position of the head at every fresh
attempt. The reason of his non-success was, that the sun having declined
considerably during the period of time that had elapsed between the two sets
of observations, could no longer strike the required spot on the river's sur-
face at the right angle. Our experimentalist was so utterly engrossed with
his researches that he failed to notice that quite a crowd had collected and
were wonderingly watching him as with stretched mouth he kept bobbing
his head in every direction. The next day the experiments were repeated,
not, however, by the riverside, but at home with an ordinary hand mirror.
With this appliance the eminent professor was very successful, the luminous
rays of the sun were easily collected on its glassy surface, and an illuminated
picture of the mouth and the several organs contained therein as easily
obtained. Thus was demonstrated the fundamental principle on which the
whole science of Laryngoscopy is based, namely: the practicability of illu-
minating deep-seated portions of the human body by means of light rays
caught on a mirror and deflected into the parts to be examined. To the
casual thinker this result may not seem of much importance, but Garcia
considered it of the utmost worth, and, as was afterwards shown, it proved
to be a stejipmg-stone by whicli he ascended to the highest pinnacle of fame,
and which he will retain as long as Laryngoscopy as a science exists. Theo-
rizing on the above happy result, Professor Garcia concluded that if a small
mirror was placed with its back against the palate, which maneuver would
locate its face or glassy surface directly above the larynx, and a sufficient
number of luminous rays be cast upon its reflecting surface, that they would
be deflected down the windpipe, illuminating this tube and producing its
image on the little mirror in precisely the same manner that the picture of
the mouth was obtained on the large hand mirror. Having obtained an or-
dinary dentist's mirror, which has been used from time immemorial, the
professor proceeded to make a practical test of the matter. Being seated
with his back to the door, he introduced the mirror into his own mouth with
one hand, in the manner described above; then, having caught as many of
the rays of the sun as were possible on an ordinary toilet mirror held in front
of the face with the other hand, he reflected them into his open mouth di-
rectly upon the dentist's mirror, which in turn reflected them into the in-
terior of the larynx, illuminating this part of the body and producing its
exact likeness on the latter glass. Having once obtained a view of his own
larynx, Garcia labored zealously, only, however, in the interest of vocal
music, repeatedly examining the organ during vocalization, until he had
found out to his own satisfaction its wonderful mechanism. In 1855 Garcia
presented the results of his experiments and observations in the form of a
paper, which was captioned "Physiological Observations on the Human
Voice," to the Royal Society of London. This treatise contained an admi-
rable account of the action of the vocal cords during respiration and vocali-
zation, some very important remarks upon the production of sound in the
larynx, and some valuable reflections on the formation of the chest and fal-
setto register. This communication, which for accuracy of detail has scarcely
been equaled up to the present day—although the rude manner of exhibiting
the larynx then employed has been wonderfully perfected—was destined to
experience a sad fate; it was treated with apathy, if not with incredulity, by
the majority of the English scientists. In 1857, Prof. Tiirck endeavored to
employ Garcia's method in the wards of the General Hospital of Vienna, in
which institution he held the position of surgeon. He, however, failed to
obtain any good results, and branded the contrivance with the stamp of im-
practibility. The reason of his non-success was that he made use of a single
mirror (the small dentist's), and placing it in the back of the mouth with its
them upon a second and larger mirror. In the latter part of the same year—
1857—Czermak, another German professor, borrowed from Dr. Tiirck his
small mirrors (which that gentleman had thrown aside as useless), and insti-
tuted an elaborate series of experiments, which culminated in the invention
of the laryngoscope. When the mirrors passed into Czermak's hands, the
examination of the larynx could only be made at certain times of the day,
the existence of the sun in a brilliant state being a pre-requisite; but he soon
relieved it from this unavoidable drawback by substituting artificial light
for the uncertain rays of the luminous body. He also used, instead of the
hand glass, a large round mirror for collecting the light rays, which could
be easily strapped on the forehead; and thus it was that Czermak created the
art of Laryngoscopy. Notwithstanding the beautiful simplicity effected by
Gzermak in the details of the laryngoscope, the profession might not have
been impressed with the value of the instrument had not his brilliant demon-
strations delighted and astonished the medical public throughout Europe.
The apparatus now used for the examination of the throat consists of
three different contrivances, namely:
1. The illuminator or light condenser.
:
2. The head mirror.
3. The mouth mirror.
(To be continued.)
THE BIG B.
TPp VERYBODY should have the right to speak his opinion on musical
JUJ
matters; this opinion, however, should be based on knowledge and
thorough musical education. Vague expressions do not prove judgment,
and critical remarks very often throw the judge from his high horse.
It is
only too natural, that after the first performance of Boito's " Mefistofele "
everybody who is assigned to the musical work on newspapers, wanted to
appear learned, and to appear in this light, the length of the articles had to
impress the readers. As long as the writers had to deal with the plot, they
were at their ease, for the libretto helped them.
But as it was necessary
that something about the music had to be said, they began to dive
into the treasures of libraries, and pull forth long forgotten essays on
German and Italian music. Some of them, however, wanted to be indepen-
dent and show their wisdom, and blundered terribly. We could cite several
instances, but one, the most glowing of all, may be sufficient.
One of the
musical judges wrote: " The charm of Boito's music, like that of Beethoven's,
lies in the simplicity of the themes." This is new, and deserves acknow-
ledgment. Beethoven—Boito; the big B is about all these two composers
have in common. But if really somebody thinks that the charm of Beetho-
ven lies in the simplicity of his themes, why should he not compare Boito to
him If really this simplicity were the principal trait of the composer of
the Fifth Symphony, why should we consider him the great symphonic
writer. Beethoven is admired for the purity of his style, for the grandeur of
his ideas, for the power of genuine musical truth. His themes are simple,
but in his hands the simplest theme becomes gigantic. Simplicity may be
very good for nursery songs, but in gi-eat composers we have to find more
than this great qualification, which after all is only the basis of their operations.
The mail who looks for the charm of Beethoven's works in the simplicity
of the themes, should give up the idea of ever understanding the musical
standard of the great Ludwig. Beethoven can thunder, and with very little
effort, Boito cannot sneeze, without using the entire orchestral and "choral
apparatus. If Beethoven is fit for the Temple of Art, Boito has to stand out-
side and wait till the door is opened, and he maybe permitted to peep into
the sanctissinum through a crack. Beethoven reigns in his art with supreme
power; his phrasing is of absolute will and strength; he touches the canvass
with his brush lightly, and the picture is visible in glorious light.
Sign or
Boito in his opera is vacillating; he paints with all existing colors and shades,
and his picture looks when finished like a daubed painting, which is not clear
in composition nor conception. Just at present let us use a very big B for
Beethoven, but Signor Boito must be satisfied with an initial of smaller size.
STRANGE.—It is asserted that Mrs. Frederick Lowerre, who sang in Italy
under the name »i Lelia Lauri, has canceled an engagement at the Teatro
Reggio, Turin, and returned to this country. The question naturally arises :
"Who canceled this engagement; Signora Lauri, or the impresa of the
theatre ? " It looks queer that a singer should give up a contract with one of
the best theatres in Italy. But as Mrs. Lowerre will appear in concerts
during the season, we may be able to get at the real reason of her unex-
pected return. They all come back to their home, after having spent time
and money abroad, and with what result ?
THE " HuNGAPtiAN DANCES" AGAIN.—Brahms' "Hungarian Dances,"
whicli Edward Remenyi claims the credit of having invented or discovered,
have been arranged for orchestra, for piano solo and piano duet, for violin
and piano, for flute and other wind instruments—and now we hear that a
gentleman by the name of Gail Schulz introduced them to the London
public in an arrangement for the zither. We hope steamship companies will
refuse to take Mr. Schulz across the ocean, under any circumstances.
INTERESTING.—Gil Bias publishes an article entitled: "How Gounod
became a Composer." How much more interesting to the music-lovers in
this country would an article be: "Dark is the Hour before Dawn," or
" The Struggle of the American Composer, John N. Pattison." A good title
always sells well.