Music Trade Review

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THE MUSICAL CRITIC AND TRADE REVIEW.
March 20th, 1881.
The evil effects that are sure to follow in the footsteps of improper
habits of breathing are of a two-fold nature:
First—The injury to or possible loss of the voice.
Second—An impairment of the health of the body.
Before we consider these points let us lay open, as it were, the chest
wall and watch the lungs of a person breathing falsely. The keen examiner
VII.
will first notice that the air as it rushes into the lungs, instead of permeat-
ing every minute air-cell and inflating them as it does in correct breathing,
H o w WE BREATHE.
thereby causing the lungs to expand and swell out, enters only the cells sit-
Of t h e several different organs which make u p t h e vocal a p p a r a t u s n o n e uated in the upper half of the pulmonary organs. What is the direct effect
p l a y a more i m p o r t a n t p a r t t h a n t h e lungs, or bellows, so t o speak, of t h e of this? Why, there is constantly present in the lower part of the lungs a
h u m a n musical i n s t r u m e n t . All t r u e acts of singing are founded n o t only vast quantity of air, which, remaining unchanged, soon becomes greatly
"upon t h e p r o p e r appreciation of t h e physiological action of t h e respiratory vitiated by the foul gases of the body which have only this channel of egress,
o r g a n s , b u t also u p o n t h e i r correct use. T h e master who, at t h e outset of and, as a direct consequence, the whole body becomes contaminated and
h i s teachings, neglects to impress his p u p i l s with t h e i m p o r t a n c e of t h i s finally diseased by the direct poisoning of the blood.
subject, performs a grievous error, a n d one t h a t cannot fail t o e n g e n d e r in
The next thing likely to be observed is that the lower half of both lungs,
"4ihe p u p i l divers faulty habits.
instead of swelling up, become greatly retracted. The failure to distend is
T h e substance of t h e l u n g s is of a light, porous, spongy t e x t u r e ; it is due to the fact that the air, or inflating agent, cannot effect an entrance on
h i g h l y elastic, a n d is capable of great inflation. I t is chiefly composed of account of the non-contraction of the diaphragm muscle. If the case be a
l i t t l e sacks called air cells, which are b a n d e d t o g e t h e r b y m e m b r a n e . T h e marked one, the respiratory acts will be performed in a spasmodic or jerky
Air cells are communicated with b y an i n n u m e r a b l e n u m b e r of tubes, along manner, on account of the forced action of the muscles of the neck instead
w h i c h t h e air travels. At first these t u b e s are very minute, b u t as they p r o - of in that easy and graceful manner so characteristic of correct breathing.
c e e d u p w a r d s they join together, b e c o m i n g larger a n d larger u n t i l t h e y Did it ever [occur to the tightly-laced belle that she is only making use of
u l t i m a t e l y verge into two large passages, styled t h e bronchial tubes, a n d one-half of her breathing apparatus, and that by so doing she is gradually
these, in t u r n , become u n i t e d , forming t h e wind-pipe. W h a t I chiefly wish sowing in her system the seeds of incurable diseases? Perhaps this one
t o i m p r e s s u p o n t h e m i n d s of my readers is, t h a t t h e l u n g s are highly elastic cause alone, were the actual truths ascertained, would account for a great
And capable of b e i n g greatly distended by p r o p e r habits of inflation. T h e many of the sudden deaths which, as we all know, have been alarmingly
respiratory movements of t h e chest are two-fold; expansion d u r i n g inspira- prevalent during the past few years. A good healthy action of the lungs
t o r y acts a n d collapse d u r i n g expiration. T h e expansion is effected b y two has more to do with longevity than that of any other branch of the human
sets of muscles. First, t h e d i a p h r a g m which is a large, flat muscle, placed organism.
like a partition between t h e chest a n d a b d o m e n ; Second, t h e intercostals, a
The direct effect of false breathing upon the voice is the production of
aeries of muscles which are a t t a c h e d to t h e sides of t h e ribs, a n d have t h e improper or faulty tones. The more remote effect is an utter loss of the
p o w e r to elevate these bodies.
singing voice. The vocal cords, the delicate reeds whose action produces
T h e d i a p h r a g m , when relaxed, which h a p p e n s just before a b r e a t h is t o b e all sound in the larynx, or human voice-box, are the bodies against which all
t a k e n — t h a t is to say, w h e n t h e chest is collapsed—occupies t h e position currents of air as they are forced up by the lungs into and through the
d e p i c t e d b y t h e dark line A, as in t h e subjoined woodcut. W h e n , however, wind-pipe, impinge. The air, as it comes from below, rushes through the
i n s p i r a t i o n commences a n d t h e chest begins to expand, t h e d i a p h r a g m con- larynx and sets the two cords into vibration, which produces a note cor-
tracts, losing more a n d more its curvature, responding in pitch according to the velocity of the air current and the ten-
and p u s h i n g o u t t h e front wall of t h e chest sion of the cords. When the lungs, or bellows, of the vocal instrument are
made use of in the correct manner the air current passes through the glottis
u n t i l t h e l u n g s are fully inflated.
T h e intercostal muscles greatly abet or space intervening between the vocal cords in a steady and reliable stream,
t h e expansion of t h e chest, for, b e i n g at- the force of which varies, as already stated, according to the pitch of the
t a c h e d t o t h e sides of t h e ribs, they ele- desired note, and the cords are enabled through practice to instinctively
D
vate these bodies at t h e same time t h a t t h e gauge this force, and prepare themselves for its reception, so that no harm
d i a p h r a g m p u s h e s t h e m o u t w a r d s . As can result from the air striking them in the above manner. On the con-
6
t h e d i a p h r a g m descends d u r i n g contrac- trary, when a pair of lungs are acting abnormally or incorrectly the air cur-
tion it p u s h e s d o w n w a r d s t h e stomach and rent proceeding therefrom passes through the larynx in a jerky and unreliable
"A.
adjacent organs, which causes a bulging, so stream which cannot fail to be productive of injury.
to speak, of t h e abdominal walls.
After
The vocal cords are often attacked by these spasmodic acts of breathing
t h e movement of inspiration is accomplish- when totally unprepared for their reception, and as a consequence suffer
ed, t h a t is to say, when t h e chest is ex- strain, the forerunner of nine-tenths of the cases of loss of singing-voice
p a n d e d a n d t h e l u n g s are rilled with air, commonly met with. In the consideration of these two varieties of breath-
expiration begins, t h e d i a p h r a g m a n d in- ing—the true and the false—we must not lose sight of the fact that those
Fig u -Anatomical section of chest tercostals relax, t h e walls of t h e chest a n d employing the former method can imbibe nearly double the quantity of air
showing position of Lung.
abdomen flatten until t h e act is c o m p l e t e , that the ones making use of the latter style of breathing can. The untutored
^.—Relaxed d ^ a P? ir *g™ Tm
when t h e respiratory organs will have re- ear might not discover much difference in the vocalizations of these two
c.'—Diaphragm wh^n^orcibiy relaxed, turned to the position occupied just before classes of singers during the performance of some simple piece which would
D.—Outline of lung just before inspira- a breath is to be taken. Let us picture to require very little exertion of the breathing apparatus for its rendition; but
4i
jsLoutiine of lung when properly in- ourselves a person breathing in the normal the most unskilled could not fail to notice the difference during the singing
flated, as in true breathing.
manner. The first thing we notice is that of a difficult work, especially one interspersed with long running passages.
The true breather has seemingly no trouble in giving fortli these diffi-
j-.-Outiine of lung when improperly beautiful symmetry of motion which poets
inflated, as during false breatlnng.
^
^ J ^ d J cvihed
J & n Q cult passages, she is enabled beforehand to inspire a sufficient quantity of
Th&Te
spasmodic movements of any kind, as the air fills the lungs, the chest grad- air to carry her successfully to the end, and she is enabled, by long practice,
ually swells in front and on either side, and the abdomen becomes dis- to tell to a nicety the exact quantity of air necessary for the performance of
given passage, every note of which is rendered in an equally clear and
tended and bulges out, caused as I have already stated, by the descent of any
the diaphragm during contraction. The female figure,, during repose, and brilliant manner.
The false breather can never foretell the amount of air necessary for the
when divested of all modern inventions of torture in the way of dress, pre-
sents a superb illustration of the normal respiratory movements. An artifi- performance of any long passage, and even if she had the requisite knowl-
cial contrivance, styled the "Sleeping Beauty," was exhibited here some edge, it would be of little service to her, for the simple reason that the por-
years since, which, no doubt, many of my readers have seen, that wonder- tion of her pulmonary organs which she makes use of is not sufficient to
fully simulated the movements of the human frame, whicli I have but faintly hold the required amount of air. As a consequence, she is obliged to make
an effort at inspiration before the completion of one of these passages,
described.
Now let us look upon another picture, namely, that of a person breath- which, of course, will destroy all the beauty and effect it might otherwise
ing in an unnatural or false manner. The first thing which we notice, and have given.
I shall pass over the many diseases that might be produced by improper
•which the keen examiner can never fail to observe, is that the collar-bones
and shoulder-blades are rythmically elevated and depressed, the first act pulmonary action, and treat of the causes of ..this pernicious style of breath-
taking place during inspiration, and thejlatter during expiration. The next ing. Of the several different agents that prevent proper inflation of the
thing we see is that the lower portion of the chest, instead of expanding dur- lungs, the manner of dress holds the first rank. She who has set up the
ing the inflation of the lungs, that is, during inspiration, actually becomes triumphs of the lyric stage as the goal of her ambition must cast off the
depressed and drawn in. If we look further down, we will likewise notice foibles of fashion, or else her efforts will be entirely useless. The garments
which encircle the waist and chest must be loose in order that the expan-
that the abdomen becomes greatly flattened.
Let us examine more closely these different acts, and see if we can find sion of the lungs be not interfered with. This method of dressing must be
out their several causes. The elevation and depression of the shoulder dur- rigidly adhered to if the singer would avoid disastrous consequences. If
ing respiration is caused by the traction of several large muscles, which the reader has carefully followed me through this article, the necessity of
unite the two bones above mentioned to the sides and back of the neck. following this rule will be most patent to him; for if the breathing appar-
These muscles should have nothing to do with healthy ordinary breathing, atus be confined, it is impossible for air to enter and inflate it in the proper
and their employment in such acts is an indication that there is some manner.
Improper posturing of the body has also a great deal to do with false
obstacle in the way. In extraordinary respiration, such as accompanies or
follows undue exercise or exertion of any kind, the assistance of these acts of breathing. If the vocalist forms habits of stooping or bending the
muscles is invoked, in order that the lungs may speedily be filled with air; shoulders forward during singing, he will soon begin to use his lungs im-
and here we can see the upward and downward movements of the shoulders properly. In order that singing be correctly performed, it is absolutely
in a marked degree. In some diseases of the chest, particularly asthma, the necessary for the artist to stand erect, have his shoulders well thrown back,
muscles of the neck are taxed in a remarkable degree during the gaspings of and his chin slightly inclined upwards. The person occupying this posi-
the sufferer for breath. The flattening of the front wall of the chest is tion places his lungs in the most favorable aspect for the reception of air,
mostly marked at the lower part, that is, at the site of the diaphragm and if there are no obstructions in the way, such as tight articles of cloth-
muscle. It is caused by a forced relaxation of the diaphragm, which ing, he cannot help but inflate the respiratory organ to the fullest extent, if
assumes the position delineated by the curved dotted line C, in the cut. As he so desires.
the expansion and retraction of the lungs are regulated solely by the move- Immoderate acts of eating or drinking, by keeping the stomach in an over-
ments of the diaghragm, it follows that the pulmonary organs are retracted loaded and distended condition, forms serious obstacles to correct breathing.
in proportion to the relaxation of this muscle. The amount of contraction As the gastric organ lies immediately underneath the diaphragm or respira-
is shown by dotted line F, in the cut. The drawing in of the abdomen is tory muscle, it will, unless it be nearly empty, prevent the action of this
.caused in the same manner as the last-mentioned deformity, by the undue most important muscular body. This will explain the reason why it is
almost impossible to sing immediately after partaking of a meal. Thera
•relaxation of the diaphragm.
THE THROAT IN ITS RELATIONS TO SINGING.
A SERIES OF POPULAR PAPERS BY WHITFIELD WARD, A.M., M.D., PHYSICIAN
TO THE METROPOLITAN THROAT HOSPITAL.