ration.

Expiration is an element of trust, expansion, confidence and tenderness.
If the expression contains both pain and love, the inspiration and
expiration will both be noisy; but the one or the other will predominate
according as pain predominates over love, or _vice versa._

_Passional Respiration._

The source of passional respiration lies in the agitation of the heart.
The effect of respiration is most powerful, for the slighter and more
imperceptible the phenomena are, the more effect they have upon the
auditors.

Vocal Organ.

The organ assumes at birth a form; this form is called the timbre or
tone, This tone corresponds to the constitutional form. Under the sway
of habit, the form assumes an acquired tone which is called emission.
The emissive form corresponds to the habitual tone. Under the sway of
emotion the voice is modulated and assumes forms which we will call
passional or transitory.

The mouth is normal, concentric and eccentric. [See chart in Delaumosne,
page 81.]

From these three types we have succeeded in fixing and classifying
forty-eight million phenomena.

Definition of the Voice.

The voice is the essential element in singing. It is based upon sound.
This is based upon three agents:

The _projective_ agent, or the _lungs_.

The _vibrative_ agent, or the _larnyx_.

The _reverberative_ agent, or the _mouth_.

Each of these agents acts in different ways, nine acts resulting
therefrom, which we will call products of phonetic acts.

The projective agent in its special activities engenders

Intensities,
Shades,
Respirations.

The vibrative agent in its special activities engenders

Prolations,
Pathetic effects,
Registers.

The reverberative agent in its special activities engenders

Emissions,
Articulations,
Vowels.

To recapitulate, the phonetic agents give us nine products; but, when
studied from the vocal point of view, these products become as many
elements and must be examined from the triple point of view of
preparatory, practical and transcendant studies. We must, therefore,
know first the general definition of these elements, their cause and
their theoretical history, which constitutes phonology or the
preparatory study of the voice.

Secondly, we must know the physical order in virtue of which these
phenomena may be acquired or developed. The various special exercises
and the vices to be avoided con