g--dull
intellects; the thing is essentially vulgar.

The _quality_ of a sound is determined by the form of the vibrations.
A sound of good quality is to the ear what a beautiful statue or
picture is to the eye. As will be explained later, the form or quality
depends largely on the shape, etc., of the resonance-chambers above
the vocal bands.

Much discussion has taken place from time to time as to the nature of
the larynx as a musical instrument, some being inclined to regard it
as most closely allied to a stringed instrument, others to a
wind-instrument. It has obviously points of resemblance to both, but
the most recent researches make it clearer than ever that it is
neither one nor the other, strictly speaking, but that it stands in a
class by itself. It is, however, helpful, in considering many
questions, to bear in mind its resemblances to both wind and stringed
instruments. The vocal bands are not wholly free throughout their
length, like the strings of a violin, nor do they bear any great
resemblance to the reed of such an instrument as the clarinet, but as
in the latter the force causing the vibrations is a blast of air. We
have already pointed out that the vocal bands are set into vibration
solely by the _expiratory_ blast of air.

THE LARYNGOSCOPE.

The distinguished physiologist Johannes Mueller demonstrated the
working of the larynx by special experiments. He fixed into the
windpipe a bellows, and showed, in the dead larynx, of course, that
the blast from this source could cause the vocal bands to vibrate and
thus produce sounds, which by varying the strength of the force, etc.,
were made to vary in pitch.

While such experiments indicate the essential principles of a possible
voice-production, as the conditions in life were not and could not be
fully met these results were rather suggestive than demonstrative of
Nature's methods. These investigations served a good purpose, but
they were manifestly inadequate, and this was felt by one thoughtful
vocal teacher so keenly that he pondered much on the subject, in the
hope of finding a method of observing the larynx during actual
phonation. To this distinguished teacher, Manuel Garcia, belongs the
honor of inventing the means of observing the vocal bands in action.
This was accomplished in 1854, and, soon after, Garcia read an account
of his observations to the Royal Society of London; and though much in
this paper required correction by subsequent obse