Orthophony

Front matter

Glass [ J i •■ *\ 1 L> 4 Book J

ORTHOPHONY; ft* /JS

CULTIVATION OF THE VOICE,

Preface

The design of the exercises presented in this manual, is to furnish the groundwork of practical elocution, and whatever explanations are needed for the training of the organs and the cidtivation of the voice. — The system of instruction, adopted in the present volume, is founded on Dr. Rush's treatise, " The Philosophy of the Human Voice," and is designed as a practical synopsis of that work, with the addition of copious examples and exercises, selected for the purpose of facilitating the application of theory to practice. We hope, however, that the use of this manual will induce students and teachers to consult, for themselves, that invaluable source of instruction, for an ample and complete statement of the theory of vocal culture, in connection with an exact analysis of the vocal functions.

The manual now offered as an aid to the business of instruction, contains, — besides a compendious view of the system of Dr. Rush, — the practical methods of instruction introduced by Mr. James E. Murdoch, and taught by Mr. Francis T. Russell, in that part of elocution which comprises phonation, or the formation of vocal tone, and orthophony, or the training of the vocal organs, on the rudiments of articulation, force, "stress," pitch, and the other elements of " expression," — including the whole organic discipline of "vocal gymnastics."

The exercises imbodied in the following pages, are designed equally for the assistance of two classes of students, — at very different stages of progress in general education, but requiring, alike, the benefit of a thorough- going course of practice in elocution; — young learners, whose habits of utterance are, as yet, forming ; and adults, whose professional duties involve the exercise of public speaking. To the former, this manual will furnish the materials for a progressive cultivation and development of the vocal organs, for the useful purposes of education, and as a graceful accomplishment. To the latter, it affords the means of correcting erroneous habit in the use of the organs of speech, and of acquiring the command of an easy, healthful, and effective mode of managing the voice, in the act of reading or speaking in public.

The plan adopted, in arranging the subsequent exercises, presents the various departments of elocution in the following order: 1#

VI PREFACE.

1 1. The function of breathing, as a preliminary to the use of the voice. — 2. The practice of enunciation, in the act of articulating elementary sounds and syllables, and of pronouncing words. — 3. The study of the various " qualities " of the voice, as an instrument of sound, and the training of the organs, with reference to the formation of "purity" fulness, vigor, and pliancy of voice. — 4. The study and practice of force, " stress," "melody," pitch, " slide," "reave" "monotone" and "semitone" "time," "quantity" "movement," "rhythm," metre, and pause, — with a view to organic discipline and the command of the voice, in emphasis and " expression," — the appropriate utterance of thought and emotion.

To adapt the work to the purposes of practical instruction, and to render it convenient, as a class-book, those parts which are most important to learners, are distinguished by "leaded" lines, and larger type; and these are intended either to be impressed, in substance, on the memory, or to be practised as exercises. The portions of the work which are in smaller type, contain the theory and the explanations requisite for the guidance of the adult student and the teacher.

The sentential or grammatical department of elocution, — that which concerns the modifications of voice, for the purposes of strictly intellectual communication, the adapting of the voice to the structure of sentences in prose, and stanzas in poetry, — involves a more extensive study of "slides," (inflections,) emphasis, and pausing, together \vi\h. prosodial elocution, or the regulation of the voice in the reading of verse. The full discussion and practice of these branches, are reserved for a separate course of study, as prescribed in the "American Elocutionist," to which the present manual is intended as an introduction. In that volume will also be found an extended course of practice in articulation and in pronunciation, with remarks on the character of cadence ; and, in addition to the vocal part of elocution, an outline of the principles of gesture, and a collection of pieces for practice in reading and declamation.

The stereotype process, adopted in this new edition of the present work, enables the publishers to offer it in a more compact shape, without diminishing the actual extent of the matter ; while the new arrangement of the chapters, and the addition of the Tables of Orthophony, will, it is thought, render the volume more useful as a manual for schools and academies.

1 The arrangement adopted in this improved edition of the Orthophony, is intended to facilitate the business of instruction, by presenting more prominently those parts of elocution which are most important in practice. The chapter on the structure and action of the vocal organs, has been transferred, therefore, to the appendix. But adult students may derive advantage from perusing it, before commencing the practice of the various exercises.

INTRODUCTORY OBSERVATIONS.

ORTHOPHONY,! OR THE SYSTEMATIC CULTIVATION OF THE VOICE.

The term orthophony is used to designate the art of cultivating the voice, for the purposes of speech, reading, declamation, recitation, or singing. This art, like all others, is founded on certain principles, the knowledge of which constitutes science. The principles of orthophony, are derived from the sciences of anatomy and physiology, as regards the structure and action of the vocal organs, from the science of acoustics, as regards the formation of sound, in general, and from the science and art of music, as regards the regulation of vocal sound, in particular.

Orthophony is, to elocution, what solfeggi, and other rudiment al exercises, are to music, — a course of elementary discipline, for the systematic cultivation of the voice. We may, it is true, read well, just as we may sing well, "by ear," or the teaching of nature, merely. But cultivation gives us, in both these uses of the voice, the immense advantages of knowledge, science, and skill. Furnished with these aids, and directed by discerning judgment and good taste, the cultivated reader or speaker has all the advantages of the cultivated singer, as regards the true and effective use of his organs.

The preparatory training and discipline of the voice, for the purposes of reading, recitation, and declamation, are of incalculable value, whether as regards the organic results connected with the

1 The terms phonatlon, (the act of producing vocal sound,) and phonology, (the science of voice,) are in current use among physiologists. But the systematic cultivation of the vocal organs, on the elements of expressive utterance, is a branch of education for which our own language furnishes no appropriate designation. The compiler of this manual has ventured to adopt, as a term convenient for this purpose, the word orthophony, — a modification of the corresponding French word, " orthophonies' used to designate the art of training the vocal organs. The etymology of this term, when traced to the original Greek words, — signifying correct and voice, — sanctions its use in elocution, on the same ground with that of " orthoepy," in grammar.

8 INTRODUCTION.

easy, vigorous, and salutary exertion of the voice, or the healthy expansion of the chest, and the inspiring glow of vivid emotion, which is indispensable to effective expression. Dr. Rush's exact and scientific analysis of elocution, in its connection with the action of the organs of voice, enables the teacher to carry elementary cultivation to an extent previously unattainable, and, even yet, too little known by those who have not paid special attention to the subject. The actual benefits, however, arising from the practical applications of Dr. Rush's system, are equally felt in the exactness of intelligence, which it imparts, regarding all the expressive uses of the voice, and the force, freedom, and brilliancy of effect, which it gives to the action of the vocal organs, whether in the utterance of expressive emotion, or of distinctive meaning addressed to the understanding, by the process of unimpassioned articulation.

The methods of practical training, founded on the theory and the suggestions of Dr. Rush, are attended by a permanent salutary influence of the highest value. They produce a free and powerful exertion of the organs of respiration, a buoyancy of animal life, an exhilaration of spirits, and an energetic activity of the whole corporeal frame, — all highly conducive to the well-being of the juvenile pupil, not less than to his attainment of a spirited, effective, and' graceful elocution. The correspondent benefits conferred on adults, by a vigorous course of vocal gymnastics, are of perhaps still higher moment, for the immediate purposes of life and usefulness. The sedentary habits of students and professional men, render them liable not only to organic disability of utterance, and to injury of the lungs, but to numerous faults of habit, in their modes of exerting the organs of speech, — faults which impair or counteract the intended effect of all their efforts in the form of public reading or speaking. The dailv practice of vocal exercises, is the only effectual means of invigorating the organic system, or correcting faults of habit in utterance, and the surest means, at the same time, of fortifying the inward frame against the exhausting effects of professional exertion, when either pursued too long in succession, or practised at too distant intervals, — both serious evils, and nearly equal in the amount of injury which they occasion.

The compiler of the present work, could enumerate many cases, in which, voice and health, equally impaired, have been restored in a few months, or even weeks, of vocal training, — and still more in which new and brilliant powers of expression, have been elicited in individuals who have commenced practice with little hope of success,

INTRODUCTION. y

and with little previous ground for such hope ; — confirmed wrong habits of utterance, debilitated organs, and sinking health having all united their depressing and nearly ruinous influence on the whole man. 1

It will be perceived, by referring to the subjoined expressions of opinion, that, in pressing this subject on general attention, there is ample professional authority for the expectation of invaluable benefits, as the result of the systematic vocal training recommended in this volume.

Opinions of Gentlemen of the Medical Profession, regarding Mr. Murdoch's System for the Cultivation of the Voice.

" Boston, July 29, 1842.

" I have carefully examined Mr. Murdoch's system of Vocal Gymnastics. It is based upon an accurate knowledge of the anatomy and physiology of the larynx, or organ of the voice. All the details of the system seem to me to be practical, ingenious, interesting, and in accurate conformity to scientific principles. Its obvious utility in developing the functions of the human larynx, and giving flexibility, beauty, facility, and permanent power to the voice ; and its eminent effect both in the prevention and cure of the diseases to which public speakers are liable, give it a strong claim upon the attention of the Teachers in our Schools and Colleges, our Youth, and all whose duties demand a frequent or great use of the voice. Edward Reynolds, Jr."

"We fully concur with Dr. Reynolds in the opinions above expressed.

"The exercise of Vocal Gymnastics, as recommended by James E.

Murdoch, being founded on a correct knowledge of the anatomy and

physiology of the vocal apparatus, cannot fail, if properly practised,

under his direction, to develop and strengthen the voice. Persons of

1 Mr. Murdoch, — whose system of orthophony is imbodied in this volume, — seemed, at one time, while' pursuing a profession in which the most intense exertion of the vocal organs is perpetually required, destined to sink under the effects of over-exertion ; but, having seasonably turned his attention to the systematic practice of vocal gymnastics, he recovered his tone of health, and gained, to such an extent, in power and depth of voice, as to add to his previous range in the latter, a full octave, within the space of some months. On devoting himself to the daily occupation of conducting classes in the practice of regulated vocal exercise, the result continued to be a constant accession of vocal power and compass ; and on returning to the practice of his early profession, in which he is now so distinguished, his utterance was at once remarked for its round, deep, rich, and full tone.

10 INTRODUCTION.

delicate constitutions and feeble voices, will receive great benefit from the practice of his system j as it is well calculated to give a healthy action to the vocal and pulmonary organs ; and, in this particular, it is well worthy the attention of parents. Winslow Lewis, Jr."

"I have had the pleasure of a long interview with Mr. J. E. Murdoch, in which he illustrated his principles of managing and giving strength to the voice ; and I am very happy to say, that I can fully concur with Dr. Lewis in his statement of Mr. M.'s system of Vocal Gymnastics. W. Channing."

We smile at the enumeration of the formal apparatus of Athenian rhetorical education, which, in addition to its long and classified array of grammarians and rhetoricians, furnished, it is said, five gradations of schools for different species of muscular exercise, and three distinct classes of instructors for the voice : one, to superintend practice in pitch; another, to conduct the exercises in force; and a third, to regulate vocal melody and inflections. Modern taste forbids this fastidious multiplicity and minuteness of appliances ; but it makes, as yet, no adequate provision for the acquiring of that moral and intellectual power, and that expressive force, which result from the blending of a high-toned physical and mental training. The customary routine of academic declamation, consists in permitting or compelling a student to "speak," and pointing out his faults, after they have been committed. But it offers no genial inducement to the exercise, and provides no preventive training by which faults might be avoided. Eloquence, in his habits of voice and action, a student may bring with him to our literary institutions ; but he will find little opportunity, there, of acquiring or of perfecting such accomplishments, till a correct and graceful elocution is duly recognized as a part of liberal education.

Contents

Preface, Introduction,

Page

Chapter I. Respiration, . 13 Exercises in Breathing, . 14

First Table of Orthophony, 16

Chapter II. Orthoepy, . 18 Tonic Elements, . . 19 Subtonic " ' ". . .22 Atonic " '.. . .23 Vowels and Diphthongs, . 24 Consonants, ... 26 Labial Sounds, . . 26

Dental " . . .27

Palatic " . . .28 Aspirated Element, . . 28 Nasal Sounds, ... 28 Lingual, " . . .29 Exercises in Enunciation, . 30 Words containing " tonic "

elements, ... 30 Words containing "subtonic"

elements, ... 34 Words containing "atonic"

elements, ... 37 Words containing syllabic

combinations, . . 37 Words containing classified

elements, ... 40

Chapter III. " Quality " of "Pure" Tone, . . . 48

Faults in " Quality," . 49

Examples of " Pure tone," 53

"Subdued" Force, . 53

"Moderate" " . 54

" Sustained " Force, . 61

Page

" Orotund Quality," . 62

"Effusive Orotund," . 64

"Expulsive" " . .68

"Explosive" " . .70

" Aspirated Quality," . 73

Chapter V. " Stress," . 78 " Radical Stress," . . 79

"Vanishing" " . .91

"Compound" " . .96

"Thorough" " . .98

"Tremor," . . .100 Analytic Exercises on

Chapter VI. "Melody," . 105 "Middle" Pitch, . . 107

"Very High" " . . 120

" Transition " in Pitch, . 122

"Phrases" of "Sentential

The "Slide," . . .130 The " Slide " of Emotion, 133

The " Distinctive Slide," 136

The "Mechanical" " . 138

Chapter VII. Time, . .141 Exercises in "Quantity," 144

Poetic and Oratorical

Xll

CONTENTS.

Paere

Rhetorical Pauses, 157

Examples of " Slowest Movement," . . 164

Examples of f " Slow- Movement," J . .165

Examples of 'Moderate Movement," . . 167

Examples of " Animated Movement," . . 169

Examples of " Brisk Movement," . .171

Examples of " Rapid Movement," . . 173 Accent, .... 174

" Syllabic " Accent, . 174

" Rhythmical " " . . 176

Examples of " Rhythmical" Accent, . . 179

Prosodial Accent, . . 183 " Iambic " Metre, . 184 "Trochaic" « . 186

" Anapaestic " " . 186

" Rhythmical" and Prosodial Accent combined, . . .187

Chapter VIII. Emphasis and "Expression," . . 190 Impassioned Emphasis, . 190 Unimpassioned " .191

Examples, . . 193

"Arbitrary " Emphasis, 196 "Expression,". . . 200 Third Table of Orthophony,

Elements of " Expression,"202 Fourth Table of Orthophony, Combinations of " Expression," . . . 204 Fifth Table of Orthophony, Metre, . . . .205

Engraved Illustrations of the Vocal Organs, . 206

Page Description of the Organs of Voice, . . . 211

Additional Breathing Exercises, .... 218 nalysis of •' Slides,"

. 219

Scale of " Slides," .

. 220

The "Wave,"

. 221

The "Monotone," .

. 225

The " Semitone," .

. 231

Cultivation of " Puke Tone," 239

Extracts for Practice, . 242 Exercises in " Pure Tone," 242 Exercises in "Orotund" Utterance, . . . 253 Exercises in " Aspirated Quality," . . .262 Exercises in Force, . " . 267

Miscellaneous Exercises, . 277 I. A Sea- voyage. Irving. 277 II. Death of Morris. Scott. 280

III. The Planetary Systems.

IV. Chatham's Rebuke of

Lord Suffolk. . 283

V. Speech of Patrick Henry .284 VI. The Ocean. Byron. . 285 VII. Battle of Waterloo. Byron. . . .286 VIII. Satan Rallying the Fallen Angels. Milton. 287 IX. Hymn to Mont Blanc.

Coleridge. . . 289 X. Ode on the Passions. Collins. . 291 XI. The Uses of Knowledge.

Alison. . . .293 XII. Scene of Scottish Life.

Wilson. . . 294

XIII. Eloquence of John Ad-

ams. Webster . . 298

XIV. Heroism of the Pilgrims.

E. Everett. . . 299

Chapter I. Respiration, Or Exercises In Breathing. 1

The organs of voice, in common with all other parts of the bodily frame, require the vigor and pliancy of muscle, and the elasticity and animation of nerve, which result from good health, in order to perform their appropriate functions with energy and effect. But these indispensable conditions to the exercise of the vocal organs, are, in the case of most learners, very imperfectly supplied. A sedentary mode of life, the want of invigorating exercise, close and long continued application of mind, and, perhaps, an impaired state of health, or a feeble constitution, prevent, in many instances, the free and forcible use of those muscles on which voice is dependent. Hence arises, to students of elocution, the necessity of practising physical exercises, adapted to promote general muscular vigor, as a means of attaining energy in vocal functions ; the power of any class of muscles, being dependent on the tone of the whole system.

The art of cultivating the voice, however, has, in addition to the various forms of corporeal exercise, practised for the general purpose of promoting health, its own specific prescriptions for securing the vigor of the vocal organs, and modes of exercise adapted to the training of each class of organs separately.

The results of such practice are of indefinite extent : they are limited only by the energy and perseverance of the student, excepting, perhaps, in some instances of imperfect organization. A few weeks of diligent cultivation, are usually sufficient to produce such an effect on the vocal organs, that persons who commence practice, with a feeble and ineffective utterance, attain, in that short period, the full command of clear, forcible, and varied tone.

Gymnastic and calisthenic exercises are invaluable aids to the culture and development of the voice, and should be sedulously practised, when opportunity renders them accessible. But even a slight degree of physical exercise, in any form adapted to the expansion of the chest, and to the freedom and force of the circulation, will serve to impart energy and glow to the muscular apparatus of voice, and clearness to its sound.

There is, therefore, a great advantage in always practising some preliminary muscular actions, as an immediate preparation for vocal exercise. These actions may be selected from the system of prepartory movements, taught at gymnastic establishments ; or they may be made to consist in regulated walking, with a view to the acquisi-

1 For a description of the vocal organs, see Appendix. 2 tion of a firm, easy, and graceful carriage of the body, with appro priate motion of the arms and limbs, — in the systematic practice of gesture, in its various forms, for the purpose of obtaining a free, forcible, and effective use of the arm, as a natural accompaniment to speech, — or in the practice of attitude and action combined, in the most vivid style of lyric and dramatic recitation, so as to attain a perfect control over the whole corporeal frame, for the purposes of visible expression.

Some preliminary exercises, such as the preceding, having been performed, and a sufficient period for rest and tranquil breathing having elapsed, the next stage of preparatory action may be as in the following directions :

1. Attitude of the Body, and Position of the Organs. Place 3^ourself in a perfectly erect, but easy posture ; the weight of the body resting on one foot ; the feet at a moderate distance, the one in advance of the other ;* the arms akimbo : the fingers pressing on the abdominal muscles, in front, and the thumbs on the dorsal muscles, on each side of the spine ; the chest freely expanded and fully projected; the shoulders held backward and downward ; the head perfectly vertical.

2. Exercises in Deep Breathing.

Having thus complied with the preliminary conditions of a free and unembarrassed action of the organs, draw in and give out the breath very fully, and very slowly, about a dozen times in succession. Let the breathing be deep and tranquil, but such as to cause the chest to rise fully, and fall freely, at every effort.

3. Exercise in " Effusive" or tranquil Breathing. Draw in a very full breath, and send it forth in a prolonged sound of the letter h. In the act of inspiration, take in as much breath as you can contain. In that of expiration, retain all you can, and give out as little as possible, — merely sufficient to keep the sound of h audible. But keep it going on, as long as you can sustain it. In this style of respiration, the breath merely effuses itself into the surrounding air.

x The object in view, in this apparently minute direction, is, to secure perfect freedom and repose of body. A constrained or a lounging posture, is utterly at variance with a free, unembarrassed use of the voice, or the production of a clear and full sound.

RESPIRATION.

4. Exercise in "Expulsive" or forcible Breathing. Draw in a very full breath, as before, and emit it, with a lively expulsive force, in the sound of h, but little prolonged, — in the style of a moderate whispered cough. The breath, in this style of expiration, is projected into the air. Repeat this exercise, as directed, in the statement preceding.

5. Exercise in "Explosive" or abrupt Breathing. Draw in the breath, as already directed, and emit4t with a sudden and violent explosion, in a very brief sound of the letter h, — in the style of an abrupt and forcible, but whispered cough. The breath is, in this mode of expiration, thrown, out with abrupt violence. Repeat this exercise, as before directed.

Note to Adult Students and Teachers.

The habit of keeping the chest open and erect, is indispensable to the production of a full, round tone of voice. But it is of still higher value, as one of the main sources of health, animation, and activity.

The effect, on the student, of the preceding exercises inbreathing, is usuallysoon perceptible in an obvious enlargement of the chest, an habitually erect attitude, an enlivened style of movement, a great accession of general bodily vigor, an exhilarated state of feeling, and an augmented activity of mind. To persons whose habits are studious and sedentary, and especially to females, the vigorous exercise of the organs of respiration and of voice, is, in every point of view, an invaluable discipline.

FIRST TABLE OF ORTHOPHONY

ORTHOEPY.

ELEMENTS OF THE ENGLISH LANGUAGE,

Classified by the Ear, as Sounds.

I. Tonic, 1 or Vocal and Diphthongal Elements.

Simple, — having one unchanging sound.

The element of sound, in every instance, is indicated by italic type, and should be repeated, by itself, after the pronunciation of the whole word, in a full, clear, exact, and distinct style.

Compound, — beginning with one sound and ending in another. 13, ^4-le; 14, J-ce ; 15, O-ld; 16, Ou-i ; 17, Oi-l; 18, Z7-se, (verb, long ;) Use, (noun, short.)

LT. SUBTONIC, 7 SuBVOCAL, OR SEMIVOWEL 8 ELEMENTS.

Simple. — 1, L-u-ll; 2, M-a.i-?n; 3, N-u-?i; 4, P-ap, (hard, but not rolled;) 5, Fa-r, (soft, not silent ;) 6, Si-?zg-; 7, B-a-be ; 8, D-i-d; 9, G-a-g; 10, F-al-»e; 11, Z-one; 12,A-2-ure; 13, Y-e; 14, W-oe; 15, Til-en. Compound.— 16, J-oy.

HT. Atonic, 9 Aspirate, 10 or Mute 11 Elements.

Simple. — 1, P-i-pe; 2, T-en-t ; 3, C-a-£e; 4, P-i-/e ; 5, C-ea-se ; 6, il-e ; 7, Th-in ; 8, Pu-sA. Compound. — 9, Ch-m-ch.

1 So called from their comparatively musical sound, and susceptibility of tone. Seepages 19, 20.

2 The same in quality, but not in quantity, with the preceding.

3 Middle sound, between ur and air.

4 Middle sound, between a-le and e-nd.

5 A sound closer than that of a in a-ll.

6 Closer than o in o-r.

7 So called from their inferiority in fcme, when contrasted with tonics.

8 So called from their partial vocality, when contrasted with atonies or mutes.

9 So called from their want of tone.

10 Formed by a process of breathing-.

11 Deficient in sound.

SECOND TABLE OF ORTHOPHONY.

ORTHOEPY.

ELEMENTS OF THE ENGLISH LANGUAGE,

Classified according to the action of the Organs of Speech, in Articulation.

I. Oral and Laryngial Sounds.

[Formed by the mouth and larynx.']

In practising the sounds, the mouth should be freely opened, and firmlyheld in the position proper for the formation of each sound, and every position carefully observed.

II. Labial, or Lip Sounds. 1, P-a-£e; 2, P-i-pe ; 3, Jlf-ai-m; 4, W-oe ; 5, F-al-ue; 6, F-i-fe.

III. Palatic, or Palate Sounds. 1, C-a-&e; 2, G-a-g; 3, F-e.

IV. Aspirate, or Breathing Sound.

H-e.

V. Nasal, or Nostril Sounds.

VI. Lingual, or Tongue Sounds. 1, L-n-ll; 2, .R-ap; 3, Fa-r.

Syllabic Combinations, To be practised with great force, precision, and distinctness. I. Initial Syllables.

Bl, cl, Jl, gl, pi, spl ; Br, cr, dr, fr, gr, pr, spr, tr, str, shr ; Sm, sn, sp, sk, st.

II. Final Syllables.