The effects on the vocal cords of improper methods of voice production and their remedy / by H. Holbrook Curtis.

  • Curtis, H. Holbrook (Henry Holbrook), 1856-1920.
Date:
1894
Catalogue details

Licence: Public Domain Mark

Credit: The effects on the vocal cords of improper methods of voice production and their remedy / by H. Holbrook Curtis. Source: Wellcome Collection.

Provider: This material has been provided by the Augustus C. Long Health Sciences Library at Columbia University and Columbia University Libraries/Information Services, through the Medical Heritage Library. The original may be consulted at the the Augustus C. Long Health Sciences Library at Columbia University and Columbia University.

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    possible on opening the mouth. At the enrl of seven days the cords, instead of presenting an elliptical appearance, were straight, and the nodule was so far rotated upward on either cord, that it did not touch the nodule of the o])posite side in the emission of tone. At the end of the week this young lady, who considered her voice hopelessly destroyed, liaving acquired a new method of resjiiration. sang in a concert. She has since sung regularly in church, in many oratorios during the Avinter, and is at present singing three times a week in grand opera, learning new roles continually, apparently perfectly restored. She tells me her voice is far more powerful than she had ever anticipated. Case II:—Miss P. H. consulted me on March 2 in great distress. She was obliged to sing in a comic opera on that evening or close the theatre. Examination .showed inflamed and bulged cords with great hoarseness in the sjieaking voice; middle register impossible, but the high notes obtained with great effort. I sent her at once to my assistant who gave her exercises to maintain tension and at the end of an hour's work with tension exercises and inferior-costal breathing the cords responded and she sang with ease. Case III:—Miss H. B. consulted me in May having lost her position as prima donna by reason of loss of voice. Had been constantly treated. Her cords showed the nodules of attrition, the result of the employment of the coup dc (jlotte and faulty respiration. In this case a week's work caused the nodules to disappear. She adopted a proper laryngeal poise and again assumed the leading role. Observation:—In this class of cases, rest causes a relaxation of the cords and singing becomes impossible for some time, whereas, constant work with tension of the cords and non-approximation of the same, gives immediate relief. Case IV:—Fraulein K. consulted me in the spring, her cords ap- peared swollen and the membrane was injured but not hyperiemic. Had been obliged to cancel her engagements and return to New York for treatment. I recognized the familiar picture and sent her to my assist- ant, who cured her in a week without other treatment than the establish- ment of a proper laryngeal poise. With many cases like these may I not be excused, in calling atten- tion to what I consider the most important ground principle of the singer's art, namely: The proper employment of the muscles of respira- tion, the poise given the cords and the proper use of the intrinsic muscles of the larynx, not forgetting thebringing into play of the accessor}^ cavities of the face, which lend so much color to the tone, removing entirely from the cords the deleterious effects of an improper initial attack ? To rehear.se briefly the deductions wliicli I have attempted to draw from my argument, I maintain that the best method of respiration is the inferior-costal or diaphragmatic, faithfully maintaining the ele- vation of the upper ribs without raising the shoulders. Next in im-