Chapter IV

BREATHING FURTHER CONSIDERED THEORETICALLY AND PRACTICALLY.

When one takes into account the large number of muscles employed in respiration, and remembers that these muscles must act in perfect harmony with each other if the great end is to be attained, he naturally inquires how this complex series of muscular contractions has been brought into concerted action so as to result in that physiological unity known as breathing.

It is impossible to conceive of such results being effected except through the influence of the nervous system, which acts as a sort of regulator throughout the whole economy. All the parts of the respiratory tract are supplied with nerves, which are of both kinds--those which carry nervous impulses or messages from and those which convey them to the nervous centres concerned; in other words, to and from the bodies of the nerve-cells whose extensions are termed nerves. These centres are the central offices where the information is received and from which orders are issued, so to speak.

The chief respiratory centre--_the_ centre--is situated in that portion of the brain just above the spinal cord, in its continuation, in fact, and is known as the _medulla oblongata_, or _bulb_. But while this is the head centre, at which the ingoing (_afferent_) impulses are received and from which the outgoing (_efferent_) ones proceed, it makes use of many other collections of nerve-cells, or subordinate centres--_e.g._, those whose nerve-extensions or nerve-fibres proceed from the spinal cord to the muscles of respiration.

When all the ingoing impulses from the lungs, etc., are cut off, if respiration does not actually cease, it is carried out in a way so ineffective that life cannot be long sustained. It follows that as the muscular contractions necessary for the chest and other respiratory movements are dependent on the impulses passing in from the lungs, etc., breathing belongs to the class of movements known as reflex--chiefly so, at all events. It will thus be seen that respiration is a sort of self-regulative process, the movements being in proportion to the needs of the body. The greater the need for oxygen, the more are the nerve-terminals in the lungs and the centre itself stimulated, with, as a result, corresponding outgoing impulses to muscles.

As the respiratory centre is readily reached by impulses from every part of the body, like one who keeps open house, there are many different sorts of visitors, not all desirable. If, for example, a drop of a fluid that produces no special effect when on the tongue gets into the larynx, trachea, or lungs, the most violent coughing follows. This is one illustration of the _protective_ character of many reflexes. This violent action of the respiratory apparatus is not in itself a desirable thing, because it disturbs if it does not exhaust, but it is preferable to the inflammation that might result if the fluid, a bread-crumb, etc., were to pass into the lungs.

In like manner, the deep breath and the "Oh!" that follow a fear-inspiring sight, a very loud noise, or a severe pinch of the skin, are examples of reflex action. They are quite independent of the will, though in some cases they may be prevented by it.

This reflex nature of breathing throws much light on many matters of great interest to the speaker and singer, some of which, as the formation of good habits of breathing, will be considered later. Unfortunately for the nervous débutant, his breathing is anything but what he could wish it. The pale face and almost gasping respiration, in the worst cases, are not unknown to the experienced observer. In such cases the preventive (_inhibitory_) influence of certain ingoing impulses is but too obvious. Such undesirable messages may pass in through the eyes when the young singer looks out on the throng that may either approve or condemn; or they may originate within, and pass from the higher part of the brain to the lower breathing centre. The beginner may have high ideals of art, and fear that they will be but ill realized in his performance. His ideals in this instance do not help but hinder, for they interfere with the regular action of the breathing centre. A few deep breaths after the platform has been reached greatly help under such circumstances. It is also wise for the singer to avoid those songs that begin softly and require long breaths and very evenly sustained tones. It is much better to begin with a selection that brings the breathing organs into fairly active exercise at once. One feeble, hesitating, or otherwise ineffective tone is in itself a stimulus of the wrong kind, sending in unfavorable messages which are only too apt to reach the breathing and other centres concerned in voice-production; but of this subject of nervousness again.

It is important to realize that sounds, whether musical or the reverse, are produced by the outgoing stream of breath, by an expiratory effort. Breath is taken in by the voice-producer in order to be converted into that expiratory force which, playing on the vocal bands, causes them to vibrate or pass into the rapid movements which give rise to similar movements of the air in the cavities above the larynx, the resonance-chambers, and on which the final result as regards sound is dependent. Important as is inspiration to the speaker and singer, expiration is much more so. Many persons fill the lungs well, but do not understand how to husband their resources, and so waste breath instead of converting every particle into sound, so to speak. After the larynx has been studied the importance of the expiratory blast will be better understood.

For the voice-user, it cannot be too soon realized that _all breath that does not become sound is wasted_, or, to express the same truth otherwise, the sole purpose of breathing is to cause effective vibrations of the vocal bands. In these two words, _effective vibrations_, lies the whole secret of voice production, the whole purpose of training, the key to the highest technical results, the cause of success or failure for those who speak or sing.

Before the larynx, the apparatus that produces sound-vibrations, can be effectively employed, the source of power, the bellows, must be developed. To some Nature has been generous--they have large chests; to others she has given a smaller wind-chest, but has perhaps compensated by providing an especially fine voice-box. Happy are they who have both, and thrice happy those who have all three requirements: a fine chest, a well-constructed larynx, and beautifully formed resonance-chambers. If with all these there are the musical ear and the artistic temperament, we have the singer who is born great. These are the very few. To most it must be--if greatness at all--greatness thrust upon them, greatness the result of long and patient effort to attain perfect development. Indeed, even those with the most complete natural outfit can only reach the highest results of which they are capable by long and patient application. Those who do not believe in attainment only through labor would do well to abandon an art career, as there is already a great deal too much poor speaking and bad singing.