The Psychology of Singing Part 13

A condition of muscular stiffness results from the contraction of all the muscles of a member, whether this contraction be voluntary or involuntary. This condition does not prevent the normal movements of the member; it only renders the movements more difficult and fatiguing and less effective. It is readily seen why this is the case. More than the necessary strength is exerted by the muscles. Suppose the biceps and triceps, for example, each to be contracted with five units of strength; then let some work be performed by the flexing of the forearm, requiring the exertion of two units of strength. In this case the biceps must exert two units of strength more than the triceps, that is, seven units.

In all, the two muscles together exert twelve units of strength to accomplish the effective result of two units. Six times the needed strength is exerted. Activity of this kind is naturally fatiguing.

Muscular stiffness increases the difficulty of complex movements. Not only is unnecessary strength exerted; the stiffness of the joints also interferes with the freedom and facility of motion. But this unfavorable condition does not upset the power of coordination. The instinctive connection between the nerve centers of consciousness and the motor centers is not broken. Although hampered in their efforts, the muscles are still able to execute the demands of consciousness.

As an ill.u.s.tration of this a.n.a.lysis of muscular stiffness let us consider the actions of writing, when performed under the conditions just described. It is possible to write with the hand and arm in a state of muscular stiffness. But one does not write so easily, so rapidly, nor so well with the arm stiff as with the arm normally relaxed. Closer attention must be paid to the forming of the letters, and more effort must be put forth to write with the muscles stiffened; yet the result is not equal to that obtained with less care and labor under normal muscular conditions.

All that has been said of muscular stiffness applies with especial force to the vocal organs. Like the rest of the muscular system, the muscles of the vocal organs are arranged in opposed pairs and sets. The contraction of all the muscles of the throat, each opposed set or pair exerting about the same degree of strength, causes a condition of throat stiffness. Singing is possible in this condition. But the singer's command of the voice is not so complete and satisfactory as under normal conditions.

Throat stiffness does not altogether deprive the vocal organs of their faculty of instinctive adjustment in obedience to the demands of the ear. To a fair extent the voice is under the command of the singer. The vocal cords adjust themselves readily enough for the desired pitch; tones of the various degrees of loudness and softness can be sung in a fairly satisfactory manner. But the muscles are somewhat hampered in their contractions, and the response to the demands of the ear is not quite perfect. This lack of perfect command is evidenced specially in the quality of the tones. Some form of throaty quality always mars the voice when the throat is in a stiffened condition. In this regard the voice refuses to fulfill the demands of the ear. Even though the singer hears, and indeed feels, the effects of the muscular tension, and strives to remedy the fault of production, the voice still refuses to respond.

This incomplete command of the voice is frequently observed, even among singers of very high standing. At first sight the condition here described seems to disprove the statement that the voice normally obeys the ear. But there is no real contradiction of the psychological law of vocal command in the case of a stiff-throated singer. For one thing, whatever degree of command the singer possesses is obtained in accordance with the law of guidance by the ear. Moreover, the failure to secure perfect response is due solely to the interference with the normal workings of the voice, occasioned by the state of throat stiffness. Far from this form of muscular contraction being a contradiction of psychological principles, it will be found on examination to be in perfect accord with well-established laws of physiological psychology.

It is hardly to be supposed that the singer consciously and voluntarily contracts the muscles of the entire vocal mechanism and so deliberately brings about the stiffening of the throat. True, this can readily be done. We can at will sing throaty and nasal tones. But this form of voluntary throat tension is not, properly speaking, an incorrect vocal action. So long as the vocal organs respond to the demands of the ear, the vocal action is correct. Only when the voice refuses to obey can the action be described as incorrect.

A satisfactory definition of the various modes of vocal action can now be given. The correct vocal action is the natural operation of the vocal organs; the voice normally obeys the commands of the ear. An incorrect vocal action occurs when the throat is stiffened by the involuntary contraction of the muscles of the vocal mechanism.

This definition of the vocal action does not solve the problem of tone-production. It is still to be determined how the involuntary contraction of the throat muscles is caused.

CHAPTER II

THE CAUSES OF THROAT STIFFNESS AND OF INCORRECT VOCAL ACTION

Involuntary contractions of the voluntary muscles can occur only as reflex actions. If the muscles of the vocal organs are subject to involuntary contractions, the causes of these contractions must be sought through an investigation of the subject of reflex actions.

Reflex actions are of several kinds; of these the simplest type, and the one most easily studied, is the muscular contraction due to the excitation of the sensory nerve endings located in the skin. Thus when the sole of the foot of a sleeping person is tickled, the leg is at first drawn up and then violently kicked out. An exhaustive discussion of the physiological and psychological features of reflex action is not called for here; a sufficient understanding of the subject may safely be a.s.sumed to be possessed by the reader.

Involuntary muscular contractions often occur as reflex actions without any direct or tactual irritation of the sensory nerve endings. Several examples of this form of reflex action are now to be considered. These actions will be seen to be matters of such common experience as to call for no special proof. They are the following:

(_a_) Reflex actions performed under the influence of sensory impressions other than those of touch or muscular sense.

(_b_) Involuntary muscular contractions due to nervousness.

(_c_) Contractions of the muscles of certain members, caused by the turning of the attention specially to the members.

(_d_) Involuntary contractions of muscles, accompanying the exertion of other a.s.sociated and antagonist muscles, and due to the radiation of nerve impulse.

(_a_) _Reflex Actions due to Sensory Impressions other than those of Touch or Muscular Sense_

A wide range of movements is included under this heading. Of these it is necessary to mention only a few, such as the sudden start on the hearing of an unexpected noise, the instinctive movement of dodging to escape an approaching missile, and the raising of the arm to ward off an expected blow.

Actions of a somewhat similar character normally occur in which it is not easy to point to the excitation of any sense or senses. These include the instinctive cowering att.i.tude of fear, the play of facial expression caused by sentiment and emotion, etc.

(_b_) _Involuntary Actions due to Nervousness_

A condition of marked nervousness generally causes the involuntary contraction of muscles. Who does not recall his earliest attempts at "speaking a piece" in school? The trembling of the lips, the twitching of the arms and hands, and the vain attempts to govern the bodily movements, are an experience painful even in the recollection.

Movements and contractions due to nervousness are entirely purposeless; they even defy the most earnest efforts at inhibition. A marked feature of this type of involuntary action is the contraction of antagonist groups of muscles, productive of muscular stiffness of the members.

An extreme example of this form of nervousness is offered by the unfortunate sufferer from stage fright. In this condition the entire body often stiffens, and purposeful movement of any kind becomes for a time impossible.

(_c_) _Contractions caused by Special Attention to Certain Members_

Suppose a small boy of sensitive nature to enter a room suddenly, and to be at once chided for his awkwardness. His body will probably stiffen, and his awkwardness become more p.r.o.nounced. Now call his attention to his hands and tell him he is holding them badly. His arms and hands will immediately become painfully stiff. Speak of his feet and his legs come on tension. Whatever member his attention is turned to, the muscles of that part contract involuntarily.

Photographers sometimes have to contend with this form of involuntary action on the part of their sitters. When the hands are to be posed the arms stiffen; so also do the legs, the shoulders, and the neck, each when its turn comes to receive attention.

Under normal conditions this form of awkwardness is easily overcome.

Sitting for a photograph soon becomes a simple matter. The boy outgrows the awkward stage and gradually acquires a natural and easy bearing.

Muscular stiffening due to attention to special members is usually the result of an uncomfortable feeling of being out of one's element, and ill at ease in one's surroundings. So soon as this feeling wears off the tendency to this form of stiffness disappears.

(_d_) _Contractions of Muscles due to the Radiation of Nerve Impulse_

A voluntary exertion of some of the muscles of a member sometimes causes the involuntary contraction of all the other muscles of the part. As will readily be seen, the exercise then takes place under conditions of muscular stiffness. This is commonly a feature of the unskilful and unaccustomed performance of muscular activities. A few examples will serve to ill.u.s.trate this type of involuntary contraction better than a lengthy discussion of the physio-psychological principles involved.

When a novice takes his first lesson in riding a bicycle he clutches the handle bars in a vise-like grip. His knees are so stiff as to bend only with a great exertion of strength. To steer the wheel the learner must put forth his most powerful muscular efforts. A half-hour lesson in bicycle riding often tires the beginner more than an afternoon's ride does the experienced cyclist.

This condition of muscular stiffness is due to the contraction of antagonist groups of muscles, involving practically the entire body. In one sense the excessive muscular contractions are involuntary; yet it would not be easy to define where the voluntary element of the contractions leaves off.

A similar excessive expenditure of strength may be seen in the attempt of an illiterate laborer to sign his name. He grips the pen as though it were a crowbar, and puts forth enough strength to handle a twenty-pound weight. Learning to dance, or to skate, or to row a boat, is usually accompanied in the beginning by this form of muscular stiffness.

As skill is acquired by practice in the performance of complex activities, the undue muscular tension of the initial stage is gradually relaxed.

There is another way in which the radiation of nerve impulse may be caused, entirely distinct from the lack of use or skill. Muscular stiffness may be induced in the case of activities so thoroughly habitual as to be normally performed automatically. The cause of muscular stiffness now to be considered is the attempt to perform complex activities mechanically, that is, by consciously directing the individual component movements and muscular contractions involved in the actions. Involuntary contractions of a.s.sociated and antagonist muscles take place under these conditions, in addition to the voluntary exercise of the muscles normally exerted in the movements.

This fact may be ill.u.s.trated by attempting to write a few lines, and forming every stroke of each letter by a distinct exercise of the will.

If you keep up this attempt for ten minutes you will find that you press upon the paper with many times your accustomed weight. The hand stiffens in consequence of the close attention paid to its movements. This stiffness will extend to the arm, and even to the shoulder, if the exercise be continued long enough and with sufficient intensity of attention to the hand.

Another good ill.u.s.tration of this form of muscular stiffening may be found by walking upstairs, and paying the same kind of attention to the muscular actions. Try to ascend a single flight of stairs, performing each elementary movement by a distinct volitional impulse. Pause on the first step to secure perfect balance on one foot; raise the other foot, bending the leg at the knee, then place this foot carefully on the next higher step. Now gradually shift the weight of the body from the lower to the higher foot; as the body inclines forward, exert the muscles of the back and sides to preserve your balance; then contract the leg muscles so as to raise the body to the higher step, with the weight supported on that foot. Repeat this operation for each step. To mount one flight of stairs in this way will tire you more than ascending a half dozen flights in the ordinary automatic way.

All four of the types of involuntary muscular contraction just described may be combined in a single instance. An inexperienced violin soloist, such as a student playing at a conservatory recital, often exemplifies this. Nervousness and awkwardness cause him to tremble; the scratchy sound of his tones makes him twitch and start; meanwhile, the close attention paid to his fingering and bowing stiffens his arms and completes his difficulty.

The vocal organs are peculiarly subject to the forms of involuntary muscular contraction under consideration. Each of the causes of muscular tension may exert its special influence on the voice. Let us go over the ground once more, this time with special reference to the actions of the throat muscles.

_(a) Reflex Actions of the Muscles of the Vocal Organs, Independent of Direct Sensory Excitation_

Involuntary actions of the vocal organs normally occur in response to stimuli furnished by the emotions and feelings. Every one is familiar with the shout of triumph, the sigh of relief, and the e.j.a.c.u.l.a.t.i.o.n of surprise. Some emotions cause a convulsive stiffening of the muscles of the vocal organs so complete as to render tone-production for a time absolutely impossible. "Speechless with terror," "breathless with apprehension," are expressions which accurately describe psychological processes. A crowd of people watching a difficult rescue of a drowning man is silent so long as the uncertainty lasts. A shout instantly goes up when the rescue is seen to be safely effected. Both the silence of the nervous strain and the shout of relief are normal involuntary responses to the emotional states.

_(b) The Influence of Nervousness on the Vocal Action_

Nervous conditions exert a striking influence on the operations of the voice. Even when our self-control under trying conditions is complete in all other respects we are often unable to prevent our voices betraying our nervous state. Stage fright, an extreme form of nervousness, sometimes deprives the sufferer entirely of the power of speech. This temporary loss of vocal command is not due to an inability to innervate the muscles of the vocal organs; on the contrary, it is caused by extreme muscular stiffness due to the violent, though involuntary, contraction of all the muscles of the vocal organs.