THE RELATIONS OF THE TEETH AND 
PALATE TO VOCALISM. 
BY 
/ 
THOS. FILLEBROWN, M. D., D. M. D., Professor 
of Operative Dentistry Harvard University. 
Read at the Union Meeting of the Massachusetts and Connecticut 
Valley Dental Societies, Boston, July, 1888. 
From 
THE INDEPENDENT PRACTITIONER, 
November, 1888. THE RELATION OF THE TEETH AND PALATE TO VOCALISM. 
BY THOMAS FILLEBROWN, M. D., D. M. D. 
Read before the Union Meeting of the Connecticut Valley ami Massachusetts 
Societies, Boston, Mass., July 10, 1888. 
The relation of dentists to the oral cavity issued as to demand 
of them a thorough understanding of all that pertains to its func- 
tions, as well as its anatomy and pathology. Vocalization and 
articulation are among its most important functions, and worthy 
the thoughtful consideration of this body. 
H aving had considerable personal experience in vocal culture, 
favorable and unfavorable, and also in the forming and adjusting of 
obturators for cleft palate, I have been led to stud}' the subject 
more or less thoroughly, and I find my conclusions so radically dif- 
ferent from the teachings of dental text-books, that I feel constrained 
to offer them for your consideration. 
The action of the soft palate has, perhaps, greater influence 
upon the tone of the voice than any other organ. I have consulted 
many treatises on both singing and speaking, and nearly every 
writer has, according to my observations, entirely misconceived the 
action of the velum. Drs. Flint and Lennox Brown are the more 
notable exceptions. It affords me satisfaction to observe that by 
personal consultation I find that teachers of singing and speaking 
are, m many cases, giving much better instruction than is written 
in the books. 
Few writers, indeed, have made personal examinations on the 
subject, but have been content to take for granted the general ideas 
of others. Not a single work on oratory that I have been able to 
find gives any definite idea at all of the action of the organs of the 
human vocal apparatus and in them no attempt.is-madci to define, de- 2 
The Relation of the Teeth and Palate to Vocalism. 
scribe or explain the action of the soft palate. Some physiologists 
have described its action, as observed by them, but in wrongly 
educated subjects. 
Dr. Kingsley says : * “ Pure vocal sounds can be made by 
the resonance of the buccal cavity alone. Let any other cavity 
communicate with it, and the purity of the vowel sounds is de- 
stroyed. If there be any escape of breath or sound, however 
small, behind the curtain of the palate, the vowels will be 
nasalised.” 
Dr. Carl Seiler states : f “ The cavities of the nasopharynx 
and nose are separated from the direct influence of the vibrations 
of the vocal cords by the adaptation of the soft palate to the 
pharyngeal wall.” 
Dr. Seiler conceives the head cavities to be a reinforcing 
power, but thinks they are set in vibration through the walls of 
the palate, and not through an opening behind the velum. 
This is entirely at variance with facts, as verified by my own 
experience and observation. The true office of the soft palate is 
not to close but to modify the opening into the nares, and thus 
attune the resonant cavities to the pitch and timbre of the note 
given by the vocal cords, throat and pharynx. A sound confined 
to the throat and mouth is harsh, weak, and without penetrating 
power; but aided by the reinforcing vibrations of the nasal and 
head cavities, the voice becomes soft, strong and far-reaching, and 
agreeable to the ear of the listener. 
To understand how the palate or teeth affect vocalism, we 
must understand how the best tone is produced. This we can get 
by studying the organs themselves and their action. The organs 
which give forth the human voice constitute a musical instrument 
of great range and power. Every truly musical instrument has in 
it three elements—a power, a vibrator and a resonator. The violin 
has the bow for a power, the string for a vibrator, and a hollow 
body with its contained air for a resonator. The French horn has 
the lungs of the player for a power, the lips for a vibrator, and the 
gradually enlarging tube, terminating in the flaring bell shape, to 
produce the quality and resonance. 
* Oral Deformities. 
f American System of Dentistry, Vol. III. The Relation of the Teeth and Palate to Vocalism. 
3 
In all of these instruments, the quality and power of the tone 
depends upon the presence of these three parts, and their perfection 
of construction and proper relation as regards each other as to size 
and position, and upon the perfect use of each part. 
A split sounding-board spoils the piano ; a “ cracked fiddle ”is 
the synonym for everything disagreeable; and the indented bell 
destroys the lovely tone of the French horn. 
The human vocal instrument has these three elements, and 
each element variable according to the will or feeling of the player. 
This constitutes a modifying power, which gives a variety of qual- 
ity known in no other instrument, and makes it the wonder and 
admiration of mankind. To these is added another element— 
organs for articulation. 
In this human instrument: 
1. The lungs give the power. 
2. The vocal cords are the vibrator. 
rf. The nasal and head cavities are the resonator. 
4. The mouth and lips are the articulator. 
The modification of these parts, produced by the feelings of 
the singer or speaker, give qualities of tone expressive of any emo- 
tion a person may feel, as pain or pleasure, joy or grief, courage or 
fear. 
The quality and power of resonance is well illustrated by a 
tuning-fork, which, if set in vibration, can, unaided, be heard but a 
little distance, and only faintly; but if rested upon a table or plate 
of glass, or, better, upon the edge of the bridge of this violin, it will 
set up a series of vibrations of the same pitch and character, which 
are distinctly heard throughout this large hall. A column of air, 
contained in a cylinder or pipe of the size and length to reproduce 
the note, or a bottle with a neck the right size, will produce the 
same effect when the vibratory fork is held before the opening; but 
if the opening be stopped up, the vibrations can be only very im- 
perfectly and faintly reproduced. 
The walls and contained air of the head cavities, which consist 
of the mastoid and ethmoid cells, the antra, vomer, turbinated 
bones and frontal sinuses, present a vibratory surface of scarcely 
less than fifty square inches, and contain from twelve to twenty 
cubic inches of air, and constitute a resonator of wonderful 4 
The /{elation of the Teeth and Palate to Vocalism. 
power; but if they be shut off' from the vibratory cords by 
closing of the velum against the posterior wall of the pharynx, 
their resonating power is lost, and the tone goes out undeveloped. 
The tuning-fork was not heard, but the vibrations of the resonant 
violin upon what it rested were loud and prolonged, and filled the 
hall. The vibrations of the vocal cords alone are insignificant. 
It is the vibrations of the resonant apparatus of the human instru- 
ment which give pleasure to the ear, and are sonorusand far reaching. 
The nasal tone so much dreaded by vocal teachers, and the 
“ Yankee voice ”is not produced by an open palate,and the vibrations 
extending to the nasal passages, but by obstruction principally of 
the outer nasal passages by contraction of the aim of the nose. If 
the nostrils be contracted by muscular actions or by outward pres- 
sure, the nasal twang will be pronounced ; but if the nostrils be 
fully opened a full clear tone is given out. If while giving the 
prolonged sound of ncj the exterior opening of the nose be alter- 
nately compressed and distended the difference in the sound will be 
very marked as to nasal quality. The genuine ‘‘Yankee tone” 
seems to be dependent also upon a contraction of the posterior 
nares and elevation of the dorsum of the tongue; but the pure 
nasal quality is produced as above described. 
That the velum is drawn forward allowing a free passage into 
the posterior nares during the vowel sounds, I have had proven by- 
observations. Prof. Harrison Allen, of Philadelphia, kindly gave 
his attention to the matter and made examinations for the purpose 
and found this to be the ease. Dr. I. E. Kimball, of Portland, also 
verified the conditions, and Lennox Drown makes the same state- 
ment. 
Singers cannot obtain the best quality of voice except in this 
way, and as speaking is only modified singing the same rule holds 
good for the formal speaker as for the singer. Because the 
singing voice is so much better understood, I have analyzed its 
productions to illustrate the formations and delivery of the speak- 
ing voice. 
Singing is a formal continuous tone unbroken between the 
words. Speaking is broken between the words and syllables. Sing- 
ing is confined to some particular pitch and changes from one 
pitch to another by regular intervals. The Relation of the Teeth and Palate to Vocalism. 
5 
Speaking is unrestrained by sncli limits and varies without 
relation to pitch or interval. Yet the accomplished speaker uses 
very largely a definite pitch and musical tone. 
The singing and speaking tones are produced by the vocal 
organs in the same way and in precisely the same focus with 
the same resonance and the same articulation is used. 
A great deal is said and written about a “ pure tone; ” but 
writers do not describe it, and it is meaningless in itself. 
We are told to speak and sing natural, for the natural tone is 
correct. This is also indefinite. What is a natural tone ? It is na- 
tural for a child to imitate the first sound it hears ; t may be the 
French nasal, the German gutteral or the American open-tone. In 
either case the child imitates and for it this becomes the natural tone. 
To be natural ife the hardest lesson to learn, and it is only the 
result of severe and prolonged discipline. Untrained naturalness 
is the perfection of awkwardness. 
The involuntary functions of organic life are the only ones 
naturally performed correctly. Nature’s method of circulation, 
swallowing and breathing can be depended upon, and the initial 
cry of the infant when ushered into the world has the true ring, 
which is recognized throughout the house. But unless established 
in their action by imitation and discipline, their functions will 
soon be corrupted by false examples. 
The essential qualities of a tone 
are now recognised to be softness and 
resonance, the last making it far- 
reaching and effective. Power and 
volume are the product of increased 
resonance and largeness. Resonance 
is increased by the more perfect 
focusing of the vibrations. Largeness 
is improved by a general expansion 
of thecavities of the throat, mouth 
and nose, especially by depression 
of the tongue. To properly form 
and deliver a tone all the organs 
involved should be correctly trained 
and well nsed. 
Fig. 1. 
Fig 1 shows the position the 
palate and tongue should assume 
while giving the sounds of vowels 
and dipt hongs—a, e, i, o; do, oi, oy, 
ou. 6 
The Relation of the Teeth and Palate to Vocalism. 
Correct breathing is very essential, and this is universally 
conceded to be the abdominal breathing. 'Hie lower part of the 
thorax is enlarged laterally, and the abdomen is enlarged both 
laterally and anteriorly by the depression of the diaphragm. 
The shoulders should never be raised a particle, but should 
remain as fixed as were Demosthenes under the points of the 
swords hung above him. 
Expel the breath by contraction of the ab- 
dominal muscles; and in proportion as they are 
trained and strengthened will the possible force 
and intensity of the tone increase. The weak- 
ness of many singers is the result of weak breath- 
ing. Observe a sleeping infant; it will afford a 
perfect example of abdominal breathing, and no 
one could have a suspicion of sex from any dif- 
ference in the function. In my judgment all 
the peculiarities of female breathing are the re- 
sult of customs practiced in after life. 
Fig. 2 is the profile of an accomplished 
vocalist and shows correct breathing. It is worthy of notice how 
much more the breathing capacity can be lessened than increased 
from the state of rest. 
1 Position of diaphragm at rest. 
5 “ “ “ during full inspiration. 
6 “ “ “ “ “ expiration. 
3 “ “ Chest and abdomen at rest. 
4 “ “ “ “ “ full inspiration. 
2 “ “ “ “ « “ expiration. 
The larynx should rest in the position it takes during a 
yawning inspiration ; any bobbing around or up and down is detri- 
mental to the quality of the tone and injurious to the organ. 
The head should be inclined a little forward, the chin down, 
and the under jaw drawn back, the tongue should lie as low as 
possible in the mouth, and the mouth and pharynx made large. 
This will throw the velum forward and open a free passage 
into the nares. 
The principal centre of vibrations is the middle of the nose. 
The tone should seem to be made in the nose and head, and the 
Fig. 2. The Relation of the Teeth and Palate to Vocalism. 
7 
vibrations can be plainly felt by placing the linger lightly on the 
thin bones of the nose or upon the top of the head. 
All good singers produce 
their upper notes in this 
way; but many take the 
lower notes differently. I 
am quite fully convinced that 
the more nearly the voice is 
focused,as here described on 
low tones as well as high, the 
better the tone will be, and 
only in this way can the best 
results of which a voice is 
capable be obtained. 
The center of articulation 
is apparently through the 
necks of the upper teeth and 
lip. 
If these rules are observed 
the voice will not be dis- 
turbed by articulation, and 
the speech will seem to be entirely independent of the tone as the 
articulation of the solo singer is independent of the organ tone 
which surrounds her, though she sets all the air in vibration 
by speaking the notes. 
Many theories are held as to the registers of the voice. 
Some claim one, some three, others six. While one at least finds 
as many registers as there are notes in the compass of the voice. 
Register means as I understand it a condition of the vocal 
organs as to position,focus or tension, of one or more parts, which 
changes when passing from one register to another. 
My own studies lead me to the belief there is but one register, 
or rather no such thing, further than it applies to the compass of 
the voice. Such as head, middle and chest registers, are artificial 
divisions made by education, and to my mind a false education. Of 
one thing I feel sure, that if a singer or speaker will focus and de- 
liver the tones throughout the compass of the voice, as described 
POSITION OF HEAD ANI) CHIN. 8 
The Relation of the Teeth and Palate to Vocalism. 
in this paper the questions of register need never be raised, and 
the difficulties of “blending the registers ” will never be found. 
Vocal organs used as thus described, will scarcely feel fatigue, 
and hoarseness will be to them almost unknown >and “ minister’s sore 
throat ” an unheard of trouble. 
To obtain the best results each organ of the voice must be not 
only well trained, but well formed in all of its parts; hence, if the 
teeth are mal-formed, irregular, or there are spaces between the 
anterior teeth, or they suffer other mal-arrangement, the quality 
of the voice will be disagreeably affected. 
A prominent upper or under jaw or the absence of one or more 
teeth render vocalizations and articulations more or less imperfect 
and peculiar. 
The palate must also be perfect, and harmony of proportions 
and relations must exist between all parts of the vocal organs. 
Artificial substitutes for lost or absent parts, whether they be teeth or 
palate, can never fully perform the functions of the natural members. 
The expectations of the patient and their friends may be moderated 
so far as to be fulfilled ; but to the educated ear, the imperfection 
will be apparent. 
The soft palate moves in all directions, not only forward and 
backward, but upward and downward; it also shortens and 
lengthens. As yet no obturator has been constructed that can 
compass more than the two first movements, consequently it cannot 
perfectly supply the absent part. 
Dr. Kingsley’s flat soft rubber velum more nearly fulfills the 
conditions required than any other yet invented, and if the ma- 
teiial was not so perishable, it would be all that could be reason- 
ably desired. The ball obturator hung in the throat is unphilosophi. 
cal and un-physiological. It fills up the passage to the nares and ob- 
structs the entrance to the resonator of the voice. Thus doing 
precisely what it is desirable to educate the natural velum not to do. 
Hard rubber is cleanly and durable, and is the best material 
for this purpose. 
An obturator which has served me best is one made of hard 
rubber nearly flat, curved to correspond to the form of the natural 
velum long enough to reach back against the anterior tubercle of the 
atlas and attached to a plate by a hinge or otherwise so as to mo\e The Relation of the Teeth and Palate to Vocalism. 
9 
freely back and forth with the edges rounded, and so formed that the 
muscles of the split velum will just close forward of it and carry 
it back against the posterior wrall of the pharynx during swallow- 
ing or speaking. The sizes and form of the velum at the upper 
portion wThere the hinge is attached, should just fit the notch of 
the cleft so the parts will just close around it tight when they 
contract. Such an instrument serves very nearly the purpose of the 
soft rubber velum, and is in harmony with the philosophy of voice 
production as to-day demonstrated. 
The training of the larynx must be negative. The position is 
easily determined by a yawning inhalation. The effort of the mind 
must be to leave it unrestrained by the action of the supporting 
and surrounding muscles. The pitch is determined by the interior 
muscles controlling the vocal cords. Contraction of the muscles 
exterior to the larynx is one great cause of the throaty tone so 
common and so injurious. 
Any exercise, as lifting, rowing or dumb-bell, which requires 
a fixation of the breath, will strengthen the abdominal and thoracic 
muscles and increase the breathing power. Full, deep and pro- 
longed inspiration will increase the breathing capacity. Slow in- 
spiration and expiration will give control of the muscles, and 
enable one to use at will the power and capacity acquired. 
Any organ, to perform its best office, must be both w'ell trained 
and well strengthened. A few rules briefly expressed will suffice 
to make the matter plain. 
The vocal cords may be strengthened by use. Take vocal ex- 
ercise frequently, but for a short time, and always within the limits 
of the voice. Avoid all harshness or stridency of tone; cultivate 
softness and seek to increase the power by enlarging the cavities of 
the throat and mouth. 
To develop the power of the resonant cavities of the head, 
produce a tone which is especially dependent on them. The sound of 
ng is the best for this purpose. While giving this tone all the organs 
are in a perfect position for producing the vowel sounds, save the 
tongue; this, of course, is drawn up against the soft palate. 
Pronounce words ending in ing, giving the vowels as little 
time as possible, and prolonging the ng for a number of 
beats. This practice persistently followed will set the nose 10 
The Relation of the Teeth and Palate to Vocalism. 
and head in vibration, and focus the sound at exactly the right 
point. 
The vowels are best practiced in the order—e, oo, ii, a as e 
is ranch the easiest to focus and ii the most difficult. 
The sound of each vowel, on each and every note, should cen- 
ter the vibration the same as the ng, and this is the test by which 
each person can know if the tone is given correctly. 
With the formation of the tone I leave the subject. 
Many other points crowd upon our attention in connection 
with this, bnt the limits of the hour will not permit any attempt to 
discuss them at the present time.