The Portland daily press., 1888-07-19
THE DENTISTS.
A Dental Registration Bni-Dr. File
browns Address.

The members Of the Maine Dental Society
met at o'clock yesterday morning in the
fsat~-@i History hall.
The irst on the pr0gIanaraa. was a clinic bv
DIR. Blaisdell, of Portsmouth, on "Comblna
tion filling, amalgam and gold"
The committee on dental legislation re-
ported the draft OF bill to be presented to
the next legislature. The bill would provide
for board Of registration, with the provi-
sion that all the dentists in practice at the
time of the passage of the bill should be al
lowed to register Any entering the practice
after that would under this billhave to have
certificate from the board of registration
that sufficient proof of ability to practice
dentistry had been furnished The board of
registration would be composed of five mem
bers appointed by the Governor, one to hold
Office for five years, and the others shorter
periods. The other sections provide for fees
for registration which would be light and for
moderate recompense for members of the
board, who must be paid from the fees, and
In no case from the treasury of the State.
A committee consisting Of DR.. G. w. Eel
lows, Of Portland. DR.. E. J. Roberts. of Au-
gusta, DIR. @. p. Sawyer. of Skowhegan, DIR.
Elbridge Bacon and DIR. Thomas Fillebrown,
Of Portland were appointed as an executive
body to take the bill in charge and present it
to the legislature. They have authority to
increase this committee by appointing addi-
tional members from each county.
The members of the society endorsed a
resolution requesting the National Associa-
tion of Dental Faculties to take action to in
crease the length of terms Of all the dental
schools to at least seven months, and REQUIRE
OF graduates three full years Of study, two
OF which shall have been in attendance on
lectures at the school.
Dr. Fillebrown then delivered paper on
the Philosophy of vocalism, of which the
following is an ABSTRACT
DIR. FILLEBRowN's ADDRESS.
The relations Of the dentist to the vocal
organs are such as to make it imperative for
hlm to know all that can be known about
their uses and capabilities. Vocalism has
Deen treated as subject pertaining to dem
tlstry, In our text books for half century.
MyoWn attention has been directed to 1t es-
peclally In connection with supplying obtur-
atorss for cleft palates. My study has CEN
Tered more especially in vocalization as ap-
plled TO speaking; but to compass this was
Obliged to study as well the science of musi-
Indeed, the difference between singing and
speaking Is one of degree and not of kind.
oiDglng is formed continuous tone un-
broken between the words.
speaking Is broken between the words
Singing is confined to some particular pitch.
and changes from one pitch to another by
regular musical intervals. Speaking is un-
restrained by such limits, but varies without
relation to pitch or interval.
Yet the accomplished speaker for the most
art p0ufinac himca IN Aa6. 10 4
musical tone
In either case. singing or speaking, the
same organs produce the tone in the same
way in precisely the same focus-with the
same resonance and the same articulation.
The human voice like the human face seems
almost divine. 1t is capable of such wonder
ful possibilities by culture and training. The
organs which produce the human voice con-
stitute musical instrument of great power.
gauge and variety. Every musical instru-
ment worthy OF the name has in it three ell
ements, power, a vibratory organ and a
rcsonating, apparatus. The piano has the
hammer which exerts its power upon the
string which vibrates and the sounding board
which reproduces tie vibrations and pro-
duces fine penetrating tune.
The French horn has the lungs of the play
er for the power. the lips for a vibrating. Or
gan, and the gradually enlarging tube termi-
mating in the flaring bell shape, all produce
the quality and resonance.
A III ali VI thtoC tuC qudiitJ anu power OIL the
Zone produced depends upon the presence of
these three parts, and their perfection of
construction and use, and upon their proper
relation of size and position as regards each
other.
The human vocal organs have these three
elements, and to them are added modifying
power to give nicely Of quality known in
no other instrument and an organ for articu-
lati0n. The power is the lungs; the vocal
cords the vibrator; the nasal and head GEN.
A., - utAW 4.
the articulator The centres of the head con-
sist principally Of the autra, the mares, the
ethmoid cells and the frontal senuses The
walls Of these, with the turbinated bones of
the nose. give surface of nearly fifty square
inches for sounding board, and Containing
a large quantity of air which is set in motion
by the primary sound of the vocal cords.
The action and power of a resenator is
well shown by tuning fork and violin. A
tuning fork set in vibration and held in the
hand can be heard only in close proximity to
the ear and then only family. II the end be
rested upon the edge Of the bridge of vlo-
lin set of vibrations are set up in that
which can be clearly heard through large
hall.
In this case it is not the tuning fork which
is heard but the violin which is set in mo-
tion by the weaker vibrations of the fork.
So with the human voice the vibrations of
the vocal cords are not the principal sound
that is heard, but the vibrations of the reson-
dAinb hO'U USoNibiOos WHICH are excited DIV the
vocal cords, consequently the best tune for
singing and speaking is made in the head.
The objection that this will produce a ma
sal tone does not hold. The nasal twang is
due, according to Sarjours, to the partial or
complete absence Of nasal resonance. ..as the
case may be.
The simple contraction of the area of the
nose Will give the nasal sound while the ex-
pansion Of the nose will give entire freedom
from such twang.
With the exception Of Lenox Brown all
the writers l have been able to examine
ignore the Office of the resonant centers
OF the head in yocalization; many even con-
denim it and all, even Brown, consider the
mouth and throat the prime factors instead
Of the nose and head.
Teachers Of music are and have been for
long time teaching far better than. what is
written and it is analysis of good singing
that has led me to the conclusions here pre-
sented in regard TO speaking.
The essential qualities Of good tone are