this group of glands
the cuneiform cartilage of Wrisberg_, sometimes reduced to a mere
cartilaginous granule."

Dr. Elsberg also describes them on p. 37 of the treatise before
mentioned as "elongated nodules" in the hinder portion of the vocal
ligaments, and says they are found "more often in the female than
in the male sex." He calls them the "posterior vocal nodules," and
gives on p. 36 a diagram which shows them most clearly and
unmistakably. This point would therefore seem to be settled.

=The Resonator.=--We now come to the last part of our instrument, namely,
the resonator, which is formed of (1) the pockets of the larynx; (2) the
tube above the pocket ligaments; (3) the upper part of the throat; (4)
the mouth; and (5) the nose. Before giving a description of the
resonator, it will be necessary to make a few introductory remarks on
certain laws of the philosophy of sound, which have been so clearly
demonstrated that they admit of no contradiction.

=Tone=, as we have seen, is the result of rapid periodic vibrations.

The =Loudness= of tone depends upon the _amplitude_ of the vibrations.
This is easily shown by drawing a bow over the string of a violin: while
the vibrations of the string are largest, the tone produced is loudest,
and as the vibrations get smaller, so the tone becomes fainter.

The =Pitch= of tone depends upon the _number_ of vibrations in a given
period of time. The greater the number of vibrations the higher the
pitch, and _vice versa_.

The =Quality= of tone depends on the _form_ of the vibrations, "which also
determines the occurrence of upper partial tones."[K]

Now, to make the sound of any tone-producing element more intense, and
to give it some special quality, is the work of the resonator. If we
simply fix a fiddle string at either end, and, after giving it a certain
amount of tension, draw a bow across it, we shall certainly produce a
tone, but a very poor and faint one. Put the same string with the same
amount of tension upon a cheap violin, and the tone will be intensified,
and its quality changed, though that quality may be of a very unpleasant
kind. Repeat the experiment upon an Amati or a Straduarius, and not only
will the tone be more powerful still, but it will also have a full,
round, and beautiful quality. Something, it is true, depends upon the
string and upon the bowing, but we are here supposing the same string
and the same player,