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LEFT VOGLER 244 VOICE handsome and well laid out. There are considerable manufactures, chiefly of cloth and hats. Pop. about 15,000. VOGLER, GEORG JOSEPH, a Ger- man musical composer, usually styled the Abbe (Browning's Abt) Vogler; born in Wiirzburg, Germany, June 15, 1749, the son of a violin maker. He studied at Bamberg, Mannheim, Bologna, and Pa- dua; was ordained priest at Rome in 1773; and made Knight of the Golden Spur, and prothontary and chamberlain to the Pope. Returning to Mannheim, he established there his first school of music; his second was that at Stock- holm, where in 1786 he had been ap- pointed kapellmeister. After years of wandering and brilliant successes as a player on his "orchestrion" at London and half over Europe, he settled as honored kapellmeister at Darmstadt, and opened his third school, the chief pupils of which were Gansbacher, Weber, and Meyerbeer. He died in Darmstadt, Germany, May 6, 1814. VOGUE, CHARLES JEAN MEL- CHIOR, MARQUIS DE (vo-gii-a'), a French archaeologist; born in Paris, Oct. 18, 1829. His studies are mainly in the departments of the history of religion and Oriental art. He is author of: "The Churches of the Holy Land" (1859) ; "The Temple of Jerusalem" (1864) ; "Civil and Religious Architecture in Central Syria, from the First to the Sixth Century" (2 vols. 1865-1877); in "Semitic Inscriptions" (1869-1877). In 1901 he became a member of the French Academy. He died in 1914. VOGUE, EUGENE MELCHIOR, VICOMTE DE, a French diplomatist; born in Nice, France, Feb. 25, 1848. He was Minister of Foreign Affairs (1871) and later in the diplomatic serv- ice, but left it in 1881 to devote his time to literature. He published: "Syria, Palestine, Mount Athos" (1876); "Ori- ental Histories" (1879) ; "The Son of Peter the Great" (1884); "The Russian Romance" (1886); "Souvenirs and Visions" (1887) ; "Remarks on the Cen- tennial Exposition" (1889). He was a member of the French Academy. He died in 1910. . VOICE, an audible sound produced by the larynx, and effected by its passage outward through the mouth and other cavities. When so modified in particular ways it becomes speech or song. The main difference between these two latter are that speech is more limited in com- pass or pitch, that it is less sustained in respect of pitch, and is not confined to the notes of a musical scale, that it is associated with a less clear or open pas- sage for the breath, and that it presents certain utterances (consonantal, as- pirate, guttural, etc.) which have not a purely musical character. The larynx is the organ by which the so-called vocal sounds (or primary elements of speech) are produced; and it was in former times keenly debated to which class of musical instruments the larynx might best be compared. Dr. Witkowski says ("Mechanism of Voice, Speech, and Taste") : "Galien compares it to a flute, Majendie to a hautboy, Despiny to a trombone, Diday to a hunting horn, Savart to a bird catcher's call, Biot to an organ pipe, Malgaigne to the little instrument used by the exhibitors of Punch, and Ferrein to a spinet or harp- sichord. The last named compared the lips of the glottis to the strings of a violin; hence was given the name vocal chords, which they still retain. The cur- rent of air was the bow, the exertion of the chest and lungs the hands which carried the bow, the thyroid cartilages the points d'appui, the arytenoids the pegs, and, lastly, the muscles inserted in them the power which tensed or re- laxed the chords." In different larynxes much depends on the relative sizes of the vocal chords; thus a man with a bass voice has longer vocal chords than a child or woman; but as between basses and tenors, tenors and contraltos, or contraltos and so- pranos, the higher voice may sometimes appear to have the longer vocal chord ; on the other hand, slenderness of structure makes up for greater length, and when the vocal chords are long and slender, the voice is "flexible," for the chords readily enter into vibration. Further, a narrow larynx is conducive to high pitch, and so is not only the size but also the form of the female larynx, in which the upper part, above the false vocal chords, and between them and the hyoid bone, is comparatively flat. In children the larynx is small, and the voice high-pitched ; but the larynx grows very rapidly at puberty; and as its dif- ferent parts do not then grow with pro- portionate rapidity, the muscular con- trol is uncertain, and the voice, espe- cially in boys, breaks. Modifications in the form of the res- onating cavities result, by resonance, in those modifications of timbre which we call vowels. In pronouncing u (=oo or Italian u) we round the lips and draw down the tongue, so that the cavity of the mouth assumes the form of a bottle without a neck; if the lips be opened somewhat wider and the tongue be somewhat raised, we hear o; if the lips be wide open and the tongue in its