If it were an ordinary, artificial instrument, the humble larynx wouldn’t be well loved. It’s a complicated organ, a dense nexus of muscles, cartilage and nerves, flanked by bones. As vocal scientist Ingo Titze notes, were the larynx to be arranged by size against other instruments, “it would be grouped with the piccolo, among the smallest of mechanical music makers.” 

The larynx’s unassuming size, however, belies its power as a musical instrument. Some of the greatest pieces of music ever written wouldn’t be half the works they are if the human voice were erased from the score. 

Remove the voice, and Beethoven’s Ninth Symphony becomes a shadow of itself. Without voice, the musical numbers in Bollywood just become garishly colored dance sequences, robbed of any meaning. Remove the voice and Ave Maria is just silence. 

Don’t get me wrong, I like John Cage’s 4’33’’—a composition performed in the absence of noise—as much as the next man, but a world without singing is one that I don’t want to imagine and, I suspect, neither do you. And yet, for its importance as an instrument in so many genres of music, the mighty larynx is seldom perceived to be a legitimate music maker. 

I cannot begin to count the number of times I have had some permutation of the following conversation, with other musicians and non-musicians alike:

“So tell me, do you play an instrument?” they ask.

“Yes,” I reply “I sing.”

(Laughs) “No, but seriously, do you play an instrument?”

When I ask these people why they don’t think the voice is a legitimate instrument, they point to the fact that everyone has one and we use it more often for speaking than we do for making music. Their ignorance aside, these folks do have a point. 

The voice is common: there are, roughly, seven billion larynxes out there and they are primarily used for speaking, not singing. Yet the commonality of the voice and its use for something other than music making shouldn’t discredit its value as an instrument. 

Although everyone has the tools at their disposal to sing, it takes years of training and plenty of hard work to build up the vocal strength necessary for singing. In the same way that picking up a 500 kg dumbbell on the first attempt is all but impossible, you can’t expect to sing an aria without first practicing. 

Titze says that singers ask the vocal cords to do something “no other string instrument can do: vary the length and tension of the vibrating material simultaneously to change frequency.” 
And thankfully, all that precise control doesn’t go to waste—just come to the Chamber Choir concerts in the Chapel, this Saturday and Sunday at 3 p.m., to find out what voices can truly do!
Judging by complexity and range alone, the voice box clearly meets the definition of “instrument.” But I’m not all about merely checking boxes. Technical considerations are great pieces of evidence, but they cannot be the only determining factor. Clearly, something more ethereal is needed. 

Again, vocal music is up to the task. If you were to draw up a top 10 list of the best works of music in history, it wouldn’t be all that surprising if some  (if not the majority) of pieces included a voice. As the universal instrument, the voice is a unifying experience. While our tastes in music differ and the ways that we produce song differ as a consequence, humans can still be united by our voices. Because it requires no external aids, no knowledge of musical notation and no experience in music whatsoever, the larynx is the perfect equalizing instrument. Yes, some people may be more adept at using the voice than others, but that should not discourage you from trying to master your larynx as well. Go out there and sing!