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Sur L'histoire Des Cornets Acoustiques Annales françaises d’oto-rhino-laryngologie et de pathologie cervico-faciale (2012) 129, 75—81 Disponible en ligne sur www.sciencedirect.com HISTOIRE DE L’ORL Sur l’histoire des cornets acoustiques C. Renner 7, allée du Prieuré, 94430 Chennevières-sur-Marne, France Chacun ignore à quelle date l’homme porta sa main à l’oreille pour en élargir le pavillon et mieux entendre. Un geste simple qui fait gagner 5 dB. Coquillages marins et cornes animales furent peut-être les premiers objets qu’il utilisa pour améliorer l’audition ? Nul ne sait à quelle période il songea à inverser la fonction des trompes, des cors et autres instruments à vent pour passer de l’émission des sons à leur réception en les portant à l’oreille. Asclépiade utili- sait une trompette pour traiter la surdité, mais dans quel sens ? Voulait-il aider le sourd à capter les sons ou voulait- il stimuler son nerf auditif ? À Rome, Celse recommandait de s’adresser aux sourds-muets en orientant la parole au- dessus de leur tête et semblait ignorer le cornet acoustique. xviiie Au siècle, les cornes de bovidés étaient à la fois des trompes, des cornes à boire et des cornets acoustiques. Seule, la forme de leur embout indiquait leur fonction. Ces cornes animales précédèrent celles en bois, en ivoire, argent e et métal. Au milieu du xviii siècle, James Hutton, honorable secrétaire d’une société savante britannique, est représenté avec son large cornet acoustique métallique. Le premier descriptif d’un cornet acoustique appartient au jésuite Allemand Athanasius Kircher (1602—1680) qui publie Phonugia Nova [1] en 1673. Texte où il présente l’ellipsis otica. En 1692, à Leyde, Antonias Nuck (1650—1692) utilise un cornet [2,3] métallique en forme de cor de chasse (Fig. 1) équipé d’un manche. Lorenz Heister (1685—1758), chirurgien Allemand passé par la Hollande pour participer aux guerres espagnoles, Figure 1 Cornet de Nuck selon Heister. Adresse e-mail : [email protected] 1879-7261/$ – see front matter © 2012 Publié par Elsevier Masson SAS. doi:10.1016/j.aforl.2011.11.013 76 C. Renner praticiens notent le peu d’empressement des sourds à les e e utiliser. Aux xix et xx siècles, les fabricants et distributeurs de matériel médical publient des catalogues pour diffuser leurs productions, ceux de Rainal et De Lacroix, pour l’année 1925, offrent encore un large choix de cornets. Si les défauts d’audition frappent sans distinction de classe, la qualité des cornets acoustiques reflète toujours la position sociale de leurs propriétaires. Figure 2 Cornet de Bonnafont 1873. Des cornets de formes diverses S’inspirant principalement des instruments à vent [8], leurs dispose de trois cornets acoustiques dans son arsenal chi- inventeurs détournent leur fonction et appliquent une sorte rurgical [4] : un cornet en forme de trompe, un cornet de de théorème disant que ce qui marche dans un sens fonc- Nuck en forme de cor, un cornet de Dekkers (1648—1720) tionne aussi dans l’autre. en forme de limac¸on. Dans ses institutions de chirurgie, il signale l’existence en France de modèles assez discrets pour être dissimulés dans la chevelure. Utilisation des coquillages marins J.M.G. Itard (1774/1775—1828) présente en 1829 un rap- port [5] consacré au cornet imaginé par Négrier, médecin Portés à l’oreille ils émettent un son. Est-ce la raison qui à Angers. À cette occasion, il rappelle la grande diffé- conduit à les utiliser pour mieux entendre ? Dans l’Antiquité, rence entre l’aide apportée à la vue par les lunettes et marins et pêcheurs de Méditerranée utilisent le coquillage l’inefficacité absolue des cornets chez les sourds-muets. Il du buccin comme trompe. Porte voix et cornet se côtoient affirme que la dimension du pavillon des cornets doit être xixe probablement depuis la nuit des temps. Au siècle, les vaste pour capter le maximum de son. Pour lutter contre coquillages se transforment en élégants cornets acous- le phénomène de bourdonnement induit par les cornets, il tiques. conseille la forme spiralée et place dans le cornet un dia- phragme en baudruche pour les supprimer. Il considère que l’élasticité de l’argent, du fer-blanc et de la tôle renforcent Imitation des instruments à vent l’onde sonore et recommande d’imiter la forme du limac¸on. Le Musée de la médecine conserve des cornets supposés Tous, ou presque, inspirent les créateurs : trompe, cor, d’Itard. bugle, trompette, trombone, piston. Dans les catalogues En 1873, J.P. Bonnafont [6] expérimente divers matériaux des fabricants de matériel, ces modèles sont souvent des et modèles. Il estime que la tôle, l’argent, le platine et le « cornets de Bonnafont ». fer-blanc conviennent bien au renforcement des sons. Avec le souci de la discrétion du matériel, s’inspirant de la forme Imitation des cloches des instruments à vent, il présente un cornet métallique imitant la trompe (Fig. 2). En France, les cornets en forme de cloche sont les modèles Dix ans plus tard, à Vienne, A. Politzer [7] conc¸oit un cor- les plus répandus. En Angleterre, ces mêmes cornets, éga- net à double récepteur parabolique inspiré des travaux de lement très présents, correspondent aux « London dome Von Helmholtz. Les deux collecteurs convexes sont montés ear trumpet » par leur ressemblance avec une église de la face-à-face pour définir un modèle « banjo » (Fig. 3). ville. La sonorité exceptionnelle des cloches est-elle la rai- Durant la période documentée des cornets acoustiques, e son qui conduit à s’y référer pour inventer des cornets ? qui s’étend du xvii siècle à la fin de la Seconde Guerre, les Les praticiens de l’époque considèrent leur sommet comme un résonateur où s’accumulerait le son. Le « Grand Opera Dôme » est l’un de ces innombrables modèles. Dépassant les 30 cm, l’encombrant cornet, dont la cloche est cintrée, serait apparu aux États-Unis lors d’une première à l’opéra aux mains d’une élégante (Fig. 4). Imitation du limac¸on de l’oreille interne Cette analogie anatomique est portée par les cloches spira- lées. Un aspect qui renvoie peut-être aussi à Denis le Tyran qui sévissait en Sicile. Il avait pour habitude d’enfermer les mécontents dans des cellules de forme spiralée, une architecture permettant de mieux collecter et entendre les gémissements des enfermés. À l’époque, proposer un cornet à l’image de l’oreille interne est-il synonyme de perfor- mance garantie ? Selon Gaujot [9], ces modèles disposent Figure 3 Trois modèles de Politzer. d’une plus grande surface de contact avec l’onde sonore, Sur l’histoire des cornets acoustiques 77 Figure 5 Cloche spiralée H 10 cm. Figure 4 Grand Opera Dome 35 cm. réfléchie de multiples fois sur la paroi elle serait amplifiée (Fig. 5). Tubes acoustiques e Au xvii siècle, des couples puritains anglo-saxons, non atteints de surdité, utilisent des tubes de conversation pour respecter les convenances qui imposent un éloignement phy- e sique. Au xviii siècle, le moine Dom Gauthey présente à Figure 6 Tube de conversation. l’Académie des Sciences un mémoire intitulé : D’un moyen de communiquer entre deux endroits très éloignés. Ce tube celui du téléphone. Subissant la même influence, la par- acoustique, à l’usage des châteaux et vastes demeures, peut tie auriculaire prend l’aspect d’un combiné téléphonique atteindre plusieurs dizaines de mètres pour transmettre (Fig. 6). les ordres à la domesticité. Louis XV se montre intéressé par l’invention pour ses éventuelles applications militaires. L’usage à connotation médicale de ces cordons ombilicaux, Tube acoustique ou stéthoscope ? reliant le sourd à son interlocuteur, semble appartenir à e e xviii Nathaniel Pointer, chirurgien à Londres au siècle. Son Au milieu du xix siècle, et depuis Laennec, les stéthoscopes tube est fait d’une spire métallique recouverte de soie ou mono-auriculaires disposent d’un tube rigide. À l’exception cuir et les textes de l’époque recommandent une longueur de celui d’Hector Landouzy équipé de plusieurs tubes en variant entre 60 cm et 1 mètre. Avec la vulcanisation, appa- gutta percha pour l’auscultation collective. Pouvoir aus- rue en 1839, le tube de caoutchouc va peu à peu s’imposer. culter la partie antérieure, puis postérieure, du thorax de Les praticiens estiment que leur efficacité résulte d’une fac¸on confortable sans avoir à contourner la malade et en meilleure acoustique renforcée par l’élasticité des parois. se tenant à distance, est l’un des problèmes de l’époque. Énergie également augmentée par un capteur du son de En 1841, à Londres, l’idée vient à Stroud [10] d’adapter à large diamètre face à la bouche de l’interlocuteur aboutis- l’auscultation les tubes de conversation des sourds. Il fait sant au canal auditif de faible diamètre qui densifie le son. ses premiers tests dans la boutique d’un marchand londo- Certains appareils tardifs, influencés par la nouvelle techno- nien qui lui fournit le matériel. En 1844, Pennock, autre logie de l’époque, sont faits d’un tube métallique rappelant praticien Anglais, présente le premier stéthoscope à tube 78 C. Renner Figure 8 Tube télescopique déployé. Figure 7 Stéthoscope de Pennock Ca 1845. souple dérivé du tube de conversation (Fig. 7). Ce passage de l’audition à l’auscultation est l’occasion pour les praticiens de s’interroger sur les phénomènes acoustiques. Pourquoi le stéthoscope doit-il être au contact du thorax pour que le son soit transmis et pourquoi est-il transmis par le tube de conversation sans que la bouche de l’interlocuteur soit à son contact ? Aujourd’hui, un siècle et demi plus tard, il est parfois impossible de distinguer entre cornet et stéthoscope.
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