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A New York Times bestselling writer explores what our unique sonic signature reveals about our species, our culture, and each one of us. Finally, a vital topic that has never had its own book gets its due. There’s no shortage of books about public speaking or language or song. But until now, there has been no book about the miracle that underlies them all—the human voice itself. And there are few writers who could take on this surprisingly vast topic with more artistry and expertise than John Colapinto. Beginning with the novel—and compelling—argument that our ability to speak is what made us the planet’s dominant species, he guides us from the voice’s beginnings in lungfish millions of years ago to its culmination in the talent of Pavoratti, Martin Luther King Jr., and Beyoncé—and each of us, every day. Along the way, he shows us why the voice is the most efficient, effective means of communication ever devised: it works in all directions, in all weathers, even in the dark, and it can be calibrated to reach one other person or thousands. He reveals why speech is the single most complex and intricate activity humans can perform. He travels up the Amazon to meet the Piraha, a reclusive tribe whose singular language, more musical than any other, can help us hear how melodic principles underpin every word we utter. He heads up to Harvard to see how professional voices are helped and healed, and he ventures out on the campaign trail to see how demagogues wield their voices as weapons. As far-reaching as this book is, much of the delight of reading it lies in how intimate it feels. Everything Colapinto tells us can be tested by our own lungs and mouths and ears and brains. He shows us that, for those who pay attention, the voice is an eloquent means of communicating not only what the speaker means, but also their mood, sexual preference, age, income, even psychological and physical illness. It overstates the case only slightly to say that anyone who talks, or sings, or listens will find a rich trove of thrills in This Is the Voice.
Maria Stepanova is one of the most powerful and distinctive voices of Russia’s first post-Soviet literary generation. An award-winning poet and prose writer, she has also founded a major platform for independent journalism. Her verse blends formal mastery with a keen ear for the evolution of spoken language. As Russia’s political climate has turned increasingly repressive, Stepanova has responded with engaged writing that grapples with the persistence of violence in her country’s past and present. Some of her most remarkable recent work as a poet and essayist considers the conflict in Ukraine and the debasement of language that has always accompanied war. The Voice Over brings together two decades of Stepanova’s work, showcasing her range, virtuosity, and creative evolution. Stepanova’s poetic voice constantly sets out in search of new bodies to inhabit, taking established forms and styles and rendering them into something unexpected and strange. Recognizable patterns of ballads, elegies, and war songs are transposed into a new key, infused with foreign strains, and juxtaposed with unlikely neighbors. As an essayist, Stepanova engages deeply with writers who bore witness to devastation and dramatic social change, as seen in searching pieces on W. G. Sebald, Marina Tsvetaeva, and Susan Sontag. Including contributions from ten translators, The Voice Over shows English-speaking readers why Stepanova is one of Russia’s most acclaimed contemporary writers.
Composing for Voice: Exploring Voice, Language and Music, Second Edition, elucidates how language and music function together from the perspectives of composers, singers and actors, providing an understanding of the complex functions of the voice pedagogically, musicologically and dramatically. Composing for Voice examines the voice across a wide range of musical genres (including pop, jazz, folk, classical, opera and the musical) and explores the fusion of language and music that is unique to song. This second edition is enlarged to attract a wider readership amongst all music and theatre professionals and educators, whilst also engaging an international audience with the introduction of new co-author Maria Huesca. New to the second edition: A review of the history of singing An overview of the development of melisma A chapter to help performers understand each other, as singers and actors often receive disparate educations Case studies and qualitative research around song, lyric and meaning A discussion of the synthetic voice An introduction to the concept of embodied composition Interviews with composers and singers Summaries of various vocal styles A website with links to performances discussed, as well as related workshops: www.composingforvoice.com Composing for Voice: Exploring Voice, Language and Music, Second Edition, articulates possibilities for the practical exploration of language, music and voice by composers, singers and actors.
Frank Sinatra was the best-known entertainer of the twentieth century—infinitely charismatic, lionized and notorious in equal measure. But despite his mammoth fame, Sinatra the man has remained an enigma. Now James Kaplan brings deeper insight than ever before to the complex psyche and turbulent life behind that incomparable voice, from Sinatra’s humble beginning in Hoboken to his fall from grace and Oscar-winning return in From Here to Eternity. Here at last is the biographer who makes the reader feel what it was really like to be Frank Sinatra—as man, as musician, as tortured genius.
The relationship between language and music has much in common - rhythm, structure, sound, metaphor. Exploring the phenomena of song and performance, this book presents a sociolinguistic model for analysing them. Based on ethnomusicologist John Blacking's contention that any song performed communally is a 'folk song' regardless of its generic origins, it argues that folk song to a far greater extent than other song genres displays 'communal' or 'inclusive' types of performance. The defining feature of folk song as a multi-modal instantiation of music and language is its participatory nature, making it ideal for sociolinguistic analysis. In this sense, a folk song is the product of specific types of developing social interaction whose major purpose is the construction of a temporally and locally based community. Through repeated instantiations, this can lead to disparate communities of practice, which, over time, develop sociocultural registers and a communal stance towards aspects of meaningful events in everyday lives that become typical of a discourse community.
In the contemporary world, voices are caught up in fundamentally different realms of discourse, practice, and culture: between sounding and nonsounding, material and nonmaterial, literal and metaphorical. In The Voice as Something More, Martha Feldman and Judith T. Zeitlin tackle these paradoxes with a bold and rigorous collection of essays that look at voice as both object of desire and material object. Using Mladen Dolar’s influential A Voice and Nothing More as a reference point, The Voice as Something More reorients Dolar’s psychoanalytic analysis around the material dimensions of voices—their physicality and timbre, the fleshiness of their mechanisms, the veils that hide them, and the devices that enhance and distort them. Throughout, the essays put the body back in voice. Ending with a new essay by Dolar that offers reflections on these vocal aesthetics and paradoxes, this authoritative, multidisciplinary collection, ranging from Europe and the Americas to East Asia, from classics and music to film and literature, will serve as an essential entry point for scholars and students who are thinking toward materiality.
Titled for the influential singer left almost voiceless by a terrible syndrome, the poems bring sweet melodies and rhythms as the voices blend and become multitudinous. There’s an honoring of not only survival, but of persistence, as this part research-based, pensive collection contemplates what it takes to move forward when the unimaginable holds you back.
Voice and Speech for Musical Theatre is the first book to combine traditional actor vocal training with musical theatre training, offering support and guidance for performers seeking to train their spoken voice specifically for singing and performing in musical theatre. Performers in musical theatre are working harder than ever. The shifting and extreme nature of the modern musical theatre repertoire requires performers capable of mastering musicianship, singing and dancing while at the same time providing convincing and clear performances as actors. Voice and Speech for Musical Theatre will help train musical theatre performers in the longer modes of voice needed to create convincing and moving performances. Ideal for the triple-threat performer, Voice and Speech for Musical Theatre features exercises for performers, tips for teachers and online video resources, allowing for a focused and outcome-oriented training of vocal techniques for musical theatre performers.