Check-App Voice®: A Tool to Self-evaluate Dysphonia in Speaking Voice Among Teachers

2021 ◽  
pp. 119-127
Author(s):  
Maria Patrizia Orlando ◽  
Fabio Lo Castro ◽  
Maurizio Diano ◽  
Raffaele Palomba ◽  
Raffaele Mariconte ◽  
...  
Keyword(s):  
Speaking Voice

Notes on How to Read the Song of Songs

2020 ◽  
Author(s):  
Я. Эйделькинд
Keyword(s):  
Old Testament ◽  
Gender Stereotypes ◽  
Cultural Context ◽  
Lyric Poetry ◽  
Song Of Songs ◽  
Widespread Belief ◽  
Female Voices ◽  
Speaking Voice

Эта статья содержит ряд соображений о том, как читать Песнь песней. Будучи сборником лирической поэзии, Песнь песней работает в первую очередь со звуком и не имеет сюжета. Важную роль играет принцип разнообразия и контраста. Серьёзный тон сменяется юмористическим, и наоборот. Гендерные стереотипы сохраняют свою силу в одних случаях, но подрываются в других. Сексуальная физиология, вопреки распространенному мнению, не находится на первом плане — гораздо важнее эмоции (факт, противоречащий как «духовным», так и «плотским» прочтениям). Отождествление читателя с лирическим голосом ведёт к субъективным интерпретациям. Последние вполне законны, пока не претендуют на то, чтобы быть единственно верными. Три контекста помогают понять Песнь песней: древний культурный контекст, более узкий контекст Ветхого Завета и контекст лирической традиции от древности до наших дней. This article is an attempt to formulate some principles of reading the Songs of Songs that would take into account its genre and poetic features. Being a collection of lyric poetry, the Song of Songs works primarily with sound and has no plot. An important role in its composition plays the principle of diversity and contrast. A serious tone gives place to a humorous one, and vice versa. Female voices alternate with male ones; gender stereotypes in some cases retain their power, but in others are subverted. Sexual physiology, contrary to a widespread belief, is not in the foreground — much more important are emotions. This fact belies both “spiritual” and “carnal” readings. The Song of Songs involves an identification of the reader with the lyrical speaking voice and provokes subjective interpretations. These are legitimate as long as they do not pretend to be the only true ones. Three contexts help to understand Song of Songs: ancient cultural context, a narrower Old Testament context and the context of the lyrical tradition from antiquity to the present day.

Book Review: The Speaking Voice

1950 ◽  
Vol 47 (4) ◽  
pp. 514-515
Author(s):  
Charles A. McGlon
Keyword(s):  
Speaking Voice

Use of Terminology and the Effect of Training on Auditory-Perceptual Ratings of Speaking Voice by Singing Teachers

2021 ◽  
Author(s):  
Audrey Walstrom ◽  
Susan B. Brehm ◽  
Wendy D. LeBorgne ◽  
Alison Acord ◽  
Renee O. Gottliebson
Keyword(s):  
Speaking Voice

Chaucer, Gower, and Fifteenth-Century Poetry in English

2019 ◽  
pp. 228-254
Author(s):  
Derek Attridge
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Major Work ◽  
Confessio Amantis ◽  
Speaking Voice ◽  
Century Poetry ◽  
Iambic Pentameter

By the end of the fourteenth century, a sizeable audience for poetry in English among the gentry and the commercial classes had emerged. Chaucer wrote for this readership, and his poetry shows a successful absorption of French and Italian models. This chapter scrutinizes his work for evidence of the manner in which it was performed and received. Throughout his oeuvre, Chaucer appeals to both hearers and readers, using images both of books and of oral performers. His invention of the English iambic pentameter made possible a fuller embodiment in verse of the speaking voice, unlike Gower, who chose to write his major work, Confessio Amantis, in strict tetrameters. In the fifteenth century, the changing pronunciation of English made writing in metre a challenge, as is evident in the work of Hoccleve and Lydgate. The chapter ends with a consideration of the Scottish poets Henryson, Dunbar, and Douglas.

Death of a Child

2019 ◽  
pp. 137-153
Author(s):  
Richard Hunter
Keyword(s):  
Literary Tradition ◽  
Narrative Technique ◽  
Death Of A Child ◽  
Speaking Voice

Chapter 9 explores the interrelationship between literary and inscriptional epigram, principally through a study of GV 1159 = SGO 03/05/04, a poem from imperial Notion on a young boy who drowned in a well. The analysis pays particular attention to versification, narrative technique, the characterization of the boy’s speaking voice and language, and explores the poem’s use of AP 7.170 (attributed to Posidippus or Callimachus) as a way of enfolding the drowned boy within literary tradition. Attention is also paid to the debt of the epitaphic tradition both to Homer and to the Homeric Hymn to Demeter. The analysis sheds light on what important features at stake in the attempt to distinguish between ‘literary’ and ‘non-literary’ epigram.

Improving Your Speaking Voice

2019 ◽  
pp. 19-41
Author(s):  
Carl Hausman ◽  
Philip Benoit ◽  
Fritz Messere
Keyword(s):  
Speaking Voice

scholarly journals How to instantaneously improve your speaking voice

Ubiquity ◽  
2019 ◽  
Vol 2019 (March) ◽  
pp. 1-9
Author(s):  
Philip Yaffe
Keyword(s):  
Speaking Voice

Negative Poetics: On Skepticism and the Lyric Voice

2004 ◽  
Vol 86 (1) ◽  
pp. 120-140 ◽  
Author(s):  
MARSHALL BROWN
Keyword(s):  
Franz Schubert ◽  
General Account ◽  
Lyric Voice ◽  
Speaking Voice ◽  
Personal Feeling

ABSTRACT Beginning with negative formulations found in many lyric poems, this essay argues that poetry in general skeptically distances the speaking voice from the authorial perspective, even in poems that have been taken to express direct personal feeling. German Romantic examples (Wilhelm Müüller's ““Der Neugierige”” as set by Franz Schubert, Goethe's ““Meeresstille,”” and Joseph von Eichendorff's ““Mittagsruh””) are featured, with the intent of suggesting a general account of the lyric voice.

Varying Signal-to-Noise Ratios in Adolescent Voice Therapy

1991 ◽  
Vol 22 (3) ◽  
pp. 179-188 ◽  
Author(s):  
Richard D. Saniga ◽  
Margaret F. Carlin
Keyword(s):  
Fundamental Frequency ◽  
Signal To Noise Ratio ◽  
Voice Therapy ◽  
Signal To Noise ◽  
Everyday Activities ◽  
Therapy Program ◽  
Vocal Intensity ◽  
Noise Ratio ◽  
Speaking Voice ◽  
Adolescent Voice

In our society competing noise has become part of most everyday activities. Vocal abusers need to learn to compensate for this auditory distractor. The present paper describes a voice therapy program for adolescent vocal abusers that utilizes a varying signal-to-noise ratio. Once this compensation is learned, vocal abusers can maintain an appropriate fundamental frequency and vocal intensity in their speaking voice.

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