The Voice of Angels?

2019 ◽  
pp. 156-168
Author(s):  
Patrik N. Juslin
Keyword(s):  
Great Degree ◽  
Musical Expression ◽  
The Voice ◽  
Music And Emotion

The previous chapters outline a number of musical features that may be used to express emotions, such as happiness and tenderness, and show that these features have certain characteristics that constrain their use. This chapter explains why and how the features come to denote emotions in the first place. Such an account can help resolve the second paradox of music and emotion. Some authors regard musical expression as something ‘subjective’ and ‘ambiguous’, whereas others as something that involves a great degree of inter-individual agreement. Exploring how musical expression actually ‘works’ shows that there is some truth to each of these perspectives.

Adolescent singers and perceptions of vocal identity

2003 ◽  
Vol 20 (3) ◽  
pp. 243-256 ◽  
Author(s):  
Susan Monks
Keyword(s):  
Technical Development ◽  
Musical Expression ◽  
Choral Directors ◽  
Self Image ◽  
Rich Diversity ◽  
Rehearsal Strategies ◽  
Human Psyche ◽  
The Relationship ◽  
The Voice ◽  
The Way

The link between voice and self-image is so fundamental it is often overlooked or taken for granted. Yet the knowledge of this relationship has much to teach singing teachers and choral directors in making communication with singers more effective, in choice of repertoire, technical development and rehearsal strategies. This study set out to explore the way adolescent singers think about their voices and express themselves through singing. The results produced a rich diversity of evidence which suggests that vocal change is a fruitful area for exploring in greater depth the relationship between the voice, musical expression and the human psyche.

The Inner Life of Sound

2020 ◽  
pp. 74-84
Author(s):  
Walter S. Reiter
Keyword(s):  
Essential Element ◽  
Musical Expression ◽  
Inner Life ◽  
Constant Attention ◽  
Modern Times ◽  
The Many ◽  
Messa Di Voce ◽  
The Voice

One essential element of musical expression is the living sound, capable of holding the constant attention of the audience. This lesson traces that ubiquitous concept from Caccini’s “swelling and abating of the voice” (1602) to the violin études of Mazas (1843). In the Baroque sound world, free from the all-pervasive vibrato of modern times, it was the responsibility of the bow to provide this ‘inner life of sound.’ Based mainly on the writings of Tartini, Geminiani, and Leopold Mozart, all of whom are quoted, this lesson contains five exercises for perfecting the expressive device that guaranteed this living sound, the “Messa di voce.” The many different aspects of its technique, gleaned from the sources, are isolated and explained in detail, from simple pressure with the forefinger to the addition of vibrato: two composers who indicated this device in their compositions, Veracini and Piani, are quoted and illustrated.

scholarly journals Davies and Levinson on the Musical Expression of Emotion

2021 ◽  
Vol 21 (61) ◽  
pp. 71-92
Author(s):  
David Collins
Keyword(s):  
Dynamic Properties ◽  
Human Behaviour ◽  
The Other ◽  
Artistic Expression ◽  
Musical Expression ◽  
Expression Of Emotion ◽  
Music And Emotion ◽  
Jerrold Levinson

Stephen Davies and Jerrold Levinson have each offered accounts of how music can express emotions. Davies’s ‘Appearance Emotionalism’ holds that music can be expressive of emotion due to a resemblance between its dynamic properties and those of human behaviour typical of people feeling that emotion, while Levinson’s ‘Hypothetical Emotionalism’ contends that a piece is expressive when it can be heard as the expression of the emotion of a hypothetical agent or imagined persona. These have been framed as opposing positions but I show that, on one understanding of ‘expressing’ which they seem to share, each entails the other and so there is no real debate between them. However, Levinson’s account can be read according to another—and arguably more philosophically interesting— understanding of ‘expressing’ whereas Davies’s account cannot as easily be so read. I argue that this reading of Hypothetical Emotionalism can account for much of our talk about music in terms of emotions but must answer another question—viz., how composers or performers can express emotions through music—to explain this relation between music and emotion. I suggest that this question can be answered by drawing on R. G. Collingwood’s theory of artistic expression.

The corporeality of musical expression: the grain of the voice and the actor-musician

2007 ◽  
Vol 1 (2) ◽  
pp. 167-181 ◽  
Author(s):  
Dominic Symonds
Keyword(s):  
Source Material ◽  
Symbolic Order ◽  
Musical Expression ◽  
Physical Presence ◽  
The Voice

This article considers the essential engagement of a physical corporeality in making music, a presence that is rewardingly encountered in music theatre, where it is not merely implied but visually, kinaesthetically and corporeally witnessed. Through a detailed discussion of Barthes's The Grain of the Voice and its Kristevan source material, the author understands this physical presence to sit at the very heart of the genotextual potential of performance. The article observes the work of UK music theatre group SharpWire and other actor-musician ensembles, such as those involved in John Doyle's recent productions, and suggests that in the performance of music theatre, the actor-musician re-enacts the emergence into the Symbolic order that is the very essence of human expression.

Public School Voice Clinics, Part I

1984 ◽  
Vol 15 (1) ◽  
pp. 51-57
Author(s):  
Sandra Q. Miller ◽  
Charles L. Madison
Keyword(s):  
Public School ◽  
School District ◽  
Voice Disorders ◽  
Urban School ◽  
Urban School District ◽  
Local School District ◽  
Local School ◽  
Perceived Need ◽  
The Voice ◽  
Voice Problem

The purpose of this article is to show how one urban school district dealt with a perceived need to improve its effectiveness in diagnosing and treating voice disorders. The local school district established semiannual voice clinics. Students aged 5-18 were referred, screened, and selected for the clinics if they appeared to have a chronic voice problem. The specific procedures used in setting up the voice clinics and the subsequent changes made over a 10-year period are presented.

Hormone Replacement Therapy and Voice

2019 ◽  
Vol 4 (4) ◽  
pp. 607-614
Author(s):  
Jean Abitbol
Keyword(s):  
Replacement Therapy ◽  
Symptom Severity ◽  
Low Dose ◽  
Hormone Replacement ◽  
Clinical Signs ◽  
Female Voice ◽  
Fat Cells ◽  
High Pitch ◽  
Endocrine Effects ◽  
The Voice

The purpose of this article is to update the management of the treatment of the female voice at perimenopause and menopause. Voice and hormones—these are 2 words that clash, meet, and harmonize. If we are to solve this inquiry, we shall inevitably have to understand the hormones, their impact, and the scars of time. The endocrine effects on laryngeal structures are numerous: The actions of estrogens and progesterone produce modification of glandular secretions. Low dose of androgens are secreted principally by the adrenal cortex, but they are also secreted by the ovaries. Their effect may increase the low pitch and decease the high pitch of the voice at menopause due to important diminution of estrogens and the privation of progesterone. The menopausal voice syndrome presents clinical signs, which we will describe. I consider menopausal patients to fit into 2 broad types: the “Modigliani” types, rather thin and slender with little adipose tissue, and the “Rubens” types, with a rounded figure with more fat cells. Androgen derivatives are transformed to estrogens in fat cells. Hormonal replacement therapy should be carefully considered in the context of premenopausal symptom severity as alternative medicine. Hippocrates: “Your diet is your first medicine.”

In the Limelight: The Voice Virtuoso

ASHA Leader ◽  
2014 ◽  
Vol 19 (2) ◽  
pp. 22-23
Author(s):  
Kellie Rowden-Racette
Keyword(s):  
The Voice
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