Voice Theory

Theatres of immanence: coming soon flyer

by Laura Cull

Divas, Turks and HAL: a reflexion on the history of voice machines

by Dong Liang

Bourdieu the ethnographer: The ethnographic grounding of habitus and voice

by Jan Blommaert

Loving by the Book: Voice and Romance Authorship

by An Goris

in: New Perspectives on Popular Romance Fiction. Frantz, Sarah and Selinger, Eric. (eds.) Jefferson:MacFarland. Forthcoming

Discusses narrative conventions and the role of the author's individuality in the popular romance genre on the basis... more Discusses narrative conventions and the role of the author's individuality in the popular romance genre on the basis of the analysis of a set of romance writing handbooks. In particular it focuses on the handbooks' rethorically complex and surprisingly self-conscious articulation of the genre's seemingly paradoxical interaction between familiarity and novelty - and the role played by an author's authenticity in romance writing.

The Vocal Performance Text as Historiography

by Flloyd Kennedy

presented at "Capturing the Essence of Performance: The Challenge of Intangible Heritage" SIBMAS conference, RSAMD 2008

The human voice in the performance of text is ephemeral and yet not intangible.  It has substance, meaning and... more The human voice in the performance of text is ephemeral and yet not intangible.  It has substance, meaning and effect over and above the language it speaks. In historiographical analyses, the vocal performance text is often ignored in favour of visual elements, and textual interpretation.      Mechanical, or ‘technological’ recordings may render a vocal performance in a repeatable medium, however the use of such recordings for analysis is subject to the changing state of the listener over time, apart from any degradation in the quality of the sound recording over time.  Phonetic transcription transforms the living, breathed and mobile sound into a static representation, and while phonology provides the settings within which linguistic and para-linguistic components exist, these are still generally defined in terms which promote the language, rather than the uniquely spoken event.  This paper proposes that the vocal performance text has material substance, it cannot be predicted, and argues that it has rarely – if ever – been captured adequately because certain elements are always ignored, specifically those elements which constitute an original vocal performance text.

Spyrou, Spyros (2011) The Limits of Children’s Voices: From Authenticity to Critical, Reflexive Representation. Childhood 18(2):151-165 (2011).

by Spyros Spyrou

Tympan Alley: posthuman performatives in Dancer in the Dark

by Lynn Turner

in Venturing Derrida, eds. Sarah Jackson & Sarah Dillon, 2013

‘Braiding polyphony: Je tu il elle (& lui)’

by Lynn Turner

published in Performance Research, 8:1, 2003.

on voice and voice over in Chantal Akerman's film Je tu il elle. on voice and voice over in Chantal Akerman's film Je tu il elle.

Møtet som vokalpedagogisk virkemiddel - Psykiske aspekter ved sanglig utvikling

by Katrine Imerslund

Dette er en artikkel som har vært trykket i magasisnene "Stemmer som stemmer" og "Musikkpedagogen".
Artikkelen er basert på min skriftlige eksamen i vokalpedagogikk ved Barrat Due Musikkinstitutt i 2000. Artikkelen har også vært utgangspunkt for foredrag i regi av Norsk StemmePedagogisk Forum og Eurovox 2003.