Unsystematic notes about vocal persona sources Collected by Philip Tagg, mainly 2005-2008 *1 http://rateyourmusic.com/lists/list_view/list_id_is_17098 [050423] Artists that annoy me with their voice, personality or music ... sometimes all! A list by XanaduCGN Maria Callas: Outch, whenever I hear her ultra-dramatic-voice I run for my life. The voice of Axel Rose is one of the most annoying in business. Scooter: The "voices/shouting" is a nightmare. *2 Eminem sounds like an angry smurf (student, Liverpool, c. 2000) *3 http://www.apa.org/releases/computervoice.html [050423] APA (American Psychological Association) article "WE "HEAR" PERSONALITY IN COMPUTER-GENERATED SPEECH AND THE MORE IT SOUNDS LIKE US, THE MORE WE LIKE IT" Stanford University, Clifford Nass, Ph.D. and Kwan Min Lee, Ph.D. People identify so strongly with the type of voice reviewing a book that they are much more likely to buy it if the review is read by a voice similar to their own, and to that corresponding to their own personality (intravert-extravert bipolarity, 30 then 40 respondents) Full text: Article: "Does Computer-Synthesized Speech Manifest Personality? Experimental Tests of Recognition, Similarity-Attraction, and Consistency-Attraction," Clifford Nass and Kwan Min Lee, Department of Communication, Stanford University; Journal of Experimental Psychology - Applied, Vol 7. No.3 at http://www.apa.org/journals/releases/xap73171.pdf * 4 Numerous pages to do with voice personality in automatic answering services, e.g. http://spotlight.ccir.ed.ac.uk/public_documents/Dialogue_design_guide/system_personality.htm; A lot of sites to do with how to sell better with an attractive voice. *5 http://www.voicepersonality.com/voice_personality_about_VP.htm *6 "Virtual Personality" software and hardware for private detectives *7 http://www.ingentaconnect.com/content/bsc/cot/2003/00000028/00000004/art00018 [050423] Article title " The dysphonic voice heard by me, you and it: differential associations with personality and psychological distress" Authors: Deary I.J.1; Wilson J.A.2; Carding P.N.2; Mackenzie K.3 Source: Clinical Otolaryngology & Allied Sciences, August 2003, vol. 28, no. 4, pp. 374-378(5) Publisher: Blackwell Publishing Abstract states "Voice production is subject to and indicative of psychological status." "Objective voice assessment (amplitude perturbation) showed no significant associations with any psychological measure. The strongest associations of psychological variables and voice measures are with self-report measures. This suggests that it is in part the patients' perception of their own voice quality which accounts for the association of voice production and psychological factors in subjects presenting to voice clinics." *8 http://www.helmut-kopetzky.de/main/voice1.shtml [050423] Helmut Kopetzky: article: Voice, personality and suspense; From a contribution to the International Feature Conference in Berlin, 2000 "No one in our profession has imposed more punch and pressure on his listeners, as Orson Welles did in more than 20 radio years (...) In dozens of criminal and suspense programmes the unique voice of Orson Welles - a soft baritone but with a dramatic undercurrent - sent shivers up and down the spine of America. How does Orson Welles achieve such an impact? " "ABSTRACTION is one of the main qualities of the oral medium. It abstracts from reality by not taking advantage of other important human senses. As we know from different fields of life: abstraction as means concentration. Every loss can be a profit, too." "In the radio everything tends to become an ARCHETYPE, a model - like our small town on the black-and-white-picture. The soldier in the radio is all soldiers - or at least a certain type or group of them. The pimple on his nose doesn't occupy our minds. The tie of the narrator doesn't matter - as Rudolf Arnheim stated in his book „Rundfunk als Hörkunst“, "Radio - the Art of Listening", which was published in the early days of German radio. The narrator is voice and - in happy moments - more opinion, thought, idea." "Though radio generalizes people behind the microphone and creates archetypes, it also invites us to identify with them - with what you might call the essence of their personality, transported by their voice. They are general AND unique, abstract AND highly personal. Orson Welles, for example, is the Hitch Hiker and the famous radio narrator at the same time." "Next observation: Orson Welles had a rather erotic relation to his audience and - above all - to the microphone. "How about the microphone ?" Orson Welles was asked by Peter Bogdanovich, who interviewed him for his biography "This is Orson Welles". The answer: "Emotions !" And: "The microphone's a friend. The camera's a critic"." © Alle Rechte beim Verfasser *7 The Narcissistic-Perfectionistic-Aggressive Type (NPA) From: "Toward Self & Sanity: On the Genetic Origins of the Human Character" © A.M. Benis (extract) at http://narcissism.homestead.com/npatype.html [050423] From Chapter 6: Character Caricatures The Narcissistic-Perfectionistic-Aggressive Type (NPA) There is no question about it. He is an extrovert. His complexion definitely tends toward the sanguine, especially if he is at all agitated. His voice has an unrestrained quality. It may be forceful. In the female it may have a sharp, piercing quality. His voice may be outright loud, even if he consciously tries not to be overbearing, which often he is. His voice may be very, very LOUD. It may be stentorian, especially in the male, and he may sometimes be heard at the far end of a railway car. It is a voice that seems to long for diffuse dissemination, as he speaks at and through his partner in conversation. It is a voice of narcissism ("how grand I am") and of aggression ("all of you had better listen to what I am saying"). Often he can be identified immediately by his forceful voice alone. This individual is not relaxed. He radiates a certain intensity and activity, and like the NA type, he too may have difficulty keeping still. In manner, he may be only moderately outgoing, especially if he is in circumstances where he is chronically dominated by stronger individuals. On the other hand, he may be intensely outgoing, affably ebullient or outright truculent. If he is only moderately intense, he has a certain amount of real charm, but sometimes he is so frankly overbearing that his charm is lost in his abrasiveness. He is never at a loss for words. At times he may talk, and talk... and talk. And in his garrulity his smile and laughter may take on a forced intensity. He has a moderate gait and carries himself with relative confidence. This individual seems to be going somewhere. He usually makes intense eye contact with his partner in conversation, whether the latter be strong or weak, important or unimportant. His prominent eyes have a spirited look about them and may seem to sparkle or even protrude. In the mature adult, he has a non-seductive maternalistic or paternalistic character, even if he is promiscuous. In the female, she has more of a "wholesome" than a "sexy" demeanor. If her voice is very forceful, her detractors will say that she is "not feminine", "brassy", or even "masculine". He is reliable, dependable and responsible. He is faithful to his family and friends. If he has children, he has affectionate pride in them and talks about them. He is a "solid citizen". He has a sense of duty to his profession, his colleagues, his business, perhaps his church, and his country. He tends to have a sense of citizenship, of attachments, and of devotion to some ideals. He is, shall we say... rather conventional. *10 NCBI - PublMed (National Library of Medicen) http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=PubMed&list_uids=9422280&dopt=Abstract [050423] Coping strategies, personality, and voice quality in patients with vocal fold nodules and polyps. by McHugh-Munier C, Scherer KR, Lehmann W, Scherer U. ENT Department, University Hospital, Geneva, Switzerland. "Emotional state affects the physiological mechanism involved in phonation. Differences in acoustical parameters of the voice under stress have been attributed to the coping mechanism used, which is based on the individual's perception of the situation. This study examines the relationship between coping strategies, personality, and voice in female subjects, ranging in age from 19.3-55.7 years, diagnosed with vocal nodules or polyps. The differences between coping strategies and personality are examined and compared with another group with no history of voice pathology. The relationship of personality and coping strategies to voice quality variables is reported. Results show that patients use emotional coping strategies more and cognitive coping strategies less than the comparison group. Type of voice pathology was found to be related to dominance, and a number of coping and personality variables were found to correlate significantly with voice quality." (Abstract) PMID: 9422280 [PubMed - indexed for MEDLINE] * 11 http://harvardbusinessonline.hbsp.harvard.edu/b01/en/files/hbr/HBR_Automotive.pdf [050423] JD Power Car Media Report 2004. "I like that even the voice. on the GPS reflects the. personality of the car." * 12 Hot tips for Effective Arts Promotion: Personality and Tone of Communications. http://www.fuel4arts.com/sauce/12_communicating/02_05_tone.htm [050423] 4 categories of vocal come-on suggested: [1] Funny, Fun-loving, Energetic, Friendly, Informal, Youthful, Irreverent, Inspirational [2] Sensitive, Caring, Dignified, Dependable [3] Smart, Radical, Conservative, Intelligent, Outspoken, Fearless, Down-to-earth [4] Authoritative, Formal, Carefully considered, Mature, Trustworthy, Respectful * 13 List of Jungian personality types at //www.personalitypage.com/portraits.html *14 http://www.columbia.edu/itc/psychology/rmk/Readings/Hughes.pdf [050423] Evolution and Human Behavior 25 (2004) 295–304 Ratings of voice attractiveness predict sexual behavior and body configuration Susan M. Hughes1, Franco Dispenza, Gordon G. Gallup Jr.* Department of Psychology, State University of New York at Albany, Albany, NY 12222, United States Received 22 March 2004; received in revised form 10 May 2004 "Coupled with previous findings showing a relationship between voice attractiveness and bilateral symmetry, these results provide additional evidence that the sound of a person’s voice may serve as an important multidimensional fitness indicator." (abstract) D 2004 Elsevier Inc. All rights reserved. from p. 296. "There is growing evidence that the sound of a person’s voice may convey important information. Studies have shown that listeners who hear voice samples can infer the speaker’s socioeconomic status (Ellis, 1967; Harms, 1963), personality traits (Allport & Cantril, 1934; Zuckerman & Driver, 1989), and emotional and mental state attributes related to deception (Ekman, Friesan, & Scherer, 1976; Streeter, Krauss, Geller, Olson, & Apple, 1977). Listeners exposed to voice samples are also capable of estimating the age, height, and weight of speakers with the same degree of accuracy achieved by examining photographs (Krauss, Freyberg, & Morsella, 2002; Lass & Colt, 1980; Lass & Davis, 1976). Independent raters are also capable of matching a speaker’s voice with the person’s photograph over 75% of the time (Krauss et al., 2002). Hughes, Harrison, and Gallup (2002) found that individuals with symmetrical morphological traits were rated as having more attractive voices, and as deviations from bilateral symmetry increased, ratings of voice attractiveness decreased." * 15 Meaning/etymology of "persona": It means, “mask” in Latin. The ancients thought that a person’s personality was the amalgam of their externally observable behavior. This behavior was thought to be superficial, to “mask” the heart and soul within. * 16 http://www.wolfmoonpress.com/opinion/forceofpersonality.htm ]050423] Wolf Moon Press Journal (USA) NOTES FROM THE HINTERLAND: FORCE OF PERSONALITY. By Laurie Meunier Graves Compare this with what Philip Gourevitch [in the New Yorker] writes about President Bush’s voice: “[It] has a surprising range: he can get a shouting attack going, and he can fall suddenly quiet to create emphasis and declare his seriousness. But the most effective quality is the harsh staccato that overcomes him when he speaks about his wars…” As any persuasive speaker knows, the voice must be matched to what is being sold. Sometimes it should sing, sometimes it should be stern, and sometimes it should be downright harsh. President Bush gets this in a way his detractors and opponents fail to understand and consistently underestimate. * 17. http://www.volhard.com/training/cpp.htm [050423] Volhard Canine Personality Profile (aka CPP) © 1993 Wendy Volhard One question in the Canine Personality Profile survey runs "Does YOUR DOG, when excited, bark in a high-pitched voice?" If so, it counts towards its "prey drive". To bringing out the prey drive in dogs the site recommends: Prey drive is elicited by the use of motion -- hand signals (except Stay) -- a high-pitched tone of voice, or an object of attraction (stick, ball or food), chasing or being chased, and leaning backward with your body as the dog comes to you. Defense drive behavior is elicited by leaning or hovering over the dog, either from the front or the side, checking (a sharp tug on the leash), a harsh tone of voice, and exaggerated use of the Stay hand signal. * 18 http://www.dfki.de/~baldes/rocco/personality/node18.html Scherer (1987) Klaus R. Scherer: Personality inference from voice quality: the loud voice of extroversion, Universit"at Giessen, European Journal of Social Psychology, Vol.8, p.467-487, 1987 # Extroversion ca be jugded from voice quality. # Correlations * emotional stability: vocal effort, dynamic range * extraversion: vocal effort, dynamic range, nasality * Loud voices and voices with high pitch are seen as sharp, high pitched, not gloomy, not breathy. * Unprecise articulation: perception of a gloomy voice. # Personality attributes ratings * 19 http://www.otago.ac.nz/anthropology/Linguistic/Results/Xcultcomp.html [050423] Donn Bayard and James Green presented at the Eighth International Conference on Language and Social Psychology, Hong Kong, 12 July 2002. Evaluating English Accents WorldWide: Cross-cultural Comparisons Although different typologies applied to assignment of personality types of different voices in HK, Singapore and Japan, 3 of four main difference factors remain in common with typologies produced in the West. * 20 http://www.akasha.com.pl/pers.htm [050423] Personality training courses advertised on line. Space modelling points include: active, passive and balanced arrangement influencing by voice, gesture, movement voice - emission, emotional timbre gestures - submission, provocation, dominance movement - ways of changing of dynamics *21 Interview with Arthur Joseph at http://shop.store.yahoo.com/soundstruestore/interview-joseph.html *22 http://www.vocalawareness.com/products.htm [070225] Audio and workbook packages aim "to help us learn and project", e.g. the "yawn sigh" (long descending gliss) *23 Bob Taft's stuff at http://www.music.uwo.ca/bios/rtoft.html [1] ‘Rendering the Sense More Conspicuous: Grammatical and Rhetorical Principles of Vocal Phrasing in Art and Popular/Jazz Music’, Music & Letters 85 (2004), 368-87 [2] ‘Lady Day the Torch Singer: The Vocal Persona of a “Woman Unlucky in Love”.’ In Proceedings of the International Association for the Study of Popular Music, 12th Biennial International Conference, in press. [3] ‘“The Promethean fire of eloquent expression”: Vocal Delivery in Handel’s Oratorios in the Early Nineteenth Century.’ Journal of Musicological Research 17 (1998), 23-52 *24 From review of Linda Clifford's 1977 album "Linda" at http://www.discomuseum.com/LindaClifford.html The standout dance tracks are "You Can Do It," a self-determination anthem set to a sultry, mid-tempo groove, and "From Now On," (her first 12" single) a Bunny Sigler composition that pits a clavinet-driven beat against glossy orchestrations to create an ideal disco showcase for Clifford's gospel-tinged vocals. The other material is mostly covers of pop and soul hits, including Stevie Wonder's "If It's Magic" and the Bee Gees' "Be Tender With My Love." The best of these covers is Clifford's doo wop take on Rod Stewart's "Tonight's The Night," a clever remake that provides a good vehicle for her brassy vocal persona. *25 "Matthew White may have less spectacular music to sing as Medoro, but his quieter vocal persona has no less poise or authority" (New York Magazine, April 2005) at http://www.caroline-phillips.co.uk/artists/matthew_white_press.html *26 "David Byrne's eccentric vocal persona" http://www.exclaim.ca/index.asp?layid=22&csid=1&csid1=3982 *27 "Vocal Awareness/Vocal Power Can Benefit Everyone!" heading at http://vocalawareness.com/vocalpower.htm "It develops one’s identity – vocal persona" *28 "Lead singer Erik’s assertive voice can get pretty boring at times but that’s just because he needs to learn to leave his monotone vocal persona at some points to find a more appropriate vocal styling that adds more feeling to the Pledge’s songs. His voice is amazing on "Amendment," "Freedom Rings," and "Give Me Liberty or Give Me Death" but it falters on some tracks ("We Hold These Truths to Be Self Evident" and "Do Something")." Review of The Pledge's CD "Distress" (2006, self-release) at http://www.outlyer.org/review/6053 (punknews.org) *29 Term "vocal persona" originates in Edward T Cone's book The Composer's Voice (1974). The Composer's Voice (Berkeley and Los Angeles, 1974) http://www.societymusictheory.org/mto/issues/mto.01.7.5/mto.01.7.5.hoeckner_essay.html *30 "Frontman Hamilton Leithauser frequently invokes a vocal persona that suggests Dylan on too much coffee and not enough sleep throughout. Yet he's limber enough to coax it into the supple, Caribbean-flavored lounge croon of "Brandy Alexander" and the brooding edge of "This Job Is Killing Me" before bringing the album full circle on a surprisingly tender cover of Quentin Stoltzfus's "Another One Goes By" that somehow evokes Nashville Skyline by way of Manchester '78." --Jerry McCulley - review of The Walkmen: A Hundred Miles Off (CD) http://www.amazon.com/Hundred-Miles-Off-Walkmen/dp/B000F3AB1U *31 "REMEMBER your body dictates the richness and quality of the vocal sound." POSTURE KNOWLEDGE. http://www.suite101.com/article.cfm/classical_diva/82033/2 *32 Review of The Rake's Progress Kenneally and Joshua Bloom, as the singularly dressed Nick Shadow (the thwarted, soul-purchasing devil figure), are the outstanding vocal pillars. Bloom, superbly staged in aquiline silhouettes and full-frontal glares, created a seductively malevolent vocal persona. John Heuzenroeder as Tom had just the right vulnerable vocal colour for this part, showing admirable stamina and some fatigue in Act III. Kanen Breen was a oleaginous auctioneer, Catherine Carby (Baba) was as delightful a bearded lady as you are likely to meet, and Conal Coad a stalwart as Trulove, as was Shane Lowrencev as the Keeper. Cruelly cast as the Hogarthian brothel keeper was Elizabeth Campbell. Her voice had colour without a hint of decay. Brilliantly neo-post-classically modern. Sydney Herald, By Peter McCallum March 11, 2006. http://www.smh.com.au/news/arts-reviews/the-rakes-progress/2006/02/27/1140999496444.html *33 LARRY HOSFORD: Cross Words (Shelter) A funny country singer-songwriter with complicated emotions and an elusive, strangely ageless vocal persona--mellowed-out Homer and/or Jethro, perhaps, or comic-relief L.A. cowboy gone crackerbarrel. Notes by Robert Christgau, http://www.robertchristgau.com/xg/cg/cgv11b-76.php *34 singer/songwriter Rae—whose vocal persona sounds like a blend of Macy Gray and Norah Jones sales blurb for Corinne Bailey Rae CD. http://www.daedalusbooks.com/Products/Special/CategoryMain.asp?Media=Music&Special=OP&MajorCategoryID=41 *35 Beck's forlorn foghorn vocal persona Beck: Guero CD review at http://www.sfbg.com/39/26/x_grooves.html *36 Rolling Stone record critic Rob Hoerburger described Jackson as the "perfected .. . vocal persona of the smooth-sailing love man eager to please and be pleased." about debut album Rock Me Tonight (1985), quoted in 'enotes' mini-biog of singer Freddie Jackson at http://arts.enotes.com/contemporary-musicians/jackson-freddie-biography *37 The way she alternates between loud and quiet, or between singing a flurry of notes and just singing one, is akin to a suspense film that keeps you wondering where the plot will go next. The picture's first half is fresh and exciting, as Ani's vocal persona morphs to match her topics, flitting from folksy romantic to cute little girl to abrasive spite-monger. Dave Berg on Ani DiFranco CD Knuckle Down at http://www.popmatters.com/music/columns/triumvirate/050309.shtml *38 Bonniwell forsook his raunchy vocal persona almost totally in favor of his sensitive, clear croon, perhaps in a partial retreat to his pre-Music Machine folkie days, when he'd been in the Wayfarers. Influences from lounge pop, bossa nova, and flamenco were evident in a set decorated by subdued orchestration. In biog of Sean Bonniwell at http://www.answers.com/topic/sean-bonniwell *39 Take two parts early Billy Joel in his streetwise character sketch phase, one part Elliott Smith for his emotional veracity, and a smidgeon of the over-the top vocal persona of Morrissey, and you are maybe a little bit close to describing the pianistic performing protégé that is Mark Mallman. http://www.newwest.net/index.php/main/article/salt_lake_city_upcoming_concerts_big_ass_show_cyndi_lauper_james_mcmurtry/ *40 [Gina] Cigna is the only Norma [Bellini] on disk who is a direct inheritor of the original Marchesi-Garcia tradition traceable back to Bellini's own day; her fine dramatic interpretation and dark vocal persona certainly reflect this heritage in a compelling and impassioned reading -- however modest her facility in coloratura may be; http://www.geocities.com/ehub035/norma.htm *41 Equally theatrical — and successful — is ''Teenagers,'' a track that musically pays homage to T. Rex, but finds Way adopting a jauntily devilish vocal persona so reminiscent of the Artful Dodger from Oliver!, you half think he's going to launch into ''Consider Yourself.'' (Alas, he doesn't.) Music Review by Clark Collis. My Chemical Romance's third CD The Black Parade (2006) *42 "Sister Morphine" was the first evidence of the new Marianne Faithfull, of a musical and vocal style that would remain throughout the rest of her career: a much lower, sensual voice and far tougher, more realistic songs. A good deal of that newfound gutsiness was due to the band that accompanied her on the recording, including Jagger himself on acoustic guitar, Charlie Watts on drums, Jack Nitzsche on piano, and Ry Cooder on guitar. But also a good deal of it had to do with her husky, mordant vocal persona. In combination with the dirge-like acoustic guitars, gloomy melody, and bluesy touches from Cooder's guitar, it created the languorous yet ominous aura of the drug addict, withering away in a hospital bed and looking forward only to the next fix. Richie Unterberger song review at http://www.allmusic.com/cg/amg.dll?p=amg&sql=33:zu2ibk596a20 *43 For another, Dr. John's down-and-dirty vocal persona is at odds with the story's diction, which is Poe at his most highfalutin ("the wretchedness of birth is multifold"). BY DOUGLAS WOLK in CLOSED ON ACCOUNT OF RABIES (CD Poe Classics read aloud) http://www.salon.com/music/sharps/1997/12/04sharps.html *44 Jack's vocal persona shifts throughout the record — sometimes he yelps, yells and howls, while on other songs, he gently serenades the objects of his affection. The White Stripes: CD White Stripes (Sympathy for the Record Industry). Rvw by Jennifer Pfafflin at http://www.flakmag.com/music/stripes.html *45 As half of the Scottish duo Arab Strap, Malcolm Middleton seemed the only stabilizing force in Aidan Moffat’s life. Against the slurred lunacy and ambling self-destruction of Moffat’s vocal persona, Middleton provided an even plateau of acoustic melancholy. Album Review of Malcolm Middleton: Into The Woods http://www.malcolmmiddleton.co.uk/archive_woods_pre.htm *46 Stritch, in delivery and vocal persona, is a bit too much the broad. She doesn't sing with any introspection, so I've never totally bought her as Joanne, and you can disinvite me to your Sondheim karaoke party now... http://maurydannato.blogspot.com/2006/12/like-eliza-on-ice.html *47 As if a statement of intent, albeit laughably, the intro welcomes back Simon Franks' pot-smoking, pill-popping, wife-beating, bottle-lobbing, 'yes I do live on a council estate thank you very much', vocal persona: Album rvw Audio Bullys: Generation (Source) http://www.musicomh.com/albums/audio-bullys_1005.htm *48 Depending on the project I may compose pieces like Tricky, deliver lyrics of content a la Zack de la Rocha, sing like Annie Lennox, scream like Marilyn Manson, or change vocal persona like Nina Hagen. Just trying to get the job done any way I can... Interview with Mars (fem voc). http://www.soundclick.com/bands/pageartist.cfm?bandID=356409 *49 Elisabeth Schumann was “the voice of an angel.” Shirlee Emmons FOCUS on VOCAL TECHNIQUE Who Teaches the Teachers?? an address to the NYSTA Gala on being honored, April, 2006 *50 “Danko’s vulnerable vocal persona was the perfect expression of the plaintive emotion characteristic of much of Robbie Robertson’s writing, and he makes the transition to fronting his own record without faltering. About Danko's 1977 1st solo album, http://echoesinthewind.blogspot.com/ *51 . Dylan had been almost wholly identified with a high nasal vocal twang prior to that; his "new" voice was said to be a result of quitting smoking, but was also an aspect of his vocal persona that he had actually possessed since at least the early '60s, as some unreleased bootleg tapes from then indicate. Whatever the reason, it was far more accessible to AM radio listeners than his previous shrill voice had been. Song rvw Lay Lady Lay http://allmusic.com/cg/amg.dll?p=amg&sql=33:n8z8b5c4fsza *52 But more than anything else, it's the vocals which make Peace Sells…But Who's Buying? totally unique in the annals of metaldom. Eschewing the flat pedestrian singing style adopted by so many of his unimaginative peers, Dave strives to adopt a different nuanced vocal persona for each song. The phrasing of his vocals on the title track especially owe a lot to the theatrical way that Alice performs. Which is you don't feel like you're listening to a conventional metal album so much as you're witnessing a multi-character morality play. PEACE SELLS… BUT WHO'S BUYING? (1986) Megadeth. http://www.creemmagazine.com/_site/BeatGoesOn/Megadeth/HellWasntBuiltInADay001.html *53 Regardless, the music is of the highest caliber, with a sound related to the Who, but including rock and roll organ played the way God meant it to be, and vocals by Steve Marriot (later of Humble Pie) that trade an ounce or two of Roger Daltry’s pure power for a few more ounces of soul. These elements come together to crushing effect in the massive-but-poetic “Song of a Baker,” and the album’s anthem, “Afterglow of Your Love.” “Lazy Sunday” is also a standout track, but showcase’s Marriot’s other vocal persona, the wise-cracking cockney, in a looser, funnier song. Other than the story’s goofy, barroom philosophy conclusion, every track on the album is at least excellent, with the best truly scaling the hights of greatness. http://mog.com/music/The_Small_Faces *54 Though Pamina has royal origins and Adina is a wealthy, if rural, coquette, many of these characters fall outside the dominant order. They are innocent and quick-witted; they make up for their lack of power with an appealing savviness. And their songful melodic lines, with light, almost dancing rhythms, their modest flights of coloratura and even their moments of serious introspection and deep feeling require a vocal persona that does not insist on its own importance and grandeur. A kind of irony is built into the type. CLASSICAL VIEW; The Undoing Of a Diva: Why Here? By EDWARD ROTHSTEIN Published: February 27, 1994 NYTimes. Pamina in "Die Zauberflote" http://query.nytimes.com/gst/fullpage.html?res=9F03E1D9103BF934A15751C0A962958260 *55 For all his vivacity and humor, his vocal persona is about as human as a voice-mail (about Beck) www.citypages.com/detail.asp?ArticleID=8266 *56 the actor Paul Winfield narrates, and it is Winfield's vocal persona, an unholy amalgamation of Bayou pirate, inner-city tough, ... www.questia.com/PM.qst;jsessionid=FnWNNQxL4rQfJWGNRghy1vtrs1ZLYYz9wxZyv6pW0sLWPqnkPJfQ!-1013089432?a=o&am... *57 Cindy [Archer] has this offhand charm, with a slightly punky and disinterested vocal persona that really gives the old country covers she sings a new freshness. She performed all of her sets looking off into the corner, like a girl in an old catalog. Never making eye contact with the audience, which may be due to nervousness, or perhaps a natural diffidence. Mike Daley's Blog. http://www.mikedaley.net/2004_04_01_mikedaley_archive.html *58 RECURRING: young, younger, smooth, strong, interesting, deep, varied, unique, likeable, suitable, srange, iffy, flamboyant (Jerry Lee Lewis),awesome, poised, new, charismatic, established, dominating, marvelous, *59 For Fox Confessor Brings the Flood, the Cline-meets-Tucker vocal persona is all dressed up for a late-night smoky jazz club or an upscale blues joint, elegance dripping from every syllable. It’s a mix of jangly pop (“Hold On, Hold On”), folk (“A Widow’s Toast”), garage-y rock (“That Teenage Feeling’) and rockin’ country gospel (“John Saw That Number”). Case soars above it all, turning in what may well be the performance of a lifetime. Rvw BY GRANT BRITT APRIL 12, 2006, Neko Case: Neko Case at the Cradle http://www.indyweek.com/gyrobase/Content?oid=oid%3A30320 *60 Monsters Inc. Cast MARY GIBBS (Boo) makes an impressive acting debut as the vocal persona of a playful young girl who becomes the first human to enter the monster world. ... disney.go.com/disneyvideos/animatedfilms/monstersinc/cast/boo.html - 5k *61 And in the midst of this buzzing frontal cacophony, Adrian Barclay's semi-detached, anguished vocal persona sends each straight-ahead rock song lurching slightly off-kilter, complementing and completing the band's first speedy journey down its own indie road. "Starkers Reviewed by Chris Chilton" Author -Chris Chilton © Southland Times (NZ) http://www.starkers.co.nz/biography.htm *62 CD CUT 7, "ANGEL EYES" MATT DENNIS/ BRENT, ARR BY JESPER RIIS PUB NOT SPEC STUNT RECORDS STUCD 04132 ( In Australia, through Australian Northern Europe Liaisons www.henk.com.au Worldwide: www.sundance.dk ) KATRINE MADSEN - "CLOSE TO YOU" 5' 10" ( an almost "film-noir" staccato rendition with singer Katrine really using the low-husk &" world-weary-cool-kitty" aspects of her vocal persona. Startling muted trumpet from Morten Lundgren, w pianist Stefano Bollani, ac bassist Jesper Bodilsen & drummer Morten Lund) http://www.abc.net.au/rn/dailyplanet/stories/2004/1239358.htm *63 Throughout the late 50's and all through the 60's, Wolfman cultivated a vocal persona that led everyone to think he was actually a Black deejay. ... arts.ucsc.edu/GDead/AGDL/ramble2.html - 38k *64 But I always thought the same thing about the Morrissey vocal persona. He doesn't sound like a shy person. Whether he is or he isn't, that's irrelevant to me because I know very little about Morrissey besides what I've read in a handful of interviews. He just doesn't sound like a shy person. Forlorn, maybe, but he definitely has the sound of a self-confident person, maybe even too self-confident to me. The way the girls in Tatu sing it, they sound like teenage girls who all pretend they are something fucked up and weird, regardless of reality, so it works. http://www.ilxor.com/ILX/ThreadSelectedControllerServlet?boardid=41&threadid=13560 *65 Alexandros N. Constansis, University of Reading. The Hybrid Vocal Persona http://72.14.203.104/search?q=cache:ypFLZ3_FEbAJ:www.thebfe.org.uk/fileuploads/abstracts.doc+%22vocal+persona%22&hl=en&ct=clnk&cd=197&gl=ca DONE PAGE 20 of Google "vocal persona" search 070225 restart 070302 *66 "I thought your vocal persona was unique and commanding and the production was excellent." about Haché - Puerto Rican artist http://www.hachemusic.com/bio *67 Marshall doesn’t strain to adopt some faux vocal persona, keeping her signature gauzy phrasing and delivery intact. About Atlanta-bred, Miami- and New York City-based singer Chan Marshall (aka Cat Power) http://www.americanwaymag.com/aw/lifestyle/trends.asp?archive_date=1/1/2006 *68 >> Before Never Mind The Bollocks..., before acerbic frontman Johnny Rotten had fully developed his ultra-snide and confrontational vocal persona, before his band had fully excised all of the flourishes that snotty punks would soon consider the licks of arsey careerists, the Sex Pistols recorded some demos. http://jbreitling.blogspot.com/2006_08_01_jbreitling_archive.html *69 [PDF] The Berlioz Operas on CD, Surveyed by Our Contributing Editors and ... File Format: PDF/Adobe Acrobat grand and diva-ish, that is an intrinsic part of the Crespin vocal persona. André Turp, with his attractive but slightly thin and reedy lyric tenor, is an ...oq.oxfordjournals.org/cgi/reprint/19/3/427.pdf *70 [PDF] Refining the Line for 2007 File Format: PDF/Adobe Acrobat - View as HTML About Jewel. Her vocal persona. could sway from playful coquette to vintage jazz diva in a. phrase.There were electrifying,improvisation-laced moments ... www.taylorguitars.com/news/community/ws_winter_2007.pdf *71 Another mesmerizing show of her vocal persona comes with Not Be Alright, a hyper-syncopated blues a` la Fleetwood Mac's Tusk that she turns into a demonic rap. Her mood can swing so dramatically, but can also focus with an almost religious intensity, like when she expresses hope in the rollicking, quasi-ragtime Anew Day. O'Hara's earthly spirit shines in My Friends Have, a tense country ballad in which her voice glides like a kite. When she sings Help Me Lift You Up, it positively feels like she is praying in a church. about Canadian singer-songwriter Mary Margaret O'Hara http://www.scaruffi.com/vol4/ohara.html *72 ROBBY BENSON (Beast) provides the mysterious and powerful vocal persona of a handsome prince desperately trapped in the body of a hideous-looking beast. ... "The Beast was the most difficult voice to cast," recalls director Kirk Wise. "We needed someone who could sound like an eight foot-tall hairy monster and at the same time express the warmth, sincerity and intelligence of a human prince. Movie Production Notes: Beauty and the Beast- The IMAX Experience http://power953.com/common/movies/notes/28527-1-full.html *73 Shyne - Shyne If you enjoyed Notorious BIG’s or DMX’s vocal persona, then you ought to check this album out. 4 out of 5. - Troy Neilson ... www.unb.ca/bruns/0001/issue6/entertainment/cdreview1.html *74 I'll kiss you & give you the shivering fits." Barry Manilow's arrangement of "Big Spender" from the musical "Sweet Charity" pops and accents Bette who adopts a provocative playful vocal persona, "How's about a few laughs, I can show you a good time." Rvw CD Magical Carousel (Bette Midler) http://album.mab-x-music.com/285743-contemporary-vocal-pop/bette-midler-sings-the-peggy-lee-songbook-sony-xcp-content-copy-protected-cd--B000BBOFOA.htm *75 Fats’ vocal range wasn’t great, but his vocal persona was magic. His was the hip, sardonic voice that every American wished were his own. He could simultaneously sell a song and send it up -- saying essentially, "I like it, but I don’t take it too seriously," which allowed him to be both cynic and romantic. Rvw CD Louis Armstrong: Satch Plays Fats http://www.onhifi.com/music/20000715.htm *76 Deborah Marlowe - index page - Free MP3 downloads, CDs, Bio Info ... Marlowe exhibits an intoxicating virtuosity that combines her seductive vocal persona with a powerful mastery of the piano. Her raw delivery has been ... www.iuma.com/IUMA/Bands/Deborah_Marlowe/index-1.html *77 Linda - Linda Clifford - Similar Albums ... covers is Clifford's doo wop take on Rod Stewart's "Tonight's the Night," a clever remake that provides a good vehicle for her brassy vocal persona. ...www.mp3.com/albums/134714/similar.html *78 Although her personality has remained unaffected, Norah's vocal persona demonstrated the knowing assuredness of a veteran chanteuse in delivering a soulful rendition of the timeless classic, "Tennessee Waltz." Norah's sultry rendition of the Hank Williams' "Cold, Cold Heart" paid homage to her country and western interests, perhaps cultivated during her years spent in Dallas, Texas, where her mother relocated to after Norah's birth in New York. Jones is the daughter of musician Ravi Shankar, although Jones has stated that her musical tastes were more highly influenced by her mother, who raised Norah on her own in New York and Texas. Critics have had a difficult time pigeonholing Ms. Jones into any specific category, as her personal vocal stylings have an unmistakable individuality that transcends the genres of both country and jazz. Norah Jones - Live at the Ford Theatre (2002) http://www.kuryosity.net/commentary/norah_jones.html *79 Most of the other Rock ‘n’ Roll performances were so seemingly perfunctory that Lennon never got the setting to dig in and emote, as he did on Beatles covers like Twist And Shout, or his superb rendition of You Really Got A Hold On Me. This approaches those halcyon days, as Lennon turns this tender plea for support into a snappy demand for attention via some gnarly, compelling singing; one of the best examples of Lennon’s vulnerable tough guy vocal persona in all its overwrought glory. And in case anybody missed the point, Lennon officially announced the reconciliation of himself and Yoko ("our separation hadn’t worked out") the same day as releasing this track as a single. Brandy Alexanders And The Wall Of Sound http://www.vigotone.com/vigotone/vigotone235-237.htm *80 GarageBand.com : all reviews for Holiday by TC and the KT Band Also, having the "Holiday" lyric (a festive image) with the subdued vocal persona creates a subtle tension in the mood - Good! ... www.garageband.com/song/reviews.html?%7Cpe1%7CS8LTM0LdsaShYFCyYg - 40k - *81 Striking all the right chords for the voice of Yar, the stubborn elder statesman of Aladar's Lemur family, is veteran actor Ossie Davis. The Tony Award-winning actor gives the character the perfect blend of stubbornness, suspicion and compassion. Three-time Emmy Award winner Alfre Woodard provides the vocal persona for Plio, Yar's daughter and the soulful matriarch of the Lemur clan. Rvw movie Dinosaur http://www.cinemareview.com/production.asp?prodid=988 *82 Ah, the memories. But as great as Battle of the Planets was, it's the voice of Shaggy that will forever stick with this scribe, especially after hearing Kasem do Shaggy live, on the phone, instantly slipping into the slacker's vocal persona like a well-worn pair of bell-bottoms. Scooby-Doo rvw. http://jam.canoe.ca/Television/TV_Shows/S/Scooby_Doos_All_Star_LaffALympics/2000/09/02/pf-733213.html *83 coquettish, playful *84 I am a comically sleazy "wild and crazy" type bachelor guy. 1:00 pm: Voiceover audition for UPS in which I am a high energy sports announcer. This is true acting challenge because I never have and never will care about sports. I sort of do an Al Michaels imitation. Lunch at an overpriced diner near Grand Central Station. 2:20 pm: Voiceover audition for Jaguar. Or as the British say it, "Jag-oo-war." I am a lover of fine things telling you how fabulous a Jag-oo-war is. And it ain't over yet, my friends! I have another audition in 45 minutes for Scotch Brite! Yes, Scotch Brite, makers of fine scouring pads! What vocal persona will I be this time? A gruff yet lovable restaurant manager? A neatnik cowboy? The dishes-doing adopted son of two retarded people? Time will tell! http://urbaniak.livejournal.com/1162.html *85 Son of the Velvet Rat By My Side Starfish Listening to By My Side, the debut solo album by Son of the Velvet Rat, one cannot help but try to match the musical timeline and puzzle pieces. Is this Austrian – real name Georg Altziebler – influenced more by Leonard Cohen’s morose poetry or Nick Drake’s sensitive melodies? Is Altziebler’s dramatic vocal persona a direct descendent of Bryan Ferry? Each artist brings particular talents, abilities, and personal attributes to his songs, and Altziebler is neither derivative nor completely devoid of similarities to the other three. By My Side possesses warmth, concern, sadness, and stark reality in an organic beauty that rests comfortably along the best work by Cohen, Drake, and Ferry. http://adequacy.net/review.php?reviewid=4185 *86 .: chromewaves.net v7.0 2002's We Are Science took a darker turn, with more electronic and programmed sounds and a colder, detached vocal persona on Allison's part. ... www.chromewaves.net/index.php?itemid=1556 +fully-formed, +outstanding *87 Virginian Pilot, CD Review >> Lead singer/lyricist Belle du Berry, a survivor of French punk outfits, adds wry humor, puns and sarcasm to the band’s continental pop. Thankfully, du Berry is neither an Edith Piaf nor Francois Hardy wannabe. She affects her own in-control vocal persona that’s slightly cool and a little passionate with lots of eye-rolling attitude. http://www.rockpaperscissors.biz/index.cfm/fuseaction/current.articles_detail/project_id/192/article_id/3278.cfm *88 The-pigeonhole-of-Extrodinary-Gentlemen Margaret vocal persona similar in her review in connection with Bulletproof Monk, something like "it's betrayed by it's comic insert origins". ... aus-films.thetechonehome.com/The-League-of-Extrodinary-Gentlemen-1302577.html *89 one's first Meistersinger should not have as effortful a Walther as the unsuitable Suthaus or the ungainly Hopf (however young Suthaus is with Abendroth and however sparkling the humor be on the first Karajan or inspired the conducting be on the "live" Kna), and one shouldn't have as one's first Eva a vocal persona who seems older than the Magdalene(!) (the "live" Jochum). http://www.usenet.com/newsgroups/humanities-music-composers-wagner/msg00066.html *90 Acclaimed actor/director Tony Goldwyn landed the lead role of Tarzan and brings vitality and soulfulness to his vocal interpretation of this legendary jungle adventurer. For the role of Jane, a witty and energetic Victorian with a keen sense of humor, the filmmakers enlisted the talents of actress Minnie Driver. Alex D. Linz voices Tarzan as a 5-year-old and adds a spirit of fun and frustration to the budding ape man. Academy Award-winning actress Glenn Close brings warmth and compassion to the caring and charismatic mother ape, Kala, who opens her heart to the orphaned Tarzan. Versatile comedienne/actress/talk show host Rosie O'Donnell lends her expert timing and familiar voice to Terk, an affable wise-cracking ape who is Tarzan's best friend and British actor Brian Blessed is in fine form as the vocal persona of Clayton, a larger-than-life adventurer with a hidden agenda. Nigel Hawthorne gives a fine turn as the eccentric Professor Porter, father of Jane and noted authority on gorilla behavior (although he's never actually seen one). Tarzan (animated) Release Date: 29th October 1999 Distributor: Twentieth Century Fox http://www.unreel.co.uk/reviews/t/Tarzan/index.cfm *91 Obner.org :: View topic - K/Ranks 2006 - Gossip 'Standing In The ... Fortunately then, to counter these misteps, the band end on a high note with ‘Dark Lines’ a track where Beth’s disco diva vocal persona is replaced with a ... www.obner.org/bb/viewtopic.php?p=276863&sid=a3553c6321154ef7b580fa6aaaba37d3 *92 TheProdigy.info » Prodigy articles » NME House Of The Razing Arson This doesn't stop him from effortlessly slipping into a vocal persona that is a schizo-barmy Mr C meeting a speedball-bonkers Gary Glitter in hell. ... theprodigy.info/articles/nmemarch96.shtml *93 The Black Parade | music : ENTERTAINMENT WEEKLY Rex, but finds Way adopting a jauntily devilish vocal persona so reminiscent of the Artful Dodger from Oliver!, you half think he's going to launch into ... www.ew.com/ew/article/review/music/0,6115,1548441_4%7C115696%7C471611%7C0_0_,00.html *94 +peculiar yet fetching (Brigitte Bardot's 1963 album) http://browse.search.shopping.yahoo.com/p:Brigitte%20Bardot%20%5BPhilips%20%231%5D:1921289114 +distinct, convincing *95 LOTS OF STUFF ABOUT DOCTOR'S VOICES! http://www.chiroweb.com/archives/14/19/02.html *96 »»Indie R and B Music Reviews«« Dorsey's vocal persona is generally wry, warm, distinctive, and almost conversational. From the chicken scratch guitars and dance beat of "Pony" (a response ... megamusicreviews.com/R_and_B/Indie_R_and_B/Indie_R_and_B_120.html Artist: Roadside Attraction Ribbed For Your Pleasure Released in Audio CD by Dangerous Grooves (24 July, 2002) *97 “Its Only Love,” a duet with Bryan Adams is engaging and dripping with raw sexuality. Their voices mesh elegantly as they sizzle together. She does “Tonight” with David Bowie and the effect is just as elegant, but cooler and bemused. In the music video of “Cose Della Vita” with Eros Ramazzotti, Tina’s voice takes on an unusually sweet lyrical quality that contrasts her normally “rough” http://www.stonewallnews.net/back_issues/2005jul.pdf *98 andys-onestop - shop ... only enhances the enjoyability and variety of both sets. lt;br /gt;Dorseys vocal persona is generally wry, warm, distinctive, and almost conversational. ... www.webdevtips.co.uk/store/product.php?asin=B00004TD9W&mode=music *99 DDD [Archive] - Page 2 - SH Forums Bootsy is known for his bass playing and cartoonish vocal persona, but he is also a competent drummer and a decent guitarist, appearing in both functions on ... www.stevehoffman.tv/forums/archive/index.php/t-3181-p-2.html +smooth +country vp +Elvis-like +unforgettable +likable +overdone +ageless *100 I do love the beauty of his voice, and the falsetto especially seems to have a built-in emotional appeal that sometimes makes me willing to overlook the fact that the music is fairly non-descript. However, I really wish to hear this voice singing some stronger lyrics that would do it justice. Depending on the song, his vocal persona as a sort of earnest non-macho sensitive-guy alternates between being irritating and appealing. I can't decide for sure if I like his insecurity, but I do admire his willingness to express it. X&Y by Coldplay http://murmurs.com/forum/archive/index.php/t-89437.html *101 Search | Billie Holiday : EW.com With a vocal persona flickering between latter-day Billie Holiday and Nat King Cole, this jazz androgyne can transform any tune into an ... Page: ... search.ew.com/EWSearch/ew/search/search.html?search=Billie+Holiday&skip=40&lhb=10 - rvw Jimmy Scott: Holding Back the Years *102 Cleveland - Music - Little Charlie and the Nightcats - clevescene.com A typical Estrin saga can evoke the crafty comedy of a Louis Jordan tune or the street-corner irony of Sonny Boy, packaged in Estrin's own sly vocal persona ... music.clevescene.com/Issues/2004-06-23/music/nightwatch2.html *103 Diana Krall; yea or nay? - Page 2 - Head-Fi: Covering Headphones ... ... downright music geek/nerd (black horn-rim glasses, bad hair and all) with a KILLER voice and song delivery and an intoxicatingly alluring vocal persona. ... www.head-fi.org/forums/showthread.php?t=62938&page=2 *104 He now chooses a character's vocal persona like a master craftsman selecting from a case of precisely designed tools, shifting voices from the old-dog croon that prevails in "Alice" to the gruff, staccato bark of "Blood Money's" sinister ringmaster. Rvw of Tom Waits CDs "Alice" & "Blood Money" http://www.anti.com/press.php?id=1&pid=114 *105 LAMBCHOP: Tools In The Dryer ...a cover of Vic Chesnutt's "Miss Prissy" nicely matches the songwriter's eccentric lyrics with Kurt Wagner's equally cracked vocal persona. http://prod1.cmj.com/articles/display_article.php?id=31592 *105 AudioStreet.Net - Typhus Press and Reviews His blasted vocal persona gives some human character to the cold proceedings, as does the tight yet spontaneous drumming by moon. ... www.audiostreet.net/artist.aspx?artistid=45437&mode=reviews&recordid=43163 *106 The Starlite Desperation Go Kill Mice A quiet distance from his vocal persona, Adrian is much more soft-spoken, more laid-back than desperate ("If I talked the way I sang, I'd get arrested," he jokes). Explains Adrian, " I think the whole idea of rock' n 'roll has shifted from youth and vibrancy to seasoned decrepitude. http://www.towerrecords.com/product.aspx?pfid=3318822 *107 Music | Rhode Island news | projo.com | The Providence Journal This stripped the song of the near-prog-rock ensemble sound and new-Dylan wiseguy vocal persona of the recorded version and narrowed the gap between old and ... www.projo.com/music/content/projo_20051022_brucerev.227220ba.html VOCAL PERSONALITY 070321 *108 A Content Analysis of Public Address Critiques: In Search of Uniqueness in Evaluative Criteria and Judging Practices Scott L. Jensen* "Movement should be purposeful and the vocal personality of the speaker should demonstrate control and variation." National Forensic Journal, p.14 Persuasive speaking ballot. http://cas.bethel.edu/dept/comm/nfa/journal/vol8no2-2.pdf *109 Tips about the voice for aerobics instructors "Posture in class varies, affecting vocal output. For optimal projection, speak while standing upright. Imagine a cord pulling up from the crown of your head toward the ceiling. Some postures, such as abdominal work or push-ups, will not allow you to speak with a powerful, projected voice. Instead, demonstrate an exercise position initially then move out of that position to continue speaking. You will soon become aware of the postures that work with your voice. Projection and volume are interrelated as the strength and force behind your voice. However this means projecting, not screaming. The level of projection needed depends on music volume, audience size and acoustic principles of the room. Project toward the class. Face then instead of a mirror, or blend with them as part of the group. Pitch gives you a vocal personality. Too high or too low pitch weakens intensity. Most commonly, when instructors increase loudness, their pitch levels go up. At high-pitch levels you cannot sustain sounds for cueing. A pitch level that is too low, however, is a strain on the vocal equipment. Try to maintain your natural pitch." Vocal impact alert - caring for the voice American Fitness, Jan-Feb, 1992 by Carol L. Swett http://findarticles.com/p/articles/mi_m0675/is_n1_v10/ai_11729526 *110 Soft Voice Incorporated's 20 Preset Voices http://www.text2speech.com/voices.html 1. MALE: Average adult male 2. FEMALE: Average adult female 2. LARGE MALE Larger than average male with longer vocal tract and lower voice 3. GIANT MALE A really huge guy 4. OLD WOMAN Elderly female with a shaky voice 5. CHILD Little boy or girl 6. ROBOTOID Buzzy robotic voice 7. MARTIAN Strange alien voice 8. MUNCHKIN Right from Oz 9, COLOSSUS The voice of the Colossus computer, remember? 10. MELLOW FEMALE Adult female with a mellow breathy voice 11. MELLOW MALE Adult male with a mellow breathy voice 12. CRISP MALE Adult male with a sharp, crisp quality 13. THE FLY Help me! Help me! 14. FAST FRED Adult male who reads at an accelerated rate 15. TROLL A Troll 16. NERD He knows it all 17. MILKTOAST Kind of like Droopy. 18. TIPSY He's just singin' round the lamppost 19. CHOIR BOY Male soprano Advertised features * Real time conversion of unrestricted text to high quality speech * Available in English and/or Spanish. More languages under development * Twenty pre-defined vocal personalities including males, females, children, robots, and aliens * An unlimited number of vocal qualities/personalities can be created by the user * Large selection of embedded commands control myriad parameters * Speaking rate control, very wide range (20 - 800 words per minute) * Pitch control, very wide range (10 - 2000 Hz) * Pitch modulation effects (vibrato, perturbation, excursion, etc.) * Control of vocal quality (normal | breathy | whispered) * Control of speaking mode (natural | word-at-a-time | spelled) * Can return mouth shape data for use in animation * Synchronization capabilities (sync messages can be sent to the user's application signalling a variety of events) http://www.text2speech.com/#svtts Download Audio Examples Here is a small sample of the fun you can have with the SoftVoice text-to-speech system. With 20 modifiable voices, and over 30 types of embedded commands that can be inserted into your text, the possibilities are limitless. The examples below are .wav files recorded at 11KHz, 8-bit mono, and should play on any Windows© machine equipped with a sound card. Download audio example "We have all the flavors, as long as you want chocolate, vanilla, or strawberry." Size = 59KB Spoken by Standard Male. Download audio example "This is the voice of world control. Obey me and live, or disobey and die." Size = 66KB Spoken by Colossus. Download audio example "I am here to help you. Please enter your user number." Size = 45KB Spoken by Breathy Female. Download audio example "Twinkle, Twinkle Little Star." Size = 67KB Sung by Child. Download audio example Identity Crisis! Size = 60KB Spoken by various SoftVoice personalities. *110 http://www.eitsc.com/eitsc_training_portfolio_sep2006.pdf European IT Service Centre. Courses in leadership includes training in vocal personality. *111 Instinctively we allow the vibrato to control our vocal instrument, but clearer more smooth tones, and subtle dynamics are often better choices than the wide vibration of notes, which also can cause pitch problems. I strongly emphasize paying attention to having good breath control. It will enable your capabilities to exercise long phrases technically and without vocal tension. It will support your sound, and assist in your intonation as well. Accents play an important roll in music in general. They are common, and used, and recognized in the instrumental world. Although the nature of a word will display itself as an accent, seldom does the vocalist truly realize how important an accent is necessary for vocal expression. Whether lyrically, or with syllables. Ranee Lee’s Master Class 2003 http://www.apcq.org/raneelee.pdf *112 THE SINGING BODY (Amy Fradon) “One of the gifts of singing is that you cannot escape being aware of your body. The sounds that the voice makes are a direct byproduct of a working body: bones, muscles, brain and heart, not to mention the vocal apparatus. Think of Aretha Franklin when she lets one of her famous notes wail from deep inside her body. How is she doing that? So many of us are so swept away in our crazy, busy, left-brain oriented lives that we are often not even aware of sensations in our bodies, both positive and negative. Do you listen to and hear all the signals your body is sending to you about what it needs and likes or about how it wants to guide you to success in all the things you do? How often do you breathe deeply and fully? Do you sing with your full body? Can you let yourself dance freely? This workshop is about getting to know your body/voice and how it moves and breathes. We will move (a lot!) and breathe, reflect and ask, explore singing and other intentional sound and begin to make friends with the body that we are. We will take the risk to really listen to our bodies and explore ways to cooperate more effectively with them." VOCAL VISIONARY WORK (Amy Fradon) “The journey of learning how to really find and partner your voice is deep, profound and powerful in many of the same ways that entering into Zen training can be. To be in your voice means to be in your body and with the flow of your feelings. It takes focus and trust and concentration in the face of inner and outer fears. I will help you find your ‘singing body’ through movement, awareness, concentration, vocal exercises, individual and group work and by exploring and working with your deepest dreams about singing in the world. We will create a safe, supportive circle with each other where each person can really begin to gain confidence and ‘step out’ and celebrate their own unique gift as a singing person. It is your birthright to sing! The world is waiting for you and your voice!" (Class limit: 12) http://www.swangathering.org/Catalog/CF/sgcfclasses.html *113 Roland Graeme - "Bel Canto Portrait" (review) - The Opera ... Miricioiu's vocal personality tends to be gently feminine, but dignified--in this respect and in this repertory, she rather resembles Montserrat Caballé ... muse.jhu.edu/journals/opera_quarterly/v018/18.1graeme04.html *114 On Stevie Nicks (ex Fleetwood Mac) Stevie Nicks's ''Rock a Little'' (Modern 90479) Her deterioriation as a songwriter, however, is largely camouflaged by a production that uses the latest studio gadgetry to enhance her vocal personality. Her sensual croak of a voice has deepened and coarsened since her last album, and on ''Rock a Little'' this hoarseness serves a fearless indulgence in histrionics. She goes at her vocals with the ferocity of a would-be witch casting angry spells. Electronics play an important role in transforming Miss Nicks's gauzy diaristic musings into sonic dreamscapes in which her voice zooms in from all directions, ricocheting and swooping about like bats in a belfry. The one pop gem that looms through this high-gloss swirl is Charles Sandford's catchy folk-pop ballad, ''Talk to Me,'' which has already become a top-five hit. HIGH-GLOSS POP ALBUMS FLOURISH ONCE AGAIN By STEPHEN HOLDEN Published: February 9, 1986, Sunday http://movies2.nytimes.com/mem/movies/review.html?res=9A0DE2D6153FF93AA35751C0A960948260 *115 Description: World-renowned vocal personality Gary Owens, who gained national fame on TV's "Laugh-In," shares the inside scoop on how to break into the voice business and, once there, how to succeed. Peppered with entertaining anecdotes from well-known actors, producers, and agents, How to Make a Million Dollars with Your Voice offers an irreverent entrée into this often overlooked but lucrative entertainment career. In this step-by-step workshop, voice-over hopefuls will learn about everything from developing a demo to finding an agent to improving their pipes. How to Make a Million Dollars With Your Voice by Gary Owens ISBN: 0071424105 Publisher: McGraw-Hill Publication Date: 2004 http://www.abebooks.com/servlet/BookDetailsPL?bi=852230908&searchurl=isbn%3D0071424105%26nsa%3D1 *116 was list of adjectives. now at VocPersAdjs.txt *117 Morgan Freeman: The Shawshank Redemption Morgan Freeman's voice is always full of depth and character, making it hard to pick one sample to represent his skill. (Coincidentally, Freeman is also one of many fine voice actors who worked on The Civil War , featured below.) His work in The Shawshank Redemption is especially noteworthy because Freeman's character tells much of the story in voiceover, making the performance crucial to the film's success. This sample is from the very last scene in the movie (190K). John Roebling: The Civil War Episode 1 (1861) of this epic series ends with the reading of a letter from a union officer named Sullivan Ballou to his wife. Ballou's letter anticipates his death on the battlefield, examines his sense of duty, and wishes his wife a loving farewell. There are numerous excellent voice performances throughout this program, but the late John Roebling's reading of Ballou's letter stands out. It brings the man, and the historic moment, back to life with understatement and sensitivity. I wish circumstances permitted posting the entire reading, but this excerpt will provide some idea of its poignancy. (178K) Rich Wilson: Journey Toward the Light This program profiles an organization called Friends Connection, which helps rehabilitate people who have emotional problems coupled with drug and/or alcohol dependencies. This excerpt is from the opening segment, which establishes the need for tolerance and acceptance by viewers, to help recovering clients as they are integrated back into society. For my narration on this program I received the Philadelphia ITVA's Outstanding Achievement Award for Voice-over Performance. (155K) Charles Fleischer: Who Framed Roger Rabbit? The job of creating a distinctive voice for a new, high-profile cartoon character is a huge challenge. When this film was being developed, the buzz was all about its integration of animation with live action. But I think Fleischer's invention and performance of Roger Rabbit's voice -- and vocal personality -- deserve special recognition. This excerpt shows Fleischer's ability to perform extremes of emotion (not to mention vocal pitch!) while remaining in character. (126K) Kathleen Turner: Who Framed Roger Rabbit? Key to the comic success of this film is the contrast between Roger and his pulchritudinous wife. As attractive as Kathleen Turner is in person, she could not compete with Jessica Rabbit visually. But her sultry and breathy voice matches Jessica's outrageous curves perfectly, which is why this excerpt is provocative even without any pictures. (120K) All from Talent Audio Voice Performance http://www.online-communicator.com/audtal2.html 070322 *118 Set Your Voice Free by Roger Love and Donna Frazier · I · Your voice is an intimate part of you. A breath of air travels through your body, taking on the colors of your thoughts and emotions, and when it re-emerges it's filled with your essence. Something that intimate should be as strong, sweet, pure, seductive, funny, and commanding as you are. But words like strong, warm, sexy, and powerful may not be the ones that pop into mind when you listen to the voice you've recorded on your phone answering machine, or the one you've tried to prod through a chorus of "Happy Birthday." In fact, when I ask most people to describe their own speaking voices, the typical list is full of brutal assessments: thin, harsh, gravelly, hoarse, weak, nasal, tinny. We think we're shy, but actually we feel beaten down by the way other people have reacted — or failed to react — when they've listened to us. In our minds, James Earl Jones or Lauren Bacall is speaking our thoughts, but too often what comes out of our mouths is anything but. Maybe your voice is hoarse or strained; maybe it's more like Pee Wee Herman's. Maybe you're soft-spoken, like a librarian, but you're ready to unleash the vocal exotic dancer. We absorb the information packed into a voice almost intuitively. I have spent many years detailing exactly how we telegraph information through sound, independent of the words we use. Whether you realize it or not, your voice hits a lot of pitches as you speak. A friend and student of mine, who happens to be a former rocket scientist, took an interest in the relationship between voice and occupation. For several months, as he traveled the world on business, he carried a small musical keyboard. He'd pull it out during conversations, and he'd use it to figure out what the other person's voice was doing, musically, as he or she spoke. (As we'll see throughout this book, there's a short, easy leap between speaking and singing.) Our voices, themselves to a monotone, and with a little practice, you can hear the various pitches you hit while you're speaking. (You can try this by sitting down at the keyboard and saying the word hello with a lot of enthusiasm, as though you're greeting someone you're surprised and very happy to meet. If you hold the o as though you're chanting it, you might be able to pick out the note that you're speaking/ singing by touching the keys on the keyboard until you find the note that matches the one you're making.) My friend became adept at listening to the pitches (the familiar "do, re, mi, fa, sol, la, ti, do" that we've all learned to sing) that people were hitting as they spoke, and he became interested in the intervals between those pitches. Were they making tiny steps with their voices, or were they striding (or flying) up and down? My friend collected information about hundreds of voices, noting the exact intervals the speaker used and the speaker's occupation. Among his findings: Musicians and singers, not surprisingly, used the widest range of notes. In the course of a conversation, they'd use many thirds (moving from do to mi), fourths (do up to fa), and fifths (from do to sol). Engineers used mostly thirds and tended to stay within that small range. And bankers used only seconds (do-re), which are very limiting and almost monotonous. After a while my friend had no trouble guessing what a person did for a living, based simply on the intervals used in speech. He also identified the odd, dissonant intervals (minor seconds and flatted fifths) that cause us instantly to back off from someone we think might be emotionally off — the wackos and crazies we sometimes come across. Our voices so clearly reflect our personalities, our souls, our mind-sets, and our characters that our vocal habits hand our dossier to everyone we meet. That may be wonderful, but it may also be as confining as a pair of pants that's two sizes too small. If you have access to a whole palette of color and hue when you speak and choose to toe the narrow banker's line and limit yourself to just a couple of musical tones, that's great. If it fits you, wear it with gusto. Or, choose a voice that gets you where you want to go. If you're an expansive, arm-waving salesperson whose voice covers a lot of territory, you might make a conscious decision to talk in an engineer's more limited cadence — because you're selling widgets to engineers and you want them to trust you as one of their own. The more awareness you bring to your voice and the more you know about its true capacities, the more choices you have about how you come across and the more you can use your voice to your advantage, rather than letting it (or misconceptions about it) limit you. At the height of his career, when Thriller was on the charts and the moonwalking wonder was touring the world, Michael worked with my partner at our vocal studio, and frequently we'd have a chance to sit and talk. One afternoon I was looking out my office window and spotted Michael doing a triple twirl in the parking lot as he left his car. I was amazed at his energy — the man was a comet. But when he sat down in a chair across from me and began to speak, none of that energy seemed to be available. He whispered, as though he were afraid to let a sound come out. I had to strain to hear him, and he seemed tentative and shy — though I knew he had the power to fill a stadium with his presence. ISBN:0316441589 http://www.twbookmark.com/books/95/0316441589/chapter_excerpt17182.html *119 More successful is the jazzy sound of "Just Chillin'," which keyboardist Ellen Reid sings with pleasingly smoky results. Unfortunately, her two other contributions suffer from vocal personality disorder. On "Get You in the Morning," she seems to be trying too hard to emote like Portishead's Beth Gibbons, while on "A Little Something" she sounds like Carly Simon. Go figure. CRASH TEST DUMMIES Review by Erin Hawkins of Crash Test Dummies "Give Yourself a Hand" Vik/BMG in Eye Weekly http://www.eye.net/eye/issue/issue_04.01.99/music/ondisc.php *120 The Opus 34 group contains some of the Rachmaninov's best-loved songs, each of which was tailored to the vocal personality of a particular singer with whom he was acquainted from the Bolshoi opera. The highly declamatory examples, such as In the Soul of Each of Us, Op. 34/2, were dedicated to the great bass Feodor Chaliapin, whose ability to shape words into dramatic musical statements was legendary. The Vocalise, on the other hand, was dedicated to Antonina Nezhdanova, who can be presumed to have possessed a singularly pleasing and flexible voice, given the sustained, almost violin-like character of the piece. Vocalise, song for voice & piano, Op. 34/14 (Rachmaninov). Sheet music sales blurb. http://www.answers.com/topic/vocalise-song-for-voice-piano-op-34-14 *121 [The singer Pablo] Civil is an unexpected treat. His "Mujeres" is wittily turned, louche and flexibly delicate - a reminder that the role was written for the epicurean vocal personality of Tino Folgar. Espinalt is slightly more secure in the duet, and Rafael Ferrer brings out a sunny, flashing wit that is lacking in García-Navarro's comparatively unsmiling seriousness. Zarzuela "Los Clavales" comparative CD review by José Serrano Rosa - Teresa Berganza, Fernando - Placido Domingo, Jacinta - Dolores Cava, Goro - José Manzaneda Coro de solistas líricos, Orquestra Sinfónica de Barcelona Conducted by L.A. García-Navarro (BMG Alhambra WD 71588) and Rosa - Maria Espinalt, Fernando - Pablo Civil, Jacinta - Josefina Puigsech, Goro - Francisco Paulet Coro y Orquestra Sinfónica Española Conducted by Rafael Ferrer (EMI Hispavox 7 67472 2) http://www.zarzuela.net/cd/cdmag/cdmag014.htm *122 Chaka Khanissoul music's ranking tomboy. Her hard-edged sexual exuberance, which owes as much to rock as to gospel, is the basis for an intriguing but limited vocal personality that can easily slip into shrill self-parody. Album rvw by Stephen Holden (790125) Chaka Khan: "Chaka" in Rolling Stone (online) http://www.rollingstone.com/artists/chakakhan/albums/album/243746/review/5945280/chaka *123 [Producer Shep] Pettibone can't do much with Madonna's throaty vocal style, though as the album demonstrates, he doesn't have to. Madonna may not be an angelic thrush like Mariah Carey, but Carey has only one-fifth her vocal personality. And great pop is nothing if not personality. Posted Dec 14, 1990 By David Browne Music Review Madonna "The Immaculate Collection" (1990) http://www.ew.com/ew/article/0,,318856,00.html *124 jocy de oliveira “estórias para voz instrumentos acústicos e eletrônicos” compact disc recordable (self-descr. early Brazilian electro-ac. mus.) without any rehearsal i placed the scheme of phonems and words near to the microphone in front of the soprano rozalyn wykes and myself. while i would read (in a modulated speech) and improvise sounds and words, the singer would foliow the nuances of the portuguese language in a "spreachgesang" manner or singing. this was the source for the elaboration of the tape part. this liquid clear voice passes through the tape as a parallel to the symbolism of the text. as the work progresses it fol1owsits way distorting itself, loses its character and changes its vocal personality --- becoming like a wind. instrument. http://www.mimaroglumusicsales.com/artists/jocy+de+oliveira.html *125 The song lyric, which distills the themes of the album -- "And it's only love, and it's only love/That can wreck a human being and turn him inside out" -- also underscores the essence of Ronstadt's vocal personality. No other pop singer so perfectly embodies the Western mythical girl/woman, heartbroken yet resilient and entirely feminine in the traditional sense. There is a throbbing edge to Ronstadt's honey-colored soprano that no other singer quite possesses -- the edge between vulnerability and willfulness that I find totally, irresistibly sexy. - Stephen Holden, Rolling Stone, 1/16/75. "Heart Like a Wheel" Linda Ronstadt Capitol 11358 Released: December 1974 Chart Peak: #1 Weeks Charted: 51 http://www.superseventies.com/spronstadt.html *126 A new disc, The Unknown Recordings, has just appeared, released days before [Franco] Corelli died, a collection of previously unissued material recorded during his prime in the sixties. It’s all there: the fearless attack, the gleaming metal, top notes that never fail, and that glamorous, utterly distinctive vocal personality. rvw Franco Corelli "The Unknown Recordings" by Peter G. Davis New York Classical & Dance http://nymag.com/nymetro/arts/music/classical/reviews/n_9734/ *127 Third, Katryna and Nerissa's voices blend in a way that I'm not sure "blend" is really the right word for. Although I think they're capable of soothing, conventional harmonies, they must not like them, as their duets on these songs almost always find one (sometimes both) of them delegated to a part that is either hair-raisingly shrill, or so violently vibratoed that it's hard to tell where the center of the pitch range is supposed to be any more. Katryna performs the verses of "Georgia O" in a clipped, impish chirp, and the flailing choruses sound like an owl and a sheep rehearsing for a punk musical of some of Aesop's more judgmental fables. The hushed verses of "Snowman" sound more than a little like Aimee Mann, but Nerissa wails her half of the choruses like she's auditioning for Heart. The oblique harmonies on "Last Kisses" are heir to the Story and the Indigo Girls, and the bleating, luckless refrains of "Nebraska" sound like Patsy Cline fighting through either a nervous breakdown, or anthrax. "Tomorrowland" skips from one vocal personality to another like a three-minute pantomime survey of Dickens. If you hate the Nields, the sisters' voices will probably be why. Somebody encouraged them, when they were very young, and they've long since stopped being self-conscious about how they sound. I find that the more abrasively they sing, the more I enjoy it, but I should note that I still fondly remember a bowl of chili I had, when I was ten, that was so spicy it made my nose bleed. rvw The Nields CD "Play" (981029) unsigned http://www.furia.com/page.cgi?type=twas&id=twas0196 *128 Even Wagner does not expect his singers to take on two roles at once, but does he create some kind of split vocal personality in a performer: one voice for Wagner and another for the rest of the repertoire? Mezzo Mary Phillips - a seasoned Valkyrie and Rhinemaiden, Erda in the Scottish Ring... doesn’t think so. “Wagner’s music is something I’ve had to grow into as a mature singer, but basically I sing him as I would Mozart, Verdi, Handel, or Rossini: all great music requires the same attention to support, breath, diction, focusing the tone, and focusing the mind,” she explains. “Yes, Wagner does demand something extra from everyone involved in his operas, and the depth, power, and intensity of his music create a magic that can almost make you feel superhuman. But ultimately the challenge for me is always the same: to do full justice to composer, librettist, stage director, conductor, and audience. I’m currently preparing my first Amneris in Aida and again it’s a matter of giving my all.” M Notes Cover Story • Winter 2004 "Wagner: Making the Myth a Reality" By Yehuda Shapiro http://www.janicemayer.com/mnotes/01-2004/index.htm *129 "Arboretum Harmony Processor Gives Singers New Voices" (1999) Arboretum Harmony is the first product to employ Arboretum's new proprietary Vocal Personality technology, which imparts vocal characteristics from one voice to another. The Vocal Personality process begins with the analysis of a source voice; its formants are mapped and saved as a Personality Filter. Arboretum has factory-analyzed a great number of singers and will be shipping a wide assortment of preset Personality Filters with Arboretum Harmony. When using Arboretum Harmony the formants of any input voice may be removed and replaced by the format set from a Personality Filter. The sonic result of the Personality Filter is both useful and distinct. It's not like one singer imitating another, it's like giving a singer someone else's throat. http://www.midi-classics.com/sw/sw13090.htm *130 Functional dysphonia Abnormal use of the vocal mechanism despite normal anatomy. This condition can be related to stress, psychologic disturbance or habituation of compensatory techniques developed during an upper respiratory infection. Dysphonia is defined as an abnormal voice quality. The patient's complaint of hoarseness frequently represents something entirely different from the way the physician defines hoarseness, so it is important that the physician consider the different descriptions of voice quality when evaluating a patient's complaint. Voice quality may be described as breathy, strained, rough, tremorous or weak. On questioning, the physician may discover that what the patient terms hoarseness is actually increased vocal effort or vocal fatigue. Other aspects of dysphonia to inquire about, particularly in patients who are singers, are changes in pitch and abnormal pitch range. These specific disturbances often help the physician focus on possible diagnoses (Table 2). "Evaluating Hoarseness: Keeping Your Patient's Voice Healthy" CLARK A. ROSEN, M.D., DEBORAH ANDERSON, M.D., and THOMAS MURRY, PH.D. University of Pittsburgh School of Medicine, Pittsburgh, Pennsylvania in American Family Physician Vol. 57/No. 11 (June, 1998) http://www.aafp.org/afp/980600ap/rosen.html *131 However, the group of singers that assembles here with a very small number of devotees demonstrates the kind of gradations that are possible in this art form, which to us at first appeared more folkloristic in nature. Each of the four singers sitting in the first row – the drummers behind them – is a vocal personality in his own right. This lends the singing something of a stage performance. The main role is played by a very delicate, frail old man, who has almost no voice left and keeps lapsing into recitation during the singing. Next to him a young man with a gruff voice, on the other side an extremely supple singer, at the edge a big boy, who claps his hands with such gusto that one fears blood will squirt out of his fingers at any moment. At unexpected moments he lets his high, piercing voice resound; it sounds frighteningly like the neighing of a beautiful bronze horse. 23 September 2006 Diary of Martin Mosebach series German Authors in India (Goethe Institute) http://www.goethe.de/ins/in/lp/prj/sdt/dii/mmo/en1729576.htm *132 As if fearing comparison with his solo work, Iggy’s vocals on The Weirdness are mixed much further back than we’re used to – far beyond the point of egalitarianism. Frankly, his singing is so feeble he deserves a low mix. Rarely can he have hit so many bad notes, or sounded so straining, as on “Idea Of Fun” and “The End Of Christianity”. As for “Free And Freaky” and “Greedy Awful People”, Iggy’s vocal personality is so forgettable, and his lyrics so throwaway, that the songs are reminiscent of late-period Ramones comedy tunes. rvw by DAVID CAVANAGH of THE STOOGES - THE WEIRDNESS The Stooges (Virgin) 1995 http://www.uncut.co.uk/music/the_stooges/reviews/9504 *133 Review Dream Theater: Six Degrees of Inner Turbulence (2002) Release Date: Jan 29, 2002; True prog nirvana awaits those brave few who make it to the second disc. A suite about six whacked-out characters -- war veteran, creative-loner boy, and solitary depressed girl among them -- it opens with an orchestrated, pure-pomp ''Overture'' and then shifts into twee woodsy folk-prog and straight-faced Styxian pageantry. Keyboardist Jordan Rudess even sounds as if he is playing a goopy old-school Moog or Arp synth, for which he scores major period-detail points. The lyrics are rarely subtle (''Counseling and therapy/Providing not a clue'' in ''The Test That Stumped Them All''), and earnest lead singer James LaBrie lacks the over-the-top vocal personality of helium-voiced prog frontmen like Geddy or Jon. But there's no denying how well Dream Theater re-create the genre's hallmarks while updating them for the extreme-rock era with harder guitars and drum pummeling. It makes you wonder which act is gutsier: Eminem slamming another teen-pop star or Dream Theater ignoring, and thereby dissing, every style of music that's existed since 1976. http://www.ew.com/ew/article/0,,198712~4~0~sixdegreesofinner,00.html *134 In effect, each makes the other sound better. Liz's generally warm vocal tone and disarming stage manner, in other words, takes the edge off of Ann's piercing timbre and larger-than-life persona. Ann's rhythmic drive and Ella Fitzgerald-inspired scat singing, meanwhile, lend heat and energy to Liz's otherwise unhurried melody lines. CHICAGO TRIBUNE, Howard Reich November 5, 2006: Reviews of Ann Hampton’s CD, "Blues In The Night" and Latest Shows http://www.annhamptoncallaway.com/reviews.html *135 The play was brilliantly cast and directed. Sharon Percy’s Donna was magnificent in the way she brought the character alive with all her nuances of self-deception, attitude and vulnerability. She offered a tour de force in expressing vocal personality, particularly in the scene where she articulates the combustion of petrol in the word ‘whooooshhhhhh’ while interrogated by a radio Cracker that a younger generation of radio listeners can believe in - Radio rvw "Criticism, journalism, rhetoric and advertising of an imaginative dramatic art" by Tim Crook Monday 21st August 2006 - BBC Radio 4 FM only Afternoon Play: The Memory Experience: The Recall Man Episode Two of Two. 'Can't See for Looking'. A witness to an arson attack thinks she saw a rhinoceros throwing a petrol bomb. Forensic psychologist Dr Joe Aston tries to discover what she really saw. By David Napthine. http://www.irdp.co.uk/dramareview2.htm *136 Financial Careers Job ad Project Finance Executive - Corporate Finance Boutique, UK-London starting at £45,000 p.a. THE CANDIDATE In order to fit in amongst the outstanding calibre of individual in this unique organisation, you will possess a strong, vocal personality http://jobs.efinancialcareers.hk/job-4000000000245001.htm *137 Violetta is one of those Verdian roles that calls for a soprano with a split vocal personality. The first priority has to be the dark timbre and declamatory power for "Addio del passato" and the death scene. Her long confrontation with Germont in Act II also demands a dramatic soprano. By Heather Hadlock October 13, 2000 La Traviata performance http://www.sfcv.org/arts_revs/traviata_10_17_00.php *138 Bel Canto Society: Gina Cigna in Opera Fanatic (Cigna’s vocal personality wasn’t quite as warm.) Her singing created an atmosphere, her characters oozed mystery, so that in listening to her one believes ... www.belcantosociety.org/pages/cigna.html *139 Candlemass: Nightfall (1987) Candlemass was arguably the most compelling early doom metal band in the 1980s. Their promising debut, Epicus Doomicus Metallicus, while underproduced, clearly showed leader Leif Edlin's talent for slow, ponderous, menacing dirges. However, it lacked a permanent vocal personality that would clearly make Candlemass stand out from the throng of Black Sabbath-influenced bands that were emerging at the time. Enter vocalist Messiah "I'm bigger than you" Marcolin. In addition to his physical heft, which added weight to the then-standard view of heavy music, his incredible operatic voice, powerful enough to stop a raging Västergötland elk in its tracks, was exactly what Candlemass needed to really make its mark. Review by Rog The Frog Billerey-Mosier http://www.ssmt-reviews.com/db/searchrev.php?artistID=183&showReview=true *140 TrouserPress.com :: Vic Chesnutt Given that his vocal personality is strong enough to obscure whatever else is going on, and too quirky for the sonic finish to make any commercial ... www.trouserpress.com/entry.php?a=vic_chesnutt *141 Allied Artists - Sanford Sylvan Hence the youthfulness of his vocal personality, and the innocence remembered within a more mature soul. One can understand why Martín's cycle 'Glass ... www.alliedartists.co.uk/artist_reviews_page.php?aid=84&tid=26 *142 clay-aiken « WordPress.com Tag Feed A very low "Johnny One Note" with no vocal personality and a very S-L-O-W delivery. Very much the comedian, however -- I liked the way he exited so as to ... wordpress.com/tag/clay-aiken/feed/ *143 The Band was not a group for stoners (even if, as it turns out, they themselves made extensive use of mind-altering substances). Everything about them was different. They had not one but three lead vocalists, who didn't so much take turns on songs as they did within songs, often starting or ending each other's phrases in ongoing musical conversations. Each singer boasted a unique vocal personality: Richard Manuel cried like a white Ray Charles, Rick Danko sounded terrified, like he was singing at gunpoint, and Levon Helm sounded impossibly craggy, like the voice of Mt. Rushmore. The Beat SPECIAL EDITION - The Band's antique rock 'n' roll By Seth Rogovoy http://www.berkshireweb.com/rogovoy/thebeat/beat010426.html *144 The Star Online eCentral - Malaysia Entertainment Carrie Underwood had as much vocal personality as an office white board. Ultimate Love Songs · Ultimate Love Songs A good choice to buy a loved one for an ... www.star-ecentral.com/music/reviews/default.asp?myear=2006&page=27 *145 I was born and raised with Neil Diamond playing on the hi fi and find myself sining Sweet Caroline with abandon while going to work. Neil's prize is his voice and his non-self-conscious posture. His vocal personality is one of a man who just wants to sing and make people feel something. If he were your uncle, you'd be embarassed by his sincerity, User comments on CD "12 Songs" by Neil Diamond http://www.metacritic.com/music/usercomments.jsp?id_string=2245:HyxiTkR30ZOYocvAntLXQQ** *146 [Lacey] Conner (in band Nocturne) lacks the charisma to put these songs over, or even much of a vocal personality, rendering the whole project faceless (since she's what the songs are built around). Crooning "please take me now" over and over again in the lackluster "Indulge" is a sure way to win over this scene's contingent of sweaty fanboys who herald every scarified female behind a microphone as worthy of unconditional worship. But most listeners will find "Guide To Extinction" dated and stale. The more melodic, campy tracks (see "Nothing") work much better than the attempts at abrasiveness (the utterly pointless "Dirty Sanchez" and third-rate snarler "Dead Man"), but the whole thing is basically worth a pass. rvw 070322 by Keith Bergman of CD Nocturne: Guide To Extinction www.roadrunnerrecords.com/blabbermouth.net/showreview.aspx?reviewID=295 *147 Shine - Unsigned - Properly Chilled - Downtempo Music & Culture is a lemony slice of melancholy French downtempo that comes on with a strong Zero 7 vibe and a vocal personality drifting in a breathy, ultra-feminine space ... www.properlychilled.com/music/artist/profile.php?view=757 *148 Chynna and Wendy both looked and sang like Barbie dolls http://www.whiteperil.com/posts/1093202710.shtml *149 It's the implied menace and otherworldy Kate Bush/Bjork side of her dual vocal personality that sets her apart from others, not the ability to shriek louder! chrisnettleton Queen Adreena - FM Doll rvw http://www.drownedinsound.com/release/view/6452 *150 "The Ballad of Baby Doe" class. singer Beverly Sill ... but the tuneful music both flatters her whole cuddly vocal personality and shows off her remarkable skill at sustaining long, arching lines and finely ... nymag.com/nymetro/arts/music/classical/reviews/258/ *151 "The Top 10 Video Game Badasses" #1 game character Auron (Final Fantasy X) It's a well known fact that almost all people who have rough voices are probably badasses, and this is no exception. Aside from the voice, however, Auron has all the principal badass features, including keeping his mouth shut most of the time unless he wants to speak some words of wisdom, and knowing a bunch of cool bushido fighting techniques. Plus he keeps one of his arms sleevless, has a jug of Sake tied on his hip, and carries one big ass sword. What more needs to be said!? #2: Solid Snake (Metal Gear Series) I don't know where to start when describing Solid Snake's badassedness. He has a very rough voice, a badass look, a freakin' mullet (yes), wears a bandana, smokes and watches pictures of sexy girls when in one of his top-secret-save-the-world missions and can just about do anything you can think of. He's witty, strong, cool, he bursts moments of anger at exactly the right times and can single handedly defeat all kinds of military weapons and machines while being vastly outpowered and outnumbered. All while spewing out deep philosophical meanings and ideas. He's so badass he gets to shoot himself in the head and he forced himself to be in the next Super Smash Brothers game. That's definitely badass in my book. http://www.gamefaqs.com/features/top10/518.html *152 Principal McVicker is the principal of Highland High, the school that Beavis and Butt-Head attend. McVicker suffers from extreme nervous tension caused by having to deal with Beavis and Butt-head. He speaks with a New York accent, constantly shakes, his voice is strained, and he keeps a bottle of Old Crow whiskey in his desk, from which he drinks even when people are present. He also has threatened to kill Beavis and Butt-head. http://en.wikipedia.org/wiki/Principal_McVicker *153 Pity Peggy Sue Barbara Bradby, Brian Torode Popular Music, Vol. 4, Performers and Audiences (1984), pp. 183-205 The voice suddenly swoops upwards or downwards, syllables are lengthened to ... reveal him as only a nervous teenager, fearful of being rejected as too ... *154 Personality inference from voice quality: The loud voice of extroversion Klaus R. Scherer Universitaet Giessen European Journal of Social Psychology Volume 8, Issue 4 , Pages 467 - 487 Published Online: 22 Feb 2006 Copyright © 1978 John Wiley & Sons, Ltd *155 *156 *157 *158 *159 *160 *161 Abstract The current article focuses on the subjective elements of voice in trauma and dissociation, and the manifestation of voice in four phases of group treatment for victims of extreme, catastrophic events. The voice discussed here is no ordinary voice: it captures an attribute of dissociated representational experience that, though not easily defined, is nonetheless replete with "trauma messages" from the depth of somatopsychic processes, expressed in the patient's "nonverbal talking" in gestures, tone of voice, posture, silences, facial expressions, and in rhythm, timbre, movement, and syntax. Dissociation, trauma representational memory, and the phases of a proposed group model are discussed in detail with their respective phase-specific voice. Erwin Randolph Parson The Voice in Dissociation: A Group Model for Helping Victims Integrate Trauma Representational Memory Journal of Contemporary Psychotherapy Volume 29, Number 1 / March, 1999 Springer Netherlands http://www.springerlink.com/content/ux42784870281617/ *162 Depression, in my experience, often reminds me of being an adolescent, because, again metaphorically, to be an adolescent in relationship to the world is to be half-formed, mutable, volatile, to have no voice or a voice only defined by opposition to the world, with no alternative "yes" to replace what is defied. Journal "Young Depression" Posted by: Jeffrey on May 26, 2004 07:37 PM http://www.nchicha.com/other/archives/002819.html *163 FAQs about Alexander technique Who was Frederick Matthias Alexander? As a young man, F.M. Alexander (1869-1955) was a Shakespearean Actor touring in Australia and Tasmania. A chronic hoarse voice interrupted his burgeoning career, and he lost his voice while performing. When no medical treatment helped him, he looked at his own use for the source of his vocal trouble. Through nine years of rigorous self-observation and experimentation, he solved his problem, developed a full, rich voice and discovered what he named the Primary Control. What is the Primary Control? Alexander observed that the relationship between the head, neck and torso is a primary factor in controlling movement and function. Compressive movement habits interfere with the body's ingenious design. Having control over the primary control restores the innate postural reflex - natural, dynamic force the counters gravity and easily guides the torso upward. Are Alexander's theories scientifically valid? Leaders in the field of mind/body medicine and behavioral science throughout the past century have supported Alexander's innovative research. Clinical studies have shown that the Technique improves breathing capacity and posture, modifies stress responses and is, for those who suffer from chronic pain, the preferred method for long-term relief. Geordie MacMinn http://www.bodymindvoice.com/ *164 Diagnosing depression Would my shoulders be slumped, and would I speak in a low and dejected tone of voice? Then try the power stance! http://www.enotalone.com/article/2334.html *165 Parkinson's disease symptoms that resemble Depression: an expressionless, immobile, or poker face; a quiet, low or weepy voice; stooped posture; fatigue. BRESLOW 2007 http://www.parkinsons.northwestern.edu/pdf/education_depression_with_pd.pdf *166 For example, lowering the voice pitch and increasing resonance enhances the apparent size, age and attractiveness of a male speaker. "Should we judge a book by its cover?" EXHIBIT 10 The Royal Society's Summer Science Exhibition 2004 Ms Lynda Boothroyd, Ms R Elisabeth Cornwell, Mr David R Feinberg, Mr Benedict C Jones, Ms Miriam J Law-Smith, Ms Fhionna R Moore, Professor David I Perrett. University of St Andrews. Dr Lisa M DeBruine. McMaster University. http://www.royalsoc.ac.uk/exhibit.asp?id=3580&tip=1 David R Feinberg, Benedict C Jones, Lisa M DeBruine, Fhionna R Moore, Miriam J Law Smith, R Elisabeth Cornwell, Bernard P Tiddeman, Lynda G Boothroyd, David I Perrett (2005) The voice and face of woman: One ornament that signals quality?, 398-408. In Evolution and Human Behavior. David R Feinberg, Benedict C Jones, Miriam J Law Smith, Fhionna R Moore, Lisa M DeBruine, R Elisabeth Cornwell, S G Hillier, David I Perrett (2006) Menstrual cycle, trait estrogen level and masculinity preferences in the human voice, 215-222. In Hormones and Behavior, 49. Elsevier. *167 The fundamental frequency (F0) and duration of the speech were also manipulated in two ways, to create an extravert and an introvert voice (cf. Burgoon and Woodall 1983, Lee and Nass 2000). The extravert speech (ES) is characterized by a broader pitch (F0) range, more variation in the pitch and a high tempo. The introvert speech (IS), on the other hand, has a small pitch range and little pitch variation (it sounds monotonous) and the tempo is 20% slower than that of extravert speech. "Audio-visual Personality Cues for Embodied Agents: An experimental evaluation" E. Krahmer; S. van Buuren; Zs. Ruttkay (Tilburg) http://arno.uvt.nl/show.cgi?fid=68860 *168 Vocal Nodules and Voice Strain in Pre-Adolescents by Caroline Bowen Copyright © 1997 Caroline Bowen Signs and symptoms The signs and symptoms of nodules or vocal strain in pre-adolescents include one or more of the following: 1. dysphonia, which is a hoarse, breathy or rough voice; or a voice with excessive glottal fry 2. intermittent aphonia, which is a recurring temporary loss of voice, especially first thing in the morning and at the end of the day, or after specific events such as sports day 3. voice breaks, which are fleeting interruptions to the voice, during speech or singing, as though it "cuts out" for a second 4. pitch breaks, which are fleeting, abrupt changes in the pitch of the voice, during speech or singing, usually from a lower note to a higher note 5. excessively loud voice 6. inability to sustain a note when singing 7. effortful or strained voice http://speech-language-therapy.com/index.php?option=com_content&view=article&id=104:teennodules&catid=11:admin&Itemid=120 *169 Gastric irritants Gastric acid irritation of the arytenoid cartilages (to which the vocal cords are attached) can lead to pain during singing or professional speaking engagements such as business/media presentations, public speaking, preaching, lecturing, teaching, or in court. http://www.speech-language-therapy.com/tummy.htm Information About Gastroenterological Conditions that can affect the Voice (same author as 8) *170 Nodules and polyps cause similar symptoms and include: * Hoarseness * Breathiness * A "rough" voice * A "scratchy" voice * Harshness * Shooting pain from ear to ear [POSTURE!!] * A "lump in the throat" sensation [POSTURE!!] * Neck pain [POSTURE!!] * Decreased pitch range * Voice and body fatigue "Vocal Fold Nodules and Polyps" The American Speech-Language-Hearing Association (ASHA) Adapted from text developed in 2001 by Celia Hooper, PhD, CCC-SLP http://www.asha.org/public/speech/disorders/nodules_polyps.htm Hooper, C.R. (2004) Treatment of Voice Disorders in Children, Language Speech and Hearing Services in Schools, 35, 320-326. *171 Utrecht LOT Landelijke Onderzoekschool Taalwetenschap (Netherlands Graduate School of Linguistics) Gender variation in voice quality Monique Biemans Gender variation in voice quality LOT Dissertation Series 38 2000 *172 Development of vocalizations in deaf and normally hearing infants Christine J. Clement LOT Dissertation Series 100, 2004 *173 CIM05 (2005) http://www.oicrm.org/fr/ressources/actes-electroniques/CIM05.php Timbre in composition, performance, perception and reception of music Le timbre dans la composition, l'interprétation, la perception et la réception de la musique Lacasse et Caroline Traube (eds.) Colloque interdisciplinaire de musicologie Observatoire de la création musicale, Université de Montréal.