For many in the nineteenth century, the spoken word had a vivacity and power that exceeded other modes of communication. This conviction helped to sustain a diverse and dynamic lecture culture that provided a crucial vehicle for shaping and contesting cultural norms and beliefs. As science increasingly became part of public culture and debate, its spokespersons recognized the need to harness the presumed power of public speech to recommend the moral relevance of scientific ideas and attitudes. With this wider context in mind, The Voice of Science explores the efforts of five celebrity British scientists—John Tyndall, Thomas Henry Huxley, Richard Proctor, Alfred Russel Wallace, and Henry Drummond—to articulate and embody a moral vision of the scientific life on American lecture platforms. These evangelists for science negotiated the fraught but intimate relationship between platform and newsprint culture and faced the demands of audiences searching for meaningful and memorable lecture performances. As Diarmid Finnegan reveals, all five attracted unrivaled attention, provoking responses in the press, from church pulpits, and on other platforms. Their lectures became potent cultural catalysts, provoking far-reaching debate on the consequences and relevance of scientific thought for reconstructing cultural meaning and moral purpose.

Althought there are numerous books dealing with the science and acoustics of speech, there are relatively few that deal with the singing voice as distinct from the speaking voice. Now, Johan Sundberg's The Science of the Singing Voice—illustrated with over a hundred instructive and significant diagrams and drawings—thoroughly describes the structure and functions of the vocal organs in singing, from the aerodynamics of respiration through the dynamics of articulation.

Voice Work: Art and Science in Changing Voices is a key work that addresses the theoretical and experiential aspects common to the practical vocal work of the three major voice practitioner professions - voice training, singing teaching, and speech and language pathology. The first half of the book describes the nature of voice work along the normal-abnormal voice continuum, reviews ways in which the mechanism and function of the voice can be explored, and introduces the reader to an original model of voice assessment, suitable for all voice practitioners. The second half describes the theory behind core aspects of voice and provides an extensive range of related practical voice work ideas. Throughout the book, there are a number of case studies drawn from the author's own experiences and a companion website, providing audio clips to illustrate aspects of the text, can be found at www.wiley.com/go/shewell.

Written to save careers one voice at a time through scientifically proven methods and advice, this resource teaches people how to protect and improve one of their most valuable assets: their speaking voice. Simple explanations of vocal anatomy and up-to-date instruction for vocal injury prevention are accompanied by illustrations, photographs, and FAQs. An audio CD of easy-to-follow vocal-strengthening exercises--including Hum and Chew, Puppy Dog Whimper, Sirens, Lip Trills, and Tongue Twisters--is also included, along with information on breathing basics, vocal-cord vibration, and working with students who have medical complications such as asthma, acid reflux, or anxiety.

Speech and Voice Science, Fourth Edition is the only textbook to provide comprehensive and detailed information on both voice source and vocal tract contributions to speech production. In addition, it is the only textbook to address dialectical and nonnative language differences in vowel and consonant production, bias in perception of speaker identity, and prosody (suprasegmental features) in detail. With the new edition, clinical application is integrated throughout the text. Due to its highly readable writing style being user-friendly for all levels of students, instructors report using this book for a wide variety of courses, including undergraduate and graduate courses in acoustic phonetics, speech science, instrumentation, and voice disorders. Heavily revised and updated, this fourth edition offers multiple new resources for instructors and students to enhance classroom learning and active student participation. At the same time, this text provides flexibility to allow instructors to construct a classroom learning experience that best suits their course objectives. Speech and Voice Science now has an accompanying workbook for students by Alison Behrman and Donald Finan! New to the Fourth Edition: * Sixteen new illustrations and nineteen revised illustrations, many now in color * New coverage of topics related to diversity, including: * Dialectical and nonnative language differences in vowel and consonant production and what makes all of us have an “accent” (Chapter 7—Vowels and Chapter 8—Consonants) * How suprasegmental features are shaped by dialect and accent (Chapter 9—Prosody) * Perception of speaker identity, including race/ethnicity, gender, and accent (Chapter 11– Speech Perception) * Increased focus on clinical application throughout each chapter, including three new sections * Updated Chapter 4 (Breathing) includes enhanced discussion of speech breathing and new accompanying illustrations. * Updated Chapter 10 (Theories of Speech Production) now includes the DIVA Model, motor learning theory, and clinical applications * Updated Chapter 11 (Speech Perception) now includes revised Motor Learning theory, Mirror Neurons, and clinical applications *Expanded guide for students on best practices for studying in Chapter 1(Introduction) Key Features: * A two-color interior to provide increased readability * Heavily illustrated, including color figures, to enhance information provided in the text * Forty-nine spectrogram figures provide increased clarity of key acoustic features of vowels and consonants * Fourteen clinical cases throughout the book to help students apply speech science principles to clinical practice Disclaimer: Please note that ancillary content (such as documents, audio, and video, etc.) may not be included as published in the original print version of this book.

Callaghan (an Australian singer, teacher and author) looks at voice science from the practitioner's viewpoint. She explores modern voice science and scientific findings in the context of the musical concerns of a singer. Using familiar terms such as breath management, phonation, resonance and articu

A New York Times bestselling writer explores what our unique sonic signature reveals about our species, our culture, and each one of us. Finally, a vital topic that has never had its own book gets its due. There’s no shortage of books about public speaking or language or song. But until now, there has been no book about the miracle that underlies them all—the human voice itself. And there are few writers who could take on this surprisingly vast topic with more artistry and expertise than John Colapinto. Beginning with the novel—and compelling—argument that our ability to speak is what made us the planet’s dominant species, he guides us from the voice’s beginnings in lungfish millions of years ago to its culmination in the talent of Pavoratti, Martin Luther King Jr., and Beyoncé—and each of us, every day. Along the way, he shows us why the voice is the most efficient, effective means of communication ever devised: it works in all directions, in all weathers, even in the dark, and it can be calibrated to reach one other person or thousands. He reveals why speech is the single most complex and intricate activity humans can perform. He travels up the Amazon to meet the Piraha, a reclusive tribe whose singular language, more musical than any other, can help us hear how melodic principles underpin every word we utter. He heads up to Harvard to see how professional voices are helped and healed, and he ventures out on the campaign trail to see how demagogues wield their voices as weapons. As far-reaching as this book is, much of the delight of reading it lies in how intimate it feels. Everything Colapinto tells us can be tested by our own lungs and mouths and ears and brains. He shows us that, for those who pay attention, the voice is an eloquent means of communicating not only what the speaker means, but also their mood, sexual preference, age, income, even psychological and physical illness. It overstates the case only slightly to say that anyone who talks, or sings, or listens will find a rich trove of thrills in This Is the Voice.