Experiments with the Human Voice: Max Mathews Essay example

Hi everyone! How are you today? Nice to see all you guys here. Let’s me introduce myself first. My name is Jane Kennedy. I am one of writers of the film ‘The Castle’. I’m sure that everyone has watched ‘The Castle’, right? I’m invited to be here and tell you about this movie as well as how I and my team have built up and shown the ideas about the voice of Australians through it. As you know, everyone including Australians have their own way of understanding and an opinion of the world and people in it. That’s called their ‘voice’. However, the way Australians view and understand the world is unique. Let’s come back to ‘The Castle’, this is a story about the Kerrigan family who together stand up to fight against the government for their

Without the human intention, perception, and interpretation of sound, then the existence of music would be imaginary. Music includes talking words in a way that the person creates a sound that is made with the intention of being music (Deutsch, Diana 10-13, Justus & Timothy., 33-40). Besides, people can perceive silence and sound and put them together so as to call the outcome music. In Bakan’s fourth proposition, he identifies the approach as the Human Intention and Perception (HIP) approach (Resnicow, Joel E., 10-22). In other words, the proposition tries to suggest that music is inseparable from the makers; or more specifically the people who perceive and experience it. Bakan gives numerous examples to show that music is a product of human intention and perception. This paper conducts research and gives appropriate examples to show that music is only identified as music if the person is making it has the intention for their words to be music.

As statistics show, science fiction has long been a genre produced and consumed by nerdy, middle aged, white men, with little to no social skills. The content of science fiction has typically revolved around intergalactic interaction and male dominated adventure and exploration, most certainly do not imagine that science fiction can be used to write about feminist thoughts or ideas. However, this is exactly what Octavia Butler does in her short story “Speech Sounds.” Many scholars believe that feminist science fiction writers write toward a utopian society. Butler, however, tends to write more towards a confrontation with dystopia. A dystopian society, or anti-utopia, is a society

Judith Bradford and Crispin Sartwell in their essay “Voiced Bodies/Embodied Voices” helps articulate the difficulties of being heard. One voicing their opinions to others is not going to always work as planned because of the many biases of others as well as the social construct of society. Bradford and Sartwell explain the three conditions that allow individuals to have their voices heard. Physically being in a position where one can speak to certain people is one of the conditions. This notion means that if people are physically in an area where there is an agreement being made, they can have the ability to voice their opinion since they are present at the event. Another condition is if one has the ability to speak. Words and phrases need

Lyndon Johnson was convinced that liberal nationalism and the power of the federal government could transform society. His faith grew out of his youthful experiences with poverty in Texas, his political apprenticeship during the New Deal, and his desire to surpass Roosevelt's legacy. When he took office in November 1963, after John F. Kennedy's death, Johnson inherited the early initiatives to address poverty that the Kennedy administration had under consideration. With characteristic enthusiasm and expansiveness, Johnson declared a war on poverty in 1964 and pushed legislation through Congress to establish the Office of Economic Opportunity (OEO).In this speech, the purpose Lyndon B. Johnson outlines his vision and goals for "The Great

In ‘The Dare’ by Roger Hoffman, the speaker’s voice is well-spoken and the story is set in a past event in the narrator’s life, rather than something currently happening. It shows his former personality, a more insecure and go with the flow kid, trying desperately to fit in. He was always pegged as the ‘Teacher’s Pet’ and the “fussed over smart kid.” He was never sure of his place in the social pyramid of is school, and always followed along, and was dared along with his ‘crew.’ He was more scared of what the social consequences of not doing the dare, than the physical consequences of what it entailed. It won him “the approval I [he] never got for just being smart.’ In paragraph four, the speaker talks about his current life in the adult world,

Although technical rigor is fundamental to the analytical process, reducing all meaningfulness of the quoted fragments to exclusive musical terms is insufficient. Doing so is to ignore all extra-musical relations that in this case are just as important as the musical material itself. From this deconstructive perspective, the references present in the work are product of a discontinuity and the juxtaposition is the most relevant element. What we get from Berio’s interview is exactly the opposite though. The highest relevance is placed not in the process of juxtaposition, but in the juxtaposed material. John Flinn proposes an alternative constructive analysis to postmodernist works. This model inspired by the works of Frederic Ferré has its roots

Katherine Bergeron’s book, Voice Lessons: French Mélodie in the Belle Epoque, approaches French art song in a new and unique way, making it an invaluable resource for art song scholars and performers alike. Bergeron’s goals for this book are primarily abstract in nature; she aims to tell a story “about that French sound, both what it was and how it got that way” (viii). To achieve her vision, Bergeron examines the mélodie through a variety of different lenses, including musical, vocal, aural, linguistic, literary, scientific, philosophical, and cultural angles.

Often times people will say that they do not know how to play an instrument, but just as often people do not realize they have a built-in instrument with them at all times. An instrument does not have to mean something that makes music; an instrument can also be defined as something used to accomplish a specific purpose. If you can sing, then you have an inherent instrument. If you can speak, then you too have an inherent instrument. Whether using it to sing or speak, your voice is powerful. It can build up or tear down. No matter what you use it for, your voice is an instrument in and of itself.

I need the Ariana voice in particular, and she will surprises audiences with her beautiful voice. That is an awful loud voice from such a frail figure. She exactly understood that how to do abdominal breathing during her voice becomes stable on the high notes. Farthermore, it is easy for me to ear high sounds well. Even it is a difficult piece to song, the sunger Ariana had amazing voice to hitting the high tones. While I listend her voices, she sings with a sure ear for pitch, and even it was just an ordinary voice, yet she sang in tune. She has even more gentle voice. While Ariana’s voice is not technically brilliant it has a quality which is unmistakable. However, beginning of the stage, she closed her eyes to feel the song more deeply,

Unfortunately, there has been little research and discussion on what vocal characteristics are suitable for the most authentic Baroque performance. A very common misunderstanding is that Baroque music is innately limited, simple, or uninspired; however, the truth of it is that the music of the Baroque gives the performer the freedom personal expression and individualized that is unrivaled by most other periods of music history. To further illustrate, the Baroque era is like the instructor that assigns a creative writing

Barbershop vocal harmony started in the 70’s with some guys in a barbershop cutting hair. Barbershop is considered an American invention, but the idea had its roots in England. Barbershop Vocal Harmony is a style of a cappella close harmony, or unaccompanied vocal music, characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Barbershop vocals are characterized by the second tenor the “lead” carrying the melody, with the first tenor singing harmony above him. The lowest voice, the bass, provides the foundation, and the baritone fills in the middle spaces. Everything is done as a cappella, of course. In 1938 house wives started it as sweet chorus. I had a great time listening to the performance; I believe these performances were the greatest part of the class. Although I had fun listening to everyone preform, I wish I had time to go to the live performance in the theater. I am not saying I didn’t like the class performances I loved all of them. I also learned a lot from this performance such as age. In this paper, I will discuss the performance by the little old lady crew. I will also address how I felt about the performance.

This new style followed the rhythms and pitch fluctuations of speech. It was sung by a soloist with only a simple chordal accompaniment and was, thus, homophonic; the Camerata rejected polyphony because it would obscure the all-important text (Kamien, 2008).

“I see what you are doing: you are leading me on, to the spots we

There are many ways of self-expression. We may express ourselves through music, written and oral interpretation, our political affiliation, and lastly, our voice. Though we may not realize it, we are under the constant influence of the power of voice. Whenever we read an article, type an essay, or even think, we are likely to employ the use of voice inside our minds. It could be our own, a friend, a favorite actor 's voice, or for some people, all of them combined. Another factor we typically associate to a voice is an image.