The Vocal History Project

On August 19, 1992, a woman named Mary Fisher spoke on a rather sensitive topic in an attempt to change the world. In an address to the Republican National Convention, Fisher lectured on a subject close to her heart, HIV and AIDS. Mary Fisher is an artist, author, and of course political activist. She contracted HIV from her second husband and has since been on a mission to educate people about prevention of the disease and the treatment of people that have HIV or AIDS. Fisher was speaking at the convention in Houston, Texas in an attempt to get people to take action. Fisher wanted people to be informed about the diseases and have a genuine care about those infected. I found her speech exceedingly compelling as well as an exceptional display

Danticat uses her Uncles loss of voice, to show us how different and hard it can be to not have a voice at all. When Danticat was 9 years old, her uncle was diagnosed with throat cancer and the doctors told him that he would need a radical laryngectomy to save his life. Danticat recalls her uncle, a bishop, having a grand voice, a voice that would invoke people to listen when she states, “he would model Fignolé’s forceful and direct Creole diction and speak in a clear, powerful bass, allowing only a few well-chosen pauses” (Danticat p.31) However, as a bishop, her father recalls a time when he’d watched his brother give a

Paralanguage - how to use your voice. By altering your speech in terms of pace, pitch, intonation you can put a different meaning to any sentence. Your voice is a valuable tool within the classroom, therefore, you need to be able to alter it to make yourself heard within a noisy environment when speaking to someone on an individual basis. The rate of delivery of your speech directly impacts whether or not the child or young person receives and understands the message.

Some believe that about 30,000 to 60,000 years ago, music was first discovered. The love of a song back then could only be heard live or if you learned to play it yourself. Since then, there have been many inventions for you to listen to your favorite genres, songs, and artists anytime you like.

In 1868, Elizabeth Cady Stanton delivered the "The Destructive Male" during the Women's Suffrage Convention in Washington, D.C. The speech given in the height of the Women's' Suffrage movement gathered an abundance amount of women and a small percentage of the participants were men that as well supported the end to women's suffrage in America. The author's purpose of this speech is to show that if we fight for women's right, we could have a society that can be progressive and convince the people to let women gain their rights. Derived from Stanton's speech, If men and women were to share power, then the world will work in harmony and be safer. This speech was presented to an audience that supported to end the suffrage of women, either man or women, and it helped others to be a part of the movement as well. The people were willingly there to encourage the forward movement for women to gain rights. The main idea for this paper will be how the presences of logos, ethos, and pathos had an impact on the people.

People in society can have interesting views on issues around the world, these views on society are best conveyed through distinctive voices as it evokes feelings from the listener and allows them to relate to the situation through their own personal experiences.

The definition of distinctive Australia voice is not any voice we hear but it is presented to gain a different perception on fairs. Distinctly Australian voice can be identified as the voice of the Australian values that can be for example, values or beliefs of the Australian society, dignity to express the quality of being worthy of honour or respect and compassion for those in need, justice and fair go of the individual as well as egalitarian favours equality of some people that should get the same, or be treated the same as equals in some worth respect

“The Sound of a Voice” by David Henry Hwang is a one act play telling the story of two characters, Man and Woman. These characters both live alone and isolated. Woman is rumored to be a witch, and Man is a soldier without a purpose who comes in hope of killing Woman. They both have a fear of silence and love. These unusual fears result in their fatal downfall. This play explores deep emotions, such as the fear of silence that Man and Woman share which pushes Woman to commit suicide. A fear of intimacy, felt exceptionally strong by Man, results in unfortunate timing leading to Woman’s death. Loneliness displayed by both characters is the underlying cause of the outcome. These feelings play together to contribute to Man and Woman’s tragic love.

This study includes the results from the three participants, Mathew, Mark and Luke. The figures will be represented by the X- axis, which will show the sessions, and the Y-axis, which will display the number of times the participant engaged in the vocal stereotypy during the sessions. All data from the IOA agreement was calculated for 25% of each participant and will be included within the recoding. The ESE teacher was the second observer and was trained in all aspects of the study to assist with procedural fidelity. Social validity was taken into consideration by the results rendered from the parent’s observation and recordings.

In the BBC nonfictional motion picture andrea bocelli the story behind the voice primarily intended to go behind his extraordinary success as well his own personal triumphs to be able to document with creality the

The evergreen voice of cuckoo reminds me of cold and misty mornings and sometimes lazy evenings. That voice refreshes our mind and soul. It urges us to stay alert for more and more of that versatile song. Its diverse way of singing enables me fight back all vicissitudes of life. Without the music coming out of cuckoo, life will be like an ice cube left out in a summer

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

English Standard: Module A - Distinctive Voices Assessment Task If you lost your ability to speak right now, just how difficult would it be for you to tell the person next to you how you are feeling? Would you try to communicate using symbols? Would it feel the same as using your own unique voice? Good afternoon ladies and gentlemen, I’m Rachel Perkins, aboriginal film director, producer, and screenwriter.

Falsettos, written by William Finn and James Lapine. The time period is present in late 1970’s-1981. Under the Dramaturgical Statement, it said “Falsettos was first produced as two separate one act musicals, March of the Falsettos and Falsettoland. It opened before the first report of the HIV/AIDS outbreak was published.” The play remembrance to LGBT movements and all men in America that were afflicted by HIV/AIDS. Director, David Charles Goyette from Truman State University brought Falsettos to Severns Theatre because the songs in the musical framed his life with his partner PJ who passed two years ago. He sings them to remember him and wants all of us to know that LGBT’s are acceptable in society and have same emotions of love like

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.