This book explores what pulse phonation is, what it can do, and how it develops into a cultural practice. It presents a thorough investigation of pulse phonation to jointly take into consideration its sociocultural, bioacoustic, and creative dimensions.
This book explores what pulse phonation is, what it can do, and how it develops into a cultural practice. It is a multidisciplinary inquiry that merges theoretical frameworks with embodied practice to discuss the processes of producing and perceiving pulse phonation, its use and significance in contemporary discourse, its functions in the animal world, and its place in a broader reflection on voice and sound production. It presents a thorough investigation of pulse phonation to jointly take into consideration its sociocultural, bioacoustic, and creative dimensions. In the book, leading scholars and practitioners such as Nassima Abdelli-Beruh, Diana Sidtis, Katherine Meizel, and John Nix present a wide array of approaches, from sociolinguistics and voice anatomy to acoustic ecology and performance studies. These approaches include case studies of creaky voices across cultures and media; physiology and acoustics of the pulse register; creak singing including possibilities, perspectives, pedagogies; pulse phonation, embodiment, and gender; the phenomenon of extreme vocal fry; vocology, somatics, and the disease condition; the use of pulse phonation from live arts to film studies; composition, improvisation, and creation with creak; and the pulse register in animal vocalization. This groundbreaking publication concludes with a multifaceted series of testimonies from users and listeners of creaky voices.
Foreword: My days and nights with creaky voice PART I: Frames
Introduction: What is the matter with pulse phonation?
1. From deviance to
the birth of a register
2. Vocal fry, creaky voice, and singing voice
pedagogy: Singing teacher attitudes and usage
3. Voice creakiness in singing
4. Acoustic, physiological, and paralinguistic analyses of creaky voice in
spontaneous dialogue speech
5. Generation, acoustic properties, and
behavioral relevance of pulse tone vocalizations in bird vocal repertoires
PART II: Narratives
6. A case study of "vocal fry" in Suffolk: Intersections
and contradictions in the sociolinguistic salience and dialectological
prevalence of pulse phonation
7. Creak and embodying gender: A case study of
media interviews with an actor before and after coming out as transgender
8.
"Its chiefly your eyes I think, and that throb you get in your voice": The
place of creaky voice in the soundscape of attractive female voices in
twentieth and twenty-first century American cinematography
9. The role of
creaky voice in gender perception in Scottish English
10. Gilmore Girls,
cowboys, bon viveurs and lacanian psychoanalysis: Vocal fry's significance as
symptom of object a (capitalist semioblitz, masculine menace, and
ineradicable excess) PART III: Experiences
11. Doing things with creak
12.
From extreme to everyday: Vocal fry in contemporary theory and practice of
music
13. Transmasculine creaks and cracks
14. Mothers and creak
15. A case
study in creak and creaky voice: The pedagogical impediments and uses
16.
Dreamvoice: Composing from creaks breaking through the unconscious
17. What
can the pulse register do?
18. The other side of the human voice
Francesco Venturi is the director of the Center for Interdisciplinary Research on Voice (CRIV) in Bologna, Italy. A musician-researcher and PhD candidate at Kingston University London, he has lectured in voice theories at the Milan Conservatory and specializes in voice education and live arts curation. As a spokesperson for the emerging field of Voice Studies, his work appears in academic journals and magazines. He presents his research across European universities and leads voice-centered seminars and workshops internationally and intersectionally, collaborating with cultural, educational, and medical institutions. As a composer and voice artist, he has received major commissions, scored award-winning productions, and performed solo and in ensembles across Europe.
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