Composing for Voice: Exploring Voice, Language and Music, Second Edition, elucidates how language and music function together from the perspectives of composers, singers and actors, providing an understanding of the complex functions of the voice pedagogically, musicologically and dramatically. Composing for Voice examines the voice across a wide range of musical genres (including pop, jazz, folk, classical, opera and the musical) and explores the fusion of language and music that is unique to song. This second edition is enlarged to attract a wider readership amongst all music and theatre professionals and educators, whilst also engaging an international audience with the introduction of new co-author Maria Huesca.
New to the second edition:
Composing for Voice: Exploring Voice, Language and Music, Second Edition,articulates possibilities for the practical exploration of language, music and voice by composers, singers and actors.
Chapter 1. Words
Chapter 2. Composers and Singers
Chapter 3. The Nature of the Singing Voice: A Composer's Perspective
Chapter 4. Voice/Music/Text I
Chapter 5. Voice/Music/Text II
Chapter 6. The Singer and Actor—and Beyond
Chapter 7. Vocal Examples
Chapter 8. Singers on Composers
Chapter 9. Conclusions and a Way Forward
Chapter 10. Educational Activities
Voice is everywhere. It is a medium of personal communication, central to technology, and a touchstone in discussions of identity, psychological development, and language acquisition. It offers aesthetic pleasure through the arts, act as a metaphor for authorial, feminist or subaltern voices, or be an umbrella term in politics, activism and religion as “the voice the people” is heard or silenced. Non-human or posthuman voices invite us to listen to animal voices, interactive voice recognition systems, and vocal synthesis effected in robotics labs. How do we account for these many versions, or ideas, about voice? How can something so transient and complex be discussed from a scholarly perspective? How might we move beyond current concepts of the voice in performance studies?
The Routledge Voice Studies series offers an exciting platform to interrogate these questions. Understanding voice as studies as a shifting landscape of questions and concerns, this series builds on current initiatives, seeking to expand and capitalise on the productive debates taking place in the areas of music, theatre, and performance studies, as well as cultural studies, ethnomusicology, sound studies, acoustics and acoustemology. Of equal interest are discussions happening in psychology, fine art, poetics and orality studies, linguistics, media and film studies, robotics and artificial intelligence, history and philosophy, translation and adaptation studies, among others.
To that end, we are delighted to include a variety of formats in the series. We are equally interested in monographs, themed edited collections, student-focused anthologies and sourcebooks, revised and expanded editions of classic texts, and inter-medial and multimedial outputs. These varied structures will attract both practitioners and scholars as contributors, and find a readership among established and emergent researchers, students and artists in the rich and provocative area of interdisciplinary voice studies. We hope you enjoy this fascinating journey with us.
Series editors: Dr Konstantinos Thomaidis and Dr Ben Macpherson