Creak
Theories and Practices of Pulse Phonation
Herausgeber: Venturi, Francesco
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.
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. "It's 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
