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| Acknowledgments | ||
| 1 | Introduction | 1 |
| Historical Accounts of Vocal Function | 3 | |
| The Study of Voice Across Academic Disciplines | 11 | |
| 2 | The Articulatory Account of Voice | 25 |
| The Twentieth Century Articulatory Account of Voice | 25 | |
| 3 | The Physical Measurement of Voice | 42 |
| Types of Physical Measure | 43 | |
| 4 | The Vocal Communication of Identity | 62 |
| The Communication of Group Identity | 64 | |
| The Communication of Personal Identity | 78 | |
| 5 | The Vocal Communication of Emotion and Attitude | 91 |
| The Vocal Communication of Emotion | 91 | |
| The Vocal Communication of Attitude | 101 | |
| 6 | Methodological Issues in the Study of Voice | 109 |
| Audio Recordings | 110 | |
| Constructing the Stimulus Tape | 113 | |
| Naive Judgments and Questionnaire Design | 118 | |
| 7 | A Theoretical Framework for Vocal Function: Models of Communication | 123 |
| Functional Models of Language and Speech | 125 | |
| Functional Models of Nonverbal Behavior | 128 | |
| Patterson's Sequential Functional Model of Nonverbal Exchange | 130 | |
| Communication Accommodation Theory | 136 | |
| Scherer's Functional Model of Vocal Communication | 143 | |
| Communication: Intention and Conscious Awareness | 148 | |
| 8 | A Theoretical Framework for Vocal Function: Taxonomy and Final Thoughts | 153 |
| A Taxonomy of Vocal Function | 153 | |
| The Fourth Dimension: Directions for Future Research and Conclusions | 166 | |
| References | 176 | |
| Index | 192 | |
| About the Author | 198 |
| Price | Condition | Delivery | Seller | Action |
| $152.00 | Digital |
| WonderClub |
Michelle Vandegrift
reviewed Voice in Social Interaction: An Interdisciplinary Approach, Vol. 5 on June 05, 2018
Voice in Social Interaction: An Interdisciplinary Approach, Vol. 5
Exercises described are contextualized through accounts of Frantic Assembly's shows, thus not one-offs, but you can see how they transpose physical movement into theatrical storytelling. Would have appreciated an appendix list of music for exercises that the authors refer to in describing many examples - it's named, just scattershot throughout the chapters. Also, it helped me to go online and look for video of the exercises to expand comprehension of how to implement some details of their working methods. I also would have appreciated a kind of "skeleton" outline of the move by move steps for each exercise to have in hand as reference when working with a group. Nevertheless, the physical ideas they relay as springboards for a more physically engaged theatrical form is illuminating.
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