Journal articles on the topic 'Creative voice'
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Rossetto, Celeste, and Sandra Chapple. "Creative accounting? The critical and creative voice of students." Assessment & Evaluation in Higher Education 44, no. 2 (September 10, 2018): 216–32. http://dx.doi.org/10.1080/02602938.2018.1492700.
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Kelly, Shirley. "For the Creative Voice of Children." Books Ireland, no. 225 (1999): 265. http://dx.doi.org/10.2307/20631930.
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Merrill, Stephen J. "To Again Feel the Creative Voice." International Journal of Science and Mathematics Education 5, no. 1 (November 14, 2006): 145–64. http://dx.doi.org/10.1007/s10763-006-9047-6.
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Weinberg, Gil. "Voice Networks: The Human Voice as a Creative Medium for Musical Collaboration." Leonardo Music Journal 15 (December 2005): 23–26. http://dx.doi.org/10.1162/lmj.2005.15.1.23.
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The author describes a musical installation that allows players to record, transform and share their voices in a group. A central computer system facilitates the interaction as participants interdependently collaborate in developing their “voice motifs” into a coherent musical composition. Observations of subjects interacting with two different applications that were developed for the installation lead to a discussion regarding the use of abstract sounds as opposed to spoken words, the effect of group interdependency on individual contribution by players and the tension between maintaining autonomy and individuality versus sharing and collaborative group playing.
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Shih, Hsi-An, and Nikodemus Hans Setiadi Wijaya. "Team-member exchange, voice behavior, and creative work involvement." International Journal of Manpower 38, no. 3 (June 5, 2017): 417–31. http://dx.doi.org/10.1108/ijm-09-2015-0139.
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Purpose The purpose of this paper is to conceptualize the links among team-member exchange (TMX), voice behavior, and creative work involvement. Design/methodology/approach A total of 260 employees were participants in this study. All were alumni of a Business School in Indonesia. Data were gathered at two time points four months apart. Hierarchical regression and bootstrapping analyses were conducted to find the effects of TMX on voice behavior and creative work involvement. Findings Results from the analyses showed positive effects of TMX on both voice behavior and creative work involvement. A positive effect of voice behavior on creative work involvement was found. The results also exhibited a partial mediating effect of voice behavior on the relationship between TMX and creative work involvement. Practical implications The findings point to the importance of maintaining TMX quality in work teams for enhancing employee voice and creativity. Organizations may need to develop members’ reciprocal relationship skill in teams and maintain the roles of team leaders to develop the quality of TMX. It is also suggested that the practice of self-management teams may enhance the quality of TMX and voice behavior of employees. Originality/value This paper offers new insight on how levels of TMX may impact on members’ voice behavior and creative work involvement. Longitudinal data may provide a more accurate prediction of the links among TMX, voice behavior, and creative work involvement.
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Hong, Yeri. "Extracting a Voice." Journal of Didactics of Philosophy 4, no. 3 (Special Issue) (December 31, 2020): 177–89. http://dx.doi.org/10.46586/jdph.2020.9589.
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In this article, I suggest a process for teaching writing to the students preparing for the IPO (the International Philosophy Olympiad) essay competition. My teaching process is based on Peter Elbow’s theory of writing, which emphasizes that writing should contain the writer’s real voice and respects both the writer and reader. Elbow’s strategy is also called the binary strategy, as it focuses on the two primary skills behind all writing: creating and criticizing. These two skills work in separate ways and require different steps. I employ Elbow’s writing strategy when teaching IPO essay writing. The IPO essay competition aims to develop creative and critical thinking, which also requires two types of writing: philosophical writing and second-language writing. Elbow’s binary strategy, specifically his focus on the creating skill and criticizing skill, will be helpful for the aim of the IPO essay writing competition.
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Song, Jun, Jianlin Wu, and Jibao Gu. "Voice behavior and creative performance moderated by stressors." Journal of Managerial Psychology 32, no. 2 (March 13, 2017): 177–92. http://dx.doi.org/10.1108/jmp-03-2016-0078.
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Purpose The purpose of this paper is to test the moderating role of work-related stressors on the relationship between voice behavior and the voicer’s creative performance. Design/methodology/approach The sample comprised 781 full-time employees from 16 companies covering six industries in the central region of China. Hierarchical moderated regression analyses were used to test the hypotheses. Findings Results showed that voice behavior had significant positive effect on creative performance. The positive relationship between voice behavior and creative performance was stronger for employees with low challenge stressors as well as for employees with high hindrance stressors. Research limitations/implications This study employs a cross-sectional design with data collected from the same source. Practical implications The findings suggest that employees should be encouraged to voice out their opinions and ideas. Work-related stressors should be treated differently to expand the effects of voice behavior on creative performance. Originality/value This study is one of the few to establish boundary conditions from the contextual perspective on the effect of voice behavior on employee performance. Considering whether work-related stressor is a challenge or a hindrance could possibly result in a better understanding of the role of work-related stressors in the voice behavior-creative performance relationship. An empirical evidence is provided for the positive relationship between voice behavior and employee performance outcomes.
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Sulistyo, Toni, and Susanto Tirtoprojo. "Pengaruh Voice Behavior pada Creative Performance dengan Stressors sebagai Variabel Pemoderasi." Media Riset Manajemen 1, no. 1 (November 30, 2018): 93–107. http://dx.doi.org/10.20961/mrm.v1i1.1.
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This study attempts to determine: 1) Influence of voice behavior on creative performance. 2) The moderation role of challenge stressors on the relationship between voice behavior and creative performance. 3) The moderation role of hindrance stressors on the relationship between voice behavior in creative performance. The population of this study were employees of mass media companies in Surakarta using convenience sampling method with a population of mass media companies and a sample of 150 employees. The sampling technique in this study uses the convenience sampling method. The test in this study uses the instrument test in the form of validity test with the method of confirmatory factor analysis (CFA) and reliability testing with the Cronbach's Alpha method. Testing the hypothesis in this study using hierarchical regression with the help of SPSS 25.0 program. Moderation testing in this study uses the calculation of the formula Baron & Kenny (1986). The results of the research suggest that that: 1) Voice behavior had a positive and significant effect on creative performance. 2) Challenge stressors moderate the influence of voice behavior on creative performance. 3) Challenge stressors moderate the influence of voice behavior on creative performance.
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Naylor, Steven. "Voice: The persistent source." Organised Sound 21, no. 3 (November 11, 2016): 204–12. http://dx.doi.org/10.1017/s1355771816000170.
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Sonic narratives on fixed media can take many forms. We may find complexly nuanced sound productions that rely on a broad range of implied and/or culturally shared non-verbal cues to convey a narrative progression. But we also frequently find creative productions centred upon the human voice, much like traditional storytelling but presented in the wider variety of performed, captured, or constructed contexts enabled by technology. In those productions, human voice without a visible physical source will represent, if only in the historic sense, the essence of the acousmatic – an unseen speaker addressing assembled listeners. And, although precise listener responses to that unseen voice will certainly vary, we typically respond quite strongly when directly addressed by another human voice. What are some of the attributes of voice that can trigger those strong responses? And, more pragmatically, what questions should composers consider as we attempt to harness that power for our own creative ends? In this article, we raise some of those questions for consideration, with the hope that readers – particularly those who are also sonic creators – will seek to answer them through their own creative practice.
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Kirkbride, Jasmin. "Cohesive Plurality." Logos 31, no. 2 (September 4, 2020): 52–56. http://dx.doi.org/10.1163/18784712-03102005.
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Following Peter Elbow’s work on ‘resonant voice’ or ‘presence’, this essay examines the seldom-explored resonance between a text and its writer in the moment of its creation. The essay asks what the boundaries and content of this space might look like, and how this knowledge might positively affect the creative product. It challenges the popular search for a writer’s ‘voice’, instead positing that each writer has a perpetually shifting internal plurality of voices, which unifies the constructivist and social constructionist views of the self. By arguing that the resonance between writer and writing is the experience of this plurality coming to harmony, the essay posits that to create such a resonance involves a balance of simultaneously relinquishing control to the internal choir and learning how to better conduct it.
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Desmarais, Fabrice. "Authority versus Seduction: The Use of Voice-overs in New Zealand and French Television Advertising." Media International Australia 96, no. 1 (August 2000): 135–52. http://dx.doi.org/10.1177/1329878x0009600116.
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Cross-cultural content analysis of New Zealand and French television advertising has revealed marked differences in the use of voice-overs. New Zealand voice-overs were found to be mostly authoritative and adhered to a strong code of masculinity whereas French voice-overs used a more seductive approach, utilising more feminine voices which acted as a relay of masculine values. Interviews with creative directors suggested that the selection of a voice-over was influenced by strong cultural stereotypes and was mostly the result of a subconscious or mechanical choice. This paper argues that voice-overs are signifiers which are embedded in a cultural and communicative context. It also draws attention to the usually unsuspected presence of highly naturalised ‘vocal formations’ which exist in the advertising discourse of each country, shaping and subjecting us as sociocultural beings.
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Jones, Candace, N. Anand, and Josè Luis Alvarez. "Manufactured Authenticity and Creative Voice in Cultural Industries." Journal of Management Studies 42, no. 5 (July 2005): 893–99. http://dx.doi.org/10.1111/j.1467-6486.2005.00525.x.
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Albornoz, Alejandro. "Acousmatic-Creationism: A creative method for acousmatic music inspired by Chilean poet Vicente Huidobro’s aesthetic theories." Organised Sound 25, no. 3 (November 30, 2020): 333–43. http://dx.doi.org/10.1017/s1355771820000291.
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This article assembles and summarises the main ideas presented in the doctoral thesis entitled ‘Voice and Poetry as Inspiration and Material in Acousmatic Music’ by the author and describes his idiosyncratic method for acousmatic composition based on Chilean poet Vicente Huidobro’s aesthetic theory, which is a system that aims at creating artistic works by taking materials from reality and combining them in unexpected ways. The objective of this combination is an equilibrium between rationality and intuition in order to obtain a poem independent of the real world, in the sense of a poetic outcome which avoids traditional mimesis. This creative system, known as Creacionismo, has a central role between various other theoretical, artistic and mainly poetic sources informing the author’s creative process. Huidobro’s creative system has been applied by the author to acousmatic composition procedures generating the notion of acousmatic-creationist as a nomenclature for the process. This particular creative strategy balances rationality and intuition within acousmatic composition and places poetry as a driving force in the use of voice, merging artistic practice and theory in a recursive action.
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Park, Kunwoo, Jaram Park, SungKyu Park, Jaewoo Kim, Sejeong Kwon, Jinah Kwak, and Meeyoung Cha. "Voice of the Employees Resonated in Online Bamboo Forests." Proceedings of the International AAAI Conference on Web and Social Media 7, no. 3 (August 3, 2021): 12–15. http://dx.doi.org/10.1609/icwsm.v7i3.14476.
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While employee voice has been realized a critical element of organizational success, many employees often remain silent and withdraw useful information and ideas. In this paper,we present how employees utilize existing social media platform in a creative, collective way to anonymously share their voices—a phenomenon called the bamboo forests in Korea. We present the key characteristics of bamboo forests including self-mention and connectivity, and discuss the main topics and sentiments of such bamboo forests. Our analysis indicates that employees find such anonymous platform useful. We provide insights on the potential for utilizing the voice ofthe employees online.
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Gillies, Malcolm GW. "Stuart Cunningham: From creative industries to creative economies, and beyond." Media International Australia 182, no. 1 (October 6, 2021): 7–12. http://dx.doi.org/10.1177/1329878x211043893.
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This paper explores Stuart Cunningham’s thought leadership in ‘creative’ spaces since the turn of the millennium. It presents the author's personal glimpses of Cunningham's contributions to scholarship and advocacy, ranging from Cunningham and Hartley's exposé on the recently-titled creative industries at the National Humanities and Social Sciences Summit (Canberra, 2001), through the establishment of QUT's Centre of Excellence (Brisbane, 2005) and its European node (London, 2008), to Cunningham's more recent work with creative economies and their opportunities, including his influence upon Australia's Cultural and Creative Economy: A 21st-Century Guide (Canberra, 2020). The paper concludes with some comments about continuing resistance to substantial investment in Australia's creative industries, and Cunningham's call for a more united voice in their advocacy.
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Eisner-Sagüés, Federico. "Technology-assisted close listening to sound poetry vocal practices for creative musical collaboration." Journal of Interdisciplinary Voice Studies 6, no. 2 (December 1, 2021): 181–99. http://dx.doi.org/10.1386/jivs_00046_1.
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As part of a sustained increase in interest in voice studies from all kinds of fields of knowledge and from a post-humanistic comprehension of voice as an assemblage, this investigation understands vocal practices as the pivot of artistic collaboration between music and sound poetry. It presents a method for analysing vocal practices in sound poetry in a creative context of artistic research in collaboration with electroacoustic music. The method involves a mixture of close listening, audio information retrieval, phonetics and morphology. It is based on a standard voice analysis of a sound poet (i.e. prepared samples) and a case-specific vocal practice (i.e. actual sound poem) with a creative rather than comparativist aim. After discussing the principle of differentiation between analysing and creating, the text offers two concrete artistic outputs of electroacoustic interventions over the vocal practice of the Uruguayan sound poet Luis Bravo’s sound poem ‘Descubrimiento del Fuego’. Finally, a set of compositive ideas based on this method are classified as either mimetic or metaphoric, according to their relationship with the obtained data. Both the concrete examples and the compositive ideas provoke unavoidable questions about current electroacoustic and vocal practices and point to discussions on voice studies about issues such as presence, virtuality, identification and materiality.
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Grant, Alec, and Susan Young. "Troubling Tolichism in Several Voices." Journal of Autoethnography 3, no. 1 (January 1, 2022): 103–17. http://dx.doi.org/10.1525/joae.2022.3.1.103.
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This article is dialogic. Several voices engage together from the loci of embodied, relational, and textual standpoints. Tacitly informed by the voices of friends, colleagues, and respected others, the first and second authors have a conversation with and between themselves, and with readers. This is conducted around the presence of a boxed-text voice, written more formally and rhetorically by the first author. The main story is the authors’ critical reaction to selected aspects of the “Tolichist” voice. This voice is regarded as promoting epistemic violence toward critical and creative analytical autoethnographers, in the areas of relational ethics and methodology. The other related—back, subsidiary, and implicit—stories emerging include alienation from the insidious cultural backdrop of patriarchy and misogyny; two conceptions of “autonomy”; the development of a neophyte critical autoethnographer; colonization and resistance; the bifurcation of assumptions about autoethnographic writing; and the importance of philosophy for autoethnographic scholarship. The article ends in a meta-reflexive exchange between both authors about its content.
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Sicoli, Mark A. "Shifting voices with participant roles: Voice qualities and speech registers in Mesoamerica." Language in Society 39, no. 4 (August 18, 2010): 521–53. http://dx.doi.org/10.1017/s0047404510000436.
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AbstractAlthough an increasing number of sociolinguistic researchers consider functions of voice qualities as stylistic features, few studies consider cases where voice qualities serve as the primary signs of speech registers. This article addresses this gap through the presentation of a case study of Lachixío Zapotec speech registers indexed though falsetto, breathy, creaky, modal, and whispered voice qualities. I describe the system of contrastive speech registers in Lachixío Zapotec and then track a speaker on a single evening where she switches between three of these registers. Analyzing line-by-line conversational structure I show both obligatory and creative shifts between registers that co-occur with shifts in the participant structures of the situated social interactions. I then examine similar uses of voice qualities in other Zapotec languages and in the two unrelated language families Nahuatl and Mayan to suggest the possibility that such voice registers are a feature of the Mesoamerican culture area. (Voice quality, register, performance, metapragmatics, Mesoamerica, Zapotecan, Mayan, Nahuatl)*
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Caldairou-Bessette, Prudence, Lucie Nadeau, and Claudia Mitchell. "Overcoming “You Can Ask My Mom”: Clinical Arts-Based Perspectives to Include Children Under 12 in Mental Health Research." International Journal of Qualitative Methods 19 (January 1, 2020): 160940692095895. http://dx.doi.org/10.1177/1609406920958959.
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As research with children (rather than research on children) gains popularity and researchers adapt methods to include children’s voices, continual reflection on the research methods themselves is needed. In this article, we explore the relevance of playing and drawing in qualitative research interviews to include and represent the voice of children under 12 years of age, particularly in the field of mental health research. We reflect on the conception of children’s voice in research and argue for an understanding of voice that goes beyond verbal language. We suggest a combination of perspectives from arts-based research and clinical interview practice to support our understanding of children’s voice in research. As an illustration, we draw on an example taken from a large research project in Youth Mental Health Collaborative Care during which 23 children under the age of 12 were interviewed using a talk-play-draw model. We discuss the multidimensional aspect of children’s voices and the ethical value of arts and play in research interviews. We highlight the importance of researchers’ ethical reflexivity and creative participation in their quest to understand children’s voices. While doing so, we emphasize the responsibility of researchers to interpret, translate and represent as justly as possible a multi-layered, complex and often disorganized voice into a form that is accessible to the linear world of academic research. Given that it is perhaps inevitable that researchers use their own voice in this process, we argue that in conducting research with children, we need to engage both the children as participants and the researchers as advocates for children’s perspectives.
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Bradley, Catherine A. "Re-workings and Chronological Dynamics in a Thirteenth-Century Latin Motet Family." Journal of Musicology 32, no. 2 (2015): 153–97. http://dx.doi.org/10.1525/jm.2015.32.2.153.
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This article examines a family of thirteenth-century discant and motets on the tenor LATUS, tracing complex relationships between the various incarnations of its shared musical material: passages of melismatic discant in two- and three-voices, a three-voice Latin conductus motet, a two-voice Latin and French motet, and a three-voice Latin double motet. I query conventional fundamentally linear models of discant-motet interaction, emphasizing the possibility of simultaneously filial and collateral interrelationships between versions: different motet texts can influence each other, while retaining independent connections with an earlier melismatic discant model. This leads to a reevaluation of traditional evolutionary and stylistic perceptions of sub-genres defined within the category of motet. The article addresses questions of compositional process, reflecting on the types of creative and scribal activities involved in the formulation of motets.
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Brodersen, Randi Benedikte, and Solveig Kavli. "“Students Can Write!”." Nordic Journal of Information Literacy in Higher Education 11, no. 1 (June 25, 2019): 39–51. http://dx.doi.org/10.15845/noril.v11i1.2624.
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One purpose of this article is to shed light upon the concept of voice in writing, related to genres and sources in humanities. Another purpose is to participate in the academic discussion on voice. We want to raise awareness about the use of voice, in general, among students and supervisors. We want to inspire and motivate students to voice their texts explicitly and naturally – by using different genres and by entering into dialogue with central sources. Such sources can be used to create new meaning and for sense making, but they do not carry a given answer (Dervin, 1999; Holliday & Rogers, 2013).
The variation and complexity of voice is present in the variety of sources students find and use, such as articles, textbooks, dissertations, interviews, films, pictures, etc. Voices are explicit or implicit in all kind of sources used. Voices emerge as authoritative and experienced within academia, for instance in textbooks and articles. Voices may be creative and inviting. Some are attractive and believable, others hesitant or uncertain, as voices in many texts written by students.
Students, at all academic levels, express insecurity when working with academic writing and genres. However, by analysing and practicing different academic genres and by attending to voice(s) in others’ texts, students are empowered to explore genres and sources and to voice their own texts. By using and entering into dialogue with various sources, students make choices about how to present and interact with sources. In these ways, students develop their voices and improve their texts.
Our theoretical point of departure deals with voice, dialogue (Elbow, 2007; Bakhtin, 1986) and the use of sources combined with the search for information (Dervin, 1999; Holliday & Rogers, 2013). We analyse and compare two examples of the use of sources in academic texts, in order to show how texts representing two genres, use voices and sources in different ways. We present supervisors’ guidance strategies, representing supervisors’ voices. We – and supervisors – mention students’ general challenges with academic writing. Finally, we present dialogic strategies and propose a new dialogic strategy. This new strategy combines and unites reading and writing in different genres, drawing on and entering into dialogue with central sources, with different and clear ways of voicing; explicit and implicit voicing. Our dialogic strategy – and other intended dialogic strategies – can be used by students and all supervisors who assist students in writing, when dealing with voice(s) and sources.
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Cummins, Laurel. "Inspiration, Creation and Memory in Linda Lê’s Autres jeux avec le feu." Nottingham French Studies 61, no. 1 (March 2022): 17–30. http://dx.doi.org/10.3366/nfs.2022.0336.
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This article focuses on several short stories in Linda Lê’s collection Autres jeux avec le feu (2002), and analyses identity as it is intertwined with the themes of inspiration and creation. ‘L’Échafaudage’ relates a visionary quest on the part of a protagonist whose name, Gemini, sets up the dynamic for this story and the collection. Fragmented identity is revealed by the name which indicates a twin nature. While he denies them, his quest reveals hidden selves, as demonstrated through readings informed by short story theory and centred on postcolonialism and gender. In the framing stories, ‘La Mouche’ and ‘Voix off’, the poet/muse trope is introduced. These stories present and perform an evolution of inspiration and creative voice as they relate to gender and memory. This evolution operates a reversal of the hierarchy inherent in the divided self as illustrated by Gemini, and opens the way to a feminine creative voice.
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Takhar, Jennifer. "The Voice Inside." Marketing Theory 20, no. 2 (December 30, 2019): 167–74. http://dx.doi.org/10.1177/1470593119897776.
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This in utero tale deconstructs the consumption and marketing of assisted reproductive technologies (ARTs). It aims to highlight the deep ambivalence and phantasmagoria that accompany such transbiological procedures which, though undertheorised by marketing scholars, especially through an introspective lens, are reshaping markets and fundamental understanding of life, death, health, kin, progress, hope, sex, capital and cure. The story also advances extant marketing research on autobiography and consumer introspection theory (CIT) by introducing ‘autobiological writing’, a genre of self-reflexive, creative life writing which foregrounds lived, biological and medicalised experiences, therefore exposing the emotional ‘truths’, ‘authentic voices’, volatile bodies and experiential insights that often prove difficult to access and capture for consumer researchers. As liberatory narratives for the writers themselves and the researchers who extrapolate meaning from them, autobiological accounts offer unique critical cultural perspectives, in this case, on complex reprogenetic consumption.
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Qasmiyeh, Yousif M. "Introduction." Migration and Society 3, no. 1 (June 1, 2020): 254–55. http://dx.doi.org/10.3167/arms.2020.030122.
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Since its inception in 2018, the aim of the “Creative Encounters” section of Migration and Society has been to off er alternative ways of engaging with “voice” or, more pertinently, as I have argued elsewhere, “to embroider the voice with its own needle” (Qasmiyeh 2019). This dialectic is proposed to problematize the notion of the voice as it is often perceived and mobilized: a medium offered to those in need of (their) voices rather than as a prior state of being that is initiated by and therefore intrinsically belongs to the individual herself. In this vein, “to embroider the voice with its own needle” is to see the voice within its owner, as a given and not to be given, through tracing the thread as it touches the needle eye to go through it and in so doing ushering in the embroidering that will come. Indeed, embroidering the voice is writing the intimate, the lived, and the leftovers in life into newer times as imagined by the writer herself; it is writing without a helping hand from anyone but rather through continuously returning to the embroidered (and what is being embroidered) and its tools, notwithstanding how incomplete and fragmentary they are.
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Jones, Susan, and Christine Hall. "Creative Partners: Arts Practice and the Potential for Pupil Voice." Power and Education 1, no. 2 (January 2009): 178–88. http://dx.doi.org/10.2304/power.2009.1.2.178.
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Munday, Jeremy. "The Creative Voice of the Translator of Latin American Literature." Romance Studies 27, no. 4 (November 2009): 246–58. http://dx.doi.org/10.1179/026399009x12523296128795.
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Edgar, Robert, Fraser Mann, and Helen Pleasance. "Music, Memory and Memoir: Critical and creative engagement with an emerging genre." Journal of Writing in Creative Practice 12, no. 1-2 (April 1, 2019): 181–99. http://dx.doi.org/10.1386/jwcp.12.1-2.181_1.
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In this article, we outline and explore a plural and flexible methodology for engaging with the contemporary music memoir. These are texts in which narrative experimentation and self-conscious interrogations of voice shape content. They are texts that blur and blend the lines between memory, storytelling and myth. They offer a literate and culturally engaged reader the opportunity to shape their own musical histories and memories. We view these titles as a new and emerging genre. Our work, which we are developing in a forthcoming edited collection entitled Music, Memory and Memoir, approaches this fluid genre with a fluid methodology. We combine scholarly rigor and critical analysis in our readings of text but these combine with an open-ended and reflexive approach to our own critical and cultural voices.
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Martin, Donna. "Toning: An Interview with Eleanor Leatham." International Journal of Yoga Therapy 5, no. 1 (January 1, 1994): 31–33. http://dx.doi.org/10.17761/ijyt.5.1.b98770u742r86t81.
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Toning is the creative power within the voice...a feeling of fulfillment within self; in other words, we have a voice-we have power that comes through this voice-and when its power is released, we experience a feeling of expansion and well-being. So, it isn't just a tone, it's what's within the tone. And our body is, in a sense, an instrument that allows the voice to amplify-to release itself-and whatever is deep within Self can then move to the surface and out.
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Bergsmark, Ester Martin. "Voice-Under." lambda nordica 25, no. 3-4 (April 26, 2021): 105–25. http://dx.doi.org/10.34041/ln.v25.710.
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In this essay I introduce the term voice-under, a tool I use to explore and better understand the queer potential of film. My creative practice revolves around finding ways to depict a queer reality. If the superimposed voice narrating the story is the voice-over, then what I am exploring is the voice-under: a voice of other, parallel truths. I listen to the dump and the trauma, the rubbish and chewing gum, my friends and my little toe. I listen to the warm fear. What might a film look like that depicts trauma and injuries without holding on to them? What will we hear, if we stop listening to the loudest voice? Could it make visible to us small, crawling feelings, glimpses of another world? Instead of voice being used to stand for something essentialist, I see voice as a productive concept that looks at relations and its touches. Voice-under is a term developing through my ongoing doctoral research, in the dialogue that appears between writing and workshops with actors who are co-writers and other collaborators. In this essay I try to show what a voice-under can be, by examining the process of making my “hybrid film” She Male Snails, titled Pojktanten in Swedish (2012). Further, I offer examples from my feature film Nånting måste gå sönder (Something Must Break, 2014) as well as from works by other queer film makers and trans artists like Wu Tsang, Sonja Nilsson, and Marcelo Caetanos.
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Russell, Lisa, and Nick Owen. "The Creative Research Process: Delights and Difficulties." LEARNing Landscapes 6, no. 1 (June 1, 2012): 355–71. http://dx.doi.org/10.36510/learnland.v6i1.591.
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This paper reports on an arts-informed approach to education research aimed to critically develop and promote teachers’ creative practice and understanding of creativity for both pupils and teachers. The creative research process is described to reveal how it developed 20 students as researchers in a secondary school in England. The students’ perspectives impressed artists and enlightened expert researchers into new ways of thinking and doing research. A reciprocal relationship was developed that unravelled novel data and promoted pupil voice.
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Nalaskowski, Aleksander. "Education and Creativity-Reflection After the Turn of the Century." Creativity. Theories – Research - Applications 6, no. 1 (June 1, 2019): 125–39. http://dx.doi.org/10.1515/ctra-2019-0008.
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AbstractThe paper deals with social and family conditions for the development of creative thinking. It is a voice in the dispute between supporters of the view that creative thinking is inherited and supporters of the thesis that it is shaped socially and within the process of education. The author presents an argument for the role of childhood and the mother in shaping creative predispositions. An attempt at polemics with concepts such as the “creative school” or the “creative teacher” is made.
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Ingólfsson, Árni Heimir. "“Follow My Voice”:." European Journal of Musicology 18, no. 1 (March 6, 2020): 84–98. http://dx.doi.org/10.5450/ejm.18.1.2019.84.
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'Mouth’s Cradle', from Björk’s 2004 album Medúlla, combines a vocal line of considerable flexibility with a carefully outlined yet rather unusual structure. This article discusses the inspiration behind the song and analyze its structure. A particular focus is the interaction of structure and improvisation, the tension that exists between the inherent flexibility of Björkʼs melodic impulse and a formal scheme that is worked out in full only during the later stages of the creative process. In addition to the analysis of the song as it appears on Medúlla, the article also compares two later live performances that differ considerably in the treatment of a key moment in the song. By way of contrast, the article also discusses the ostinato-based 'Oceania', from the same album, which demonstrates a very different approach to the limits of structure and improvisation.
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Tarcov, Marianne. "Fragrant Spaces between Words: Prolonging Shōjo Liminality into Adulthood in the Poetry of Yonezawa Nobuko." Japanese Language and Literature 53, no. 2 (October 10, 2019): 183–201. http://dx.doi.org/10.5195/jll.2019.77.
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This essay argues that, in 1920s Japanese Symbolist poetry and perfume advertising, women inhabit a space of ambiguity, where bodily experience is elevated as the highest form of creativity and knowledge. Yonezawa’s poems prolong the liminality of the shōjo, or girl, archetype into adult womanhood, thereby transgressing the border between womanhood and girlhood. In her poetry, Yonezawa uses fragrance to portray the inherent sexuality of poetic creation, creating a feminine, sexual creative voice. Yonezawa uses the idealized homosocial relationships found in shōjo culture to imagine a world determined by the creativity and community of women. The relationships between women feature ecstatic sensory pleasure and shared poetic inspiration, brokered by the sense of smell.
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Byker, Erik Jon, S. Michael Putman, Laura Handler, and Drew Polly. "Educational Technology and Student Voice: Examining Teacher Candidates’ Perceptions." World Journal on Educational Technology: Current Issues 6, no. 3 (August 5, 2017): 119. http://dx.doi.org/10.18844/wjet.v6i3.1687.
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Student Voice is a term that honors the participatory roles that students have when they enter learning spaces like classrooms. Student Voice is the recognition of students’ choice, creativity, and freedom. Seminal educationists—like Dewey and Montessori—centered the purposes of education in the flourishing and valuing of Student Voice. This article examines the relationship between the integration of educational technology and Student Voice . In particular, the article describes and reports on a mixed-methods study of teacher candidates’ (n=63) perceptions of and practices with integrating digital technology and Student Voice. The article has two objectives. The first objective is to examine how teacher candidates construct and define the term Student Voice. The second objective is to describe how teacher candidates integrate digital technology and Student Voice into their lesson plan ideas. The study had three findings. First, the teacher candidates most closely defined and connected Student Voice with creative freedom. Second, although the teacher candidates had learner-centered definitions for Student Voice it was difficult for them to translate their definitions into actual lesson plan ideas that included the integration of educational technology in order for students to create so that their voices could be heard. Third, the student questionnaire data also illustrated how teacher candidates had varied perceptions of the relationship between technology and Student Voice; the candidates were more likely to describe elementary students’ primary use of technology as “using apps or software to practice subject-area skills” or “playing educational games” than any other technology-rich activities. The teacher candidates were disconnected in their perceptions about what Student Voice meant and their proposed pedagogies to enhance Student Voice with digital technologies. To address the disconnect, the article discusses strategies that can guide teacher candidates to integrate educational technology into their lesson plans to allow students to create and for the Student Voice to resonate throughout the classroom community.
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PLACANICA, FRANCESCA. "Recital I (for Cathy):A Drama ‘Through the Voice’." Twentieth-Century Music 15, no. 3 (October 2018): 359–97. http://dx.doi.org/10.1017/s1478572217000317.
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AbstractWork on this article began as a contribution to a wider discussion of twentieth-century music theatre, and in particular a genre in the category of twentieth-century musical monodramas – one-act staged monologues with, or in music for, one performer.1My current research focuses on the genesis and performance tradition of works composed for solo female singer, and raises questions about the creative agency of the performer in the making of such works, reflecting on matters such as subjectivity, voice, and identity.2If this outlook may slightly drift from a conventional narrative springing from the composer's voice, a critical investigation of the collaborative process foregrounding the genealogy of some of these works is compelling, especially since every composer who embarked on this ‘genre’, or compositionaltopos, inflected it in idiosyncratic ways. In works such asErwartung,La Voix humaine,The Testament of Eve,Neither, andLa machine de l’être, the performative voice of the female soloist to whom the work was tailored became a generative element capable of shaping the formal, musical, and dramaturgical material.3Examination of selected case studies, focusing especially on the creative and performative processes surrounding these works, triggers an array of questions about gender politics. More importantly, transversal insight into the making of these works and their performativity reveals the interconnected nature of the two phases of creation and performance. In musical monodrama, more than in larger forms of music theatre, the two processes interweave and depend on each other; reconstructing the performative genealogy of the ‘work’ reveals an intrinsic impasse in the very notion of the musical ‘text’ associated exclusively with the compiled score and its literary sources.
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Teleky, R. ""Entering the Silence": Voice, Ethnicity, and the Pedagogy of Creative Writing." MELUS: Multi-Ethnic Literature of the United States 26, no. 1 (March 1, 2001): 205–19. http://dx.doi.org/10.2307/3185503.
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Liddy, Susan. "In her own voice." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (June 14, 2017): 19–31. http://dx.doi.org/10.31165/nk.2017.102.504.
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International research highlights a paucity of female screenwriters and directors in contemporary cinema. The consequences, in terms of employment equality and on-screen representations, have been well documented. However, few studies interrogate the film industry from the point-of-view of the female practitioners themselves. Certainly, these issues have not been comprehensively explored in an Irish context; something which this paper, as part of a wider study on Irish women screenwriters and writer/directors, sets out to address.
An analysis of three in-depth, exploratory interviews with produced female writers of film and television is presented here. The purpose of the interviews is to tease out the experiences, work practices, perceived barriers and narrative preoccupations of this underrepresented group. Although generalizations cannot be made on the basis of three interviews, many of the views expressed by these practitioners correspond to theoretical and empirical work emerging in the field. Other insights shed new light on aspects of women’s creative labour in the Irish film industry.
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Liu, Pingqing, Yang Chen, Xue Wang, and Chengping Hou. "Institutionalized socialization tactics as predictors of voice behavior among new employees." Social Behavior and Personality: an international journal 45, no. 10 (November 7, 2017): 1595–606. http://dx.doi.org/10.2224/sbp.6353.
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Organizations in the 21st century are growing increasingly reliant on innovative input from employees, and injecting fresh blood is a common way to increase creative ideas. One measure of successful socialization is the development of voice behavior among new employees. Institutionalized socialization tactics assist new employees, whose voice is insufficiently encouraged, in adjusting to their work environment. In this time-lagged quantitative field study with 221 new generation employees in Beijing, China, we explored institutionalized socialization tactics and their influence on voice behavior, and newcomer adjustment as a form of voice behavior mediation. Results showed that institutionalized socialization tactics were highly correlated with newcomer adjustment and voice behavior. Our results have practical implications for the development of newcomer adjustment.
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Mills, Liz. "A Space for Sound." Recherches sémiotiques 36, no. 1-2 (September 7, 2018): 311–25. http://dx.doi.org/10.7202/1051190ar.
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The focus of this article is Western theatre voice practice and discourse. With the voice conceived as the trace of language, the main intention is to reveal interstices for creative vocal or sonorous play by unsettling the relationship between voice and language.The project references the shift to the ‘natural voice’ in Western theatre voice practice and how, in spite of this shift to sound that is strongly located in the person of the performer, voice does not exploit the riches of either its originating practice in orality or its own essential nature as sonorous vocality. This article proposes that Western theatre voice’s strong link to a devocalized logos as argued by Cavarero, and logos as text informed by Habermas’s concept of communicative rationality, do not allow the voice to transcend a single representation rooted in language.
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Peterson, Shelley Stagg. "The Quiet Voices of Children's Literature Amidst the Roar of New Literacies." Georgia Journal of Literacy 32, no. 1 (March 30, 2009): 24–27. http://dx.doi.org/10.56887/galiteracy.88.
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In this paper, I take the quiet voice of children's literature, speaking out for the use of children's literature in classrooms at a time when loud voices are advocating for new literacies. I go beyond the more conventional arguments for the use of literature (e.g., that of being able to cradle a book in one's arms while lounging in a favorite chair or listening to the cadences of a beloved adult reading a text while enjoying the illustrator's creative artwork) and address the criticisms of books put forward by new literacies advocates.
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Lewis, P. J. "Collage Journaling with Pre-service Teachers." International Review of Qualitative Research 4, no. 1 (May 2011): 51–58. http://dx.doi.org/10.1525/irqr.2011.4.1.51.
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Students in a B.Ed. program take a Language Arts course and in an effort to suggest “alternative” ways of exploring the ‘content’ students were asked to make collage journals. They were encouraged to explore the process and product of making art, which sees a constant movement between the two, a vacillation between process and product through the creative act. This multi-media presentation uses the storyteller-researcher's voice to knit the narrative together, however, it is the visual and textual voices of the students which emerge, creating a multi-vocal story of meaning-making for all. Readers may view and listen to a performance of the work at: http://education.uregina.ca/web/lewis20p/IRQR/ . In order to view some of the collage journals created by the students in this research project readers will need to use the URL provided.
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Jones, Vanessa, Carmine Stewart, Anne Galletta, and Jennifer Ayala. "Creative Expressions of Agency: Contemplating Youth Voice and Adult Roles in Participatory Action Research." Teachers College Record: The Voice of Scholarship in Education 117, no. 13 (April 2015): 135–52. http://dx.doi.org/10.1177/016146811511701305.
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In this chapter, we examine youth voice within intergenerational collectives where youth and adults are in consultation with each other about school and community issues. The three projects discussed in this chapter reflect the use of participatory action research (PAR) to address educational policies and practices viewed as counterproductive by youth within poor and working class neighborhoods. The use of PAR to inform policy makers and establish alternative educational approaches reflects a critical theoretical framework in that it considers the complexity of experiences and social identities among youth who are positioned differently in relation to educational and opportunity access. The use of the arts as a strategy for inquiry and action is discussed as a way to identify alternative frames of analysis—ways of seeing from different angles the explanations offered by decision makers for the use of particular educational policies. The chapter outlines strategic planning for public engagement at significant junctures of the PAR projects to ensure youth voices are heard and prevailing discourses and theories of action challenged, thus bringing into clear focus the imperative for more equitable and humanizing conditions within education.
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Storch, Anne. "The idea of a yell." International Journal of Language and Culture 6, no. 1 (February 1, 2019): 10–28. http://dx.doi.org/10.1075/ijolc.00013.sto.
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Abstract This contribution examines the metapragmatics of the ‘noisy’ voice: how voice performance that does not include the utterance of words is evaluated and discussed by different audiences and authors. Secrecy as being expressed through and by the transcendental voice is one aspect of these discussions, and notions of interiority of Self and Other are others. The paper thereby suggests that there are many options in conceptualizing language, and that secrecy and transcendentality may be crucial aspects of language as creative and social practice.
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Esformes, Maria. "The Sephardic Voice of Elias Canetti." European Judaism 33, no. 1 (March 1, 2000): 109–17. http://dx.doi.org/10.3167/ej.2000.330114.
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One of the most fascinating memoirs to appear in recent years is that of Elias Canetti, recipient of the 1981 Nobel Prize in Literature. his three-volume spiritual and intellectual autobiography is a complex and insightful rendering of his personal background and his creative development as a novelist, philosopher, and social critic. However, Canetti's autobiography is much more than a compelling account of the development of a great artist – it is a portrait of the tragic character of an entire era that witnessed the destruction of cultures and the way of life o many Jewish communities throughout Europe.
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Kaumudhi, Apoorva, Asiya Khatoon, Ayesha Samreen, Manisha Surana, and Brundha ElciJ. "VOICE ASSISTANT DRUG RECOMMENDATION." International Journal of Innovative Research in Advanced Engineering 9, no. 8 (August 12, 2022): 299–302. http://dx.doi.org/10.26562/ijirae.2022.v0908.26.
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Since the coronavirus emerged, the shortage of appropriate clinical resources—such as specialists, care personnel, the right equipment and medications, etc. has reached an all-time high. The medical profession as a whole is in difficulty, which leads to many people passing away. Due to inconvenience, people began taking medications frequently without getting proper consultation, which made their health situation worse than usual. Recently, machine learning has proven useful in many areas, and creative work for automation is on the rise. It aims to provide a drug recommendation system that will significantly reduce the workload of doctors. We are developing a method for prescribing medications that analyzes patient feedback to forecast the emotional response to various vectorization techniques, including Bow, TF-IDF, Word2Vec, and Manual Feature Analysis, which may facilitate suggest the highest drug for a given sickness by totally different classification algorithms. The anticipated sentiments were evaluated by preciseness, recall, flscore, accuracy, and AUC score. The results show that classifier LinearSVC victimization TF-IDE vectorization outperforms all different models with ninety-three accuracies.
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McPherson, Elizabeth. "Martha Hill: Supporting the Creative Work of José Limón." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 157–60. http://dx.doi.org/10.1017/s2049125500000261.
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Founding director of the dance programs at New York University, Bennington College, and Juilliard, as well as the summer dance festivals the Bennington School of the Dance and Connecticut College School of the Dance/American Dance Festival, Martha Hill was a visionary for dance and dance education. One of the teachers and choreographers to whom Hill gave her loyal support was José Limón, providing him with means and opportunities to voice his unique vision.
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Bolay, Jordan. "‘Their song was partial; but the harmony […] suspended hell’: Intertextuality, voice and gender in Milton/Symphony X’s Paradise Lost." Metal Music Studies 5, no. 1 (March 1, 2019): 5–20. http://dx.doi.org/10.1386/mms.5.1.5_1.
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I illustrate how Symphony X’s concept album retells Milton’s Paradise Lost and complicates the narrative through its use of voice and creative extrapolation, resulting in an intertextual relationship through which the album and epic influence one another’s readings, particularly with regard to gender and the biblical binary of good/evil. One of the difficulties in interpreting the album is that singer Russell Allen shifts his tone of voice to suit the mood of the song, not to denote a change in speaker. Thus, key passages that blend characters’ voices on the album further emphasize the deconstruction of good and evil introduced through the extrapolated narrative and challenge the traditional gender roles presented in the source text. I conclude that within Symphony X’s writing and performances of Paradise Lost, the combination of performative genders challenges the politics of both the source text and the album’s cultural context, i.e. that of heavy metal.
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Levesque, Lauren Michelle, and Cecile Rozuel. "Puppets Know Best." Art/Research International: A Transdisciplinary Journal 7, no. 1 (March 26, 2022): 1–28. http://dx.doi.org/10.18432/ari29626.
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This article addresses the struggle of crafting a recognized professional scholarly identity, and reflects on the significance of puppets to interrupt this struggle, assert one’s voice, and creatively occupy one’s space. Our interdisciplinary contribution aims to extend conversations on the realities of academic life that are often muted or diluted such as anxiety, self-doubt, weariness and failure, with implications for creative research practices. We engage the aforementioned realities through a mix of creative and whimsical writing styles (e.g., human-puppet dialogues; poetry; reflection), leveraging insights from the Jungian psychological approach to archetypal symbol and the imagination as well as transformative arts-based approaches involving storytelling, voice, and liminal space. After exploring our own experiences carving out space as creative and reflective scholar-practitioners, we discuss two examples where puppets disrupted the status quo of particular academic settings and provided opportunities for different, more spontaneous forms of engagement with the self and with others.
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Zhang, Weichen, and Yuanyuan Guo. "Research on the Core Accomplishment of Music Creative Practice Under the Background of the New Curriculum Standard—The Example of the Textbook of the RenYin Version of the Second Grade (Grades 3, 4 and 5)." Asian Journal of Social Science Studies 7, no. 7 (August 1, 2022): 71. http://dx.doi.org/10.20849/ajsss.v7i7.1248.
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With the birth of the art curriculum standard for compulsory education (2022 Edition), it can be found that the core quality of music discipline is more condensed into creative practice than before. This paper takes the second stage textbook of the human voice edition as an example to study the creative practice in the core literacy of music discipline, find out the problems existing in the core literacy of creative practice in primary school music textbooks, and put forward suggestions.
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Fraser, Patti. "The Story of Summer Visions: The Creation of a New Public in a Community-Engaged Youth Media Program." LEARNing Landscapes 10, no. 1 (October 1, 2016): 95–103. http://dx.doi.org/10.36510/learnland.v10i1.721.
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Over the course of the last two decades, youth media programs have become increasingly popular as models for community-engaged digital storytelling projects. This narrative re ection is based on the author’s experience as the creative mentor and story editor within a nationally recognized youth-run media production program. Drawing on Arendt’s (1954) thinking on the educative project and on Poyntz’s (2009) argument that holds "agonistic struggle" over creative expression within a community of youth engagement is critical to developing a shared sense of the world. This narrative re ects on the collective work of story creation within a community-engaged media art practice as a vehicle for developing capacity to hold pluralistic points of view, perspective, and voice essential for the sustainment of democratic movements.