Relevant bibliographies by topics / Voice culture

Academic literature on the topic 'Voice culture'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Voice culture"

Huang, Xu, Evert Van de Vliert, and Gerben Van der Vegt. "Breaking the Silence Culture: Stimulation of Participation and Employee Opinion Withholding Cross-nationally." Management and Organization Review 1, no. 3 (November 2005): 459–82. http://dx.doi.org/10.1111/j.1740-8784.2005.00023.x.

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We investigated the relationship between the national cultural value of power distance and collective silence as well as the role of voice-inducing mechanisms in breaking the organizational silence. Using data from 421 organizational units of a multinational company in 24 countries, we found that both formalized employee involvement and a participative climate encouraged employees to voice their opinions in countries with a small power distance culture. In large power distance cultures, formalized employee involvement is related to employee voices only under a strong perceived participative climate.

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Hunter, Anton. "Composing for Improvisers: Negotiating the Issue of Individual Voice." Open Cultural Studies 2, no. 1 (September 1, 2018): 203–11. http://dx.doi.org/10.1515/culture-2018-0019.

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Abstract This paper addresses one aspect of my Practice as Research project exploring composing for large groups of improvising musicians. It looks at how my practice evolved as a result of contemplating the nature of solo improvisation, together with Garry L. Hagberg’s writings around “Collective Intention.” I discuss a new work for octet that started with small-group improvisations, initially totally freely and then later using thematic material inspired and informed by the initial sessions. By basing the finished compositions on improvisations this way, I aim to bring the creative voice of the individuals into final performance. Not just by employing the compositional techniques of the likes of Graham Collier, John Zorn, Anthony Braxton and many others who allow room for realtime improvised contributions in performance, but by weaving the unique voices of the musicians into the written material as well. In this way, I am challenging the stereotype of a lone composer working away from the ensemble, which the contemporary big band composer often fits.

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Rohmah, Zakia Nur, Arum Etikariena, and Alice Salendu. "Kepemimpinan inklusif dan voice behavior pada karyawan: Menguji peran budaya inovatif." Persona:Jurnal Psikologi Indonesia 11, no. 2 (June 6, 2023): 172–87. http://dx.doi.org/10.30996/persona.v11i2.7837.

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Abstract Organizational culture is one of the predictors that can influence employees' voice behavior. However, research on organizational innovation culture with employee voice behavior still needs to be more extensive and needed. This study aims to determine the role of innovative organizational culture in mediating the relationship between inclusive leadership and employee voice behavior. The study conveniently sampled 174 employees from various innovative companies. The measuring instruments used are the Inclusive Leadership Scale (α = 0.85), Organizational Culture Assessment Instrument (α = 0.84), and the Voice Behavior Scale (α = 0.93) which have been adapted into Indonesian—data analysis with the PROCESS 4 model from Hayes. The result highlights that inclusive leadership was positively correlated with employee voice behavior, and innovative culture partially mediated the relationship between inclusive leadership and employee voice behavior. The implication for organizations is to set up leaders with inclusive characteristics through self-development and training, facilitating safe environments to express employee voices and opinions by implementing values that support flexibility and autonomy. Keywords: Innovative culture; Inclusive leadership; Voice behavior; Organizational culture Abstrak Budaya organisasi merupakan prediktor yang mampu memengaruhi perilaku bersuara bagi karyawan. Namun, penelitian terkait budaya inovatif organisasi bersama dengan outcome perilaku bersuara karyawan ini masih minim diteliti dan memerlukan eksplorasi lebih lanjut. Penelitian ini bertujuan mengetahui peranan budaya inovatif organisasi dalam memediasi hubungan antara kepemimpinan inklusif dan perilaku bersuara karyawan. Sampel penelitian adalah karyawan yang bekerja dari beberapa perusahaan yang diprediksi memiliki budaya organisasi yang inovatif dengan jumlah populasi yang tidak diketahui secara pasti dan dipilih menggunakan teknik convenience sampling. Alat ukur yang dipakai adalah Inclusive Leadership Scale (α = 0.85), Organizational Culture Assessment Instrument (α = 0.84), Voice Behavior Scale (α = 0.93) yang telah diadaptasi ke dalam Bahasa Indonesia. Analisis data dengan PROCESS model 4 Hayes. Hasil menunjukkan bahwa kepemimpinan inklusif secara positif berkorelasi dengan voice behavior, budaya inovatif memiliki efek mediasi parsial pada hubungan kepemimpinan inklusif dan voice behavior karyawan. Implikasi penelitian ini bagi organisasi supaya mampu memfasilitasi lingkungan yang aman bagi karyawan dalam menyampaikan suara dan pendapatnya dengan menyiapkan pemimpin-pemimpin yang memiliki karakteristik inklusif melalui pengembangan diri dan training serta menerapkan nilai-nilai yang mendukung fleksibilitas dan otonomi bagi karyawan. Kata kunci: Budaya inovatif; Kepemimpinan inklusif; Perilaku suara; Budaya organisasi

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Burris, Ethan R., and Wonbin Sohn. "Creating a culture of voice." Behavioral Science & Policy 7, no. 1 (2021): 57–68. http://dx.doi.org/10.1353/bsp.2021.0002.

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Das, Veena. "Voice as birth of culture." Ethnos 60, no. 3-4 (January 1995): 159–79. http://dx.doi.org/10.1080/00141844.1995.9981516.

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Burris, Ethan R., and Wonbin Sohn. "Creating a Culture of Voice." Behavioral Science & Policy 7, no. 1 (April 2021): 57–68. http://dx.doi.org/10.1177/237946152100700106.

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Developing a culture of voice, in which employees routinely speak up and organizations capitalize on the ideas from rank-and-file workers, is central to success in modern business. Such a culture enables organizational leaders to identify and correct problems they might have otherwise overlooked, to innovate in ways they would not have considered without employee input, and to more readily gain employee buy-in for organizational changes. Yet employees routinely withhold their ideas. When ideas do bubble up, managers frequently fail to act on them. Leveraging the literature on employee voice, we offer insights into why employees do not speak up and why managers often resist acting on ideas from below, and we suggest how organizations can develop policies that promote employee voice and its many benefits.

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Bakić-Mirić, Nataša, Anita Janković, and Nadežda Stojković. "Popular culture and intercultural communication: The voice and the echo." Zbornik radova Filozofskog fakulteta u Pristini 52, no. 2 (2022): 13–28. http://dx.doi.org/10.5937/zrffp52-33920.

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The primary goal of popular culture as the dominant form of culture in the 21st century should be to unite people in a cultural synergy. Popular culture as such should insist on the richness of diversity, not on stereotypes, which is the case today. This paper will analyze the concepts of communication, culture, intercultural communication, cultural imperialism as well as the influence of popular culture on intercultural communication. Popular culture is a key component in creating a social identity in the 21st century. It provides a sense of belonging and togetherness to people around the globe. That is why they rely on popular culture to understand the world around them, and for most people, the view of the world exists only through the prism of popular culture. Although popular culture could be a hybrid space for bringing cultures closer, this is impossible today because the media deepens the gap between cultures with negative stereotypes by looking at other cultures through their own cultural prism. In order for cultures to come closer to one another, the media must be comprehensive in the way they present images in the broad category of meanings of the concepts of 'culture', 'race' and 'nation' so that people understand that culture exists on multiple levels of complexity, while popular culture presents a superficial (visible) part of culture based on which people mistakenly form a perception of a culture, which can be the cause of misunderstandings in intercultural communication.

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Bagheri, Fatemeh, and Liming Deng. "Personal and Social Voices in Written Discourse Revisited1." Chinese Journal of Applied Linguistics 42, no. 3 (September 25, 2019): 345–64. http://dx.doi.org/10.1515/cjal-2019-0021.

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Abstract For years, personal and social voices have been the issue of discussion on voice construction in written discourse (e.g., Elbow, 1999; Flowerdew, 2011; Hyland, 2002, 2010a, 2012b; Mauranen, 2013; Ramanathan & Atkinson, 1999; Tardy, 2005). However, there is a lack of an integrated examination of the dimensions which determine voice construction in writing from personal and social perspectives. This article re-examines the issue of voice construction through a critical review of previous literature on identity in written discourse. It is argued that there are five major dimensions for the construction of voice in written discourse. How writers appropriate their voice according to such five dimensions as genre, transition, culture, discipline and audience will be discussed. This paper lends further support to the view that voice in written discourse is both personal and social. As it is known, good writing expresses both personal and social voices. However, based on the dominant dimension(s), voice construction should be adjusted. Sometimes personal voice is boldly expressed; sometimes social voice is; and some other times the boundary between the two is unnoticeable. The study provides an integrated framework as well as pedagogical implications for the teaching of academic writing within L1 and L2 contexts.

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Georgakarakou, Maria. "The Impact of Blindness on the Physical and Vocal Development of Visually Impaired Singers." Journal of Singing 80, no. 1 (August 15, 2023): 35–41. http://dx.doi.org/10.53830/sqsg7980.

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Traditionally, music has been viewed as the quintessential non-visual art. In past centuries, a handful of blind individuals became renowned composers, singers, or organists. In fact, popular culture helped form a rather inaccurate relationship between blindness and music to the extent that visually impaired people are often expected to excel by default in the musical arts. In some cultures, parents tend to automatically choose music as their blind child’s ideal vocation. As a totally blind professional singer and voice pedagogue herself, the author has evaluated a significant number of young, visually impaired vocalists who seemed unable to use their voices as reliable instruments. Researchers have found that blindness affects the developmental stages of a person with regard to posture, gross motor skills, and muscle development and coordination.1 As a voice instructor, the author finds that visually impaired youths whose developmental stages have deviated from the norm must follow a specially designed curriculum in order to effectively learn the psycho-motor aspects of vocal technique. The goal of this article is to illuminate a path that voice teachers may follow to ensure that their blind students can maintain healthy voices and engage in rewarding singing.

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Eidsheim, Nina S. "An analytical framework and model for de-racializing vocal perception." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A99. http://dx.doi.org/10.1121/10.0010782.

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Based on 20 years of research into vocal techniques, vocal styles, pedagogy, and history with reference to opera, popular music, and music synthesis software, I have developed a framework that seeks to explain racialized perceptions of the singing voice. On one hand, my model accounts for voice as an ever-developing instrument affected by age, hormones, environment, culture, and vocal training (whether through formal voice lessons or everyday encounters’ largely tacit feedback). On the other hand, it also accounts for perception as equally dynamic and culturally dependent. It recognizes that the voice and its perception together constitute a “thick event,” and that the complexity of the vocal signal and the ways in which listeners interact with voices are so numerous and so complex that a speaker’s race cannot be defined by the signal. In other words: Voice is not singular; it is collective. Voice is not innate; it is cultural. Voice’s source is not the singer; it is the listener. By applying this analytical model to musical case studies, this paper argues that voices are racialized when they are believed to sound a person’s essence or true identity.

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Dissertations / Theses on the topic "Voice culture"

Ortlieb, Lalaine Arbuthnot. "Authenticating voice : authenticating culture." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/85.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
English

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Bradshaw, R. Darden. "Visual Culture Art Integration: Fostering Student Voice." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301706.

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Art integration research has received much attention of late, yet the focus generally examines ways integration practice and pedagogy support or enhance outcomes of high stakes testing. Serving as a counterpoint, this qualitative action research study, grounded in my experiences as a middle school arts integration specialist, addresses the value of visual culture art integration as a site of youth empowerment. Working collaboratively over a period of four months with three non-art educators to create and teach a series of social justice art integration units with sixth graders, I examined ways an integrated art and visual culture curriculum fostered safe spaces for students to take risks by deconstructing and reconstructing their identities, beliefs and understandings of others and their world through artmaking. In chapter one, I recount early teaching experiences that prompted the research questions in which an examination of which arts integration pedagogies best stimulate students to examine visual culture, articulate voice, and question power relationships that perpetuate social inequities. I address the theoretical lens of social justice art education as it frames the study and examine and discuss the current literature surrounding visual culture and art integration in chapter two. Chapter three delineates methodologies employed in the action research study including data collection measures of visual journaling, artmaking and photography. In chapters four, five, and six, I recount the process in which students engaged with, responded to, and created artwork through three curricular units--in social studies examining the intersections of culture and visual culture as evidenced through advertising, in language arts class collaboratively exploring persuasion through environmental and ecological art installations, and in math class integrating Fibonacci's theories through art making. Findings, discussed in chapter seven, indicated that visual culture art integration, used by teachers is often mislabeled out of insecurity and is a viable methodology for increasing student engagement. When students work collaboratively a space is created for them to regain power in the classroom and increase empathy awareness for themselves and others. Furthermore, art making, within a non-art classroom, can be a particularly successful arena through which middle school students articulate and clarify their voices.

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Robinson, Daniel Keith. "Contemporary Worship Singers: Construct, Culture, Environment and Voice." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367949.

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Singing is an integral part of Christian worship. Recent developments in the practice of western Christian worship over the last half-century have led to a surge in prominence of the role and of those individuals who lead the singing; yet their characteristics, and that of their role, have been relatively under-researched. This study reviews the multiplicity of current Australian Christian worship settings and studies the collective voice of those who participate in the role in order to understand the construct, culture, environment and vocal task of the Contemporary Worship Singer. The research is designed around an in-depth review of the literature followed by the ethnography techniques; survey and interviews. The first phase (survey) harvested 85 responses from across Australia via an online questionnaire. The data was analysed and emerging questions were developed for phase two (interviews). Subsequently, nine participants from five churches responded to a semi-structured interview and follow-up. The research design purposefully engaged the average voice of the Contemporary Worship Singer by randomly selecting the participants for both survey and interview. The voice of the data cohort is triangulated against the literature review and the voice of the researcher in order to cultivate qualitative analysis and subsequent conclusions.The overall research project reveals that the role and the vocal task of the Contemporary Worship Singer lacks general understanding by key stakeholders: church music directors, professional singing teachers and the Contemporary Worship Singers themselves. Consequently, individual singers are confronted by a confused state of parameters as they attempt to engage in the role and the vocal task. Cultural considerations such as performance orientation and theological concerns including the ‘anointing’ require greater levels of instruction. Accompanying these requirements is the need for Contemporary Worship Singers to receive vocal instruction in accordance with their worship setting. Commonly, conservative worship settings will require a classically informed vocal discipline and progressive worship settings necessitate contemporary voice instruction. The study draws conclusions from the four structural pillars of enquiry (construct, culture, environment and voice) and delivers nineteen distinctive features that distinguish the Contemporary Worship Singer as a unique vocalist in the wider community of singers. The implications of the study find their climax in the ‘Contemporary Worship Singer Assessment Tool’. The practical implications of the Contemporary Worship Singer Assessment Tool empower key stakeholders (especially singing teachers) to correctly identify the individual singer’s worship setting and correctly nominate the most appropriate vocal discipline. The study highlights the Contemporary Worship Singer as an active, vibrant and highly populated demographic in the wider community of singers.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
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Mills, Elizabeth. "Theatre voice as metaphor : the advocacy of a praxis based on the centrality of voice to performance." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002373.

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This study proposes a view of theatre voice as central to performance. It proposes a shift in paradigm through the foregrounding of the function of theatre voice as one of the creative strands of the theatre matrix. The function of theatre voice becomes a theatrical function. Theatre is created in the voice and, therefore, any act of theatre should include conscious questions about the meanings that are, or can be evoked through the voice in theatre. A second thrust to this study is that theatre voice practice should be included in, and theatre voice practitioners should actively engage in, broader debates about theatre. Introduction: The idea that the voice in performance is the enactment of conscious theatrical choices is set up through the notion of the theatrical use of the voice. The introduction outlines the kinds of performance contexts in which a theatrical use of the voice takes shape. This includes an assessment of the degree to which the specific South African context of the writer is useful to questions about a theatrical use of the voice. The concepts which are central to such a view of theatre voice are expanded. These are: the theatrical agency of the actor, theatre voice, the theatrical use of the voice and praxis. Selected examples from local and other productions are offered to illustrate a range of interpretive possibilities open to the voice when considered, in the first instance, as performance. Chapter one: The actor’s relationship with voice is explored through the notion of actor agency. Historically, actors were theatrically empowered by a closer involvement with playwriting, staging, apprenticeship forms of actor training and theatre management. It is argued that the emergence of the director as a new theatrical agent has diminished this actor agency. On the other hand, the introduction of a realist acting methodology has given the actor autonomy of craft, empowering the actor in unprecedented ways. The theatrical agency of actors, directors and theatre voice practitioners is explored as influencing the status and the perception of theatre voice within theatre. The proposal of the centrality of voice to performance is dependent on the agency of actors, directors and theatre voice practitioners. Chapter two: It is argued that an Aristotelian Poetics of Voice has, under the influence of realism, developed into a “Poetics of the Self”. The paradigmatic shift proposed through a view of the voice as central to theatre, is explored through a post realist, intertextuality of voice. This includes a re-consideration of the contemporary theatre voice notion of the “natural” voice. Chapter three: Cicely Berry’s work, with particular reference to The Actor and his Text (1987), is analysed in terms of realism and the theatrical use of the voice. A second focus in the analysis of Berry’s work supports the argument that voice practitioners theorise positions for theatre voice even though their texts are practical and technically orientated. Berry’s work is singled out here because the contemporary practice of the Central School tradition is the generic tradition of South African English theatre voice practice. Chapter four: Strategies and constructs are proposed in support of the centrality of voice to the theatre. Ways of realising a theatrical use of the voice are also suggested. This is based on a shift in the way in which practitioners think about theatre voice. In the first instance, it is suggested that practitioners move beyond positions of polarity and actively embrace that which is contradictory in theatre and theatre voice practice. Secondly, a traditional hermeneutic understanding of the interpretation of voice is challenged. Thirdly, the use of metaphor which is pertinent to actors, directors and voice practitioners is explored as a means to vocal action. Concrete examples of the creative use of the voice, are provided through the sonic texts of Performance Writing. By way of conclusion, some ideas are offered about the issue of empowering the actor in a theatrical use of the voice. This study is intended to contribute to a theoretical and practical debate which will promote the argument for the centrality of voice to performance.

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Stoltz, Christelle. "Die relevansie van sangvaardighede as deel van die akteur se stem- en spraakopleiding." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51720.

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Thesis (MDram)--University of Stellenbosch, 2000.
ENGLISH ABSTRACT: The actor's work consists of communication, in other words the transfer of intellectual and emotional ideas. The voice is undoubtedly the most important means of auditory communication. The development and maintenance of the actor's voice is, therefore, an essential requirement for effective communication. The vocal development of actors and singers is aimed at releasing the breathing process, the passage of sound through the body and the organs of articulation, as well as the elimination of obstructive psychophysical inhibitions. The same body parts are used for the production of sound in both speaking and singing. The vocal instrument may be divided into three parts, namely the respiratory system, the glottic system and the resonators. The structure and functioning of the voice as an instrument is in many respects somewhat complex. Knowledge of the structure and functioning of the vocal system facilitates the prevention and elimination of speech problems. Speech and singing, as subdivisions of voice production, are both closely linked to the functioning of certain body parts, and it is for this reason that singing helps to improve speech. For instance, because singing demands a larger breath capacity and greater breath control, singing techniques contribute positively to the development of the actor's voice. Various voice production errors and problems encountered in actors, such as breathing-related problems, defective resonance adaptations and defective projection, can be eliminated by means of technical exercises. An analysis of the techniques for speech and singing reveal such a strong coincidence that they can both be classed as voice production techniques. A singing-based approach to vocal training will, therefore, have only a positive effect on the actor's voice production.
AFRIKAANSE OPSOMMING: Die akteur se werk behels kommunikasie, dit wil sê die oordra van intellektuele en emosionele idees. Die stem is meestalonontbeerlik as ouditiewe kommunikasiemiddel. Daarom is die ontwikkeling en instandhouding van die akteur se stem van wesenlike belang. Die fokus van stemontwikkeling by akteurs en sangers word gerig op die bevryding van die asemhalingsproses, die klankgang deur die liggaam, die artikulasieorgane en die uitwissing van stremmende psigo-fisiese inhibisies. In spraak en sang word dieselfde liggaamsdele vir klankproduksie aangewend. Die vokale instrument kan in drie verdeel word, naamlik die asemhalingstelsel, die glottale stelsel en die resonators. Die bou en werking van die stem as instrument is in vele opsigte kompleks. Kennis van die bou en werking van die vokale instrument kan egter tot die voorkoming of verbetering van stem- en spraakprobleme lei. Spraak en sang as onderafdelings van stemproduksie skakelonderling met betrekking tot die betrokkenheid van sekere liggaamsdele en hul funksies, en derhalwe ondersteun sangoefeninge spraakproduksie. Aangesien sang egter 'n groter asemkapasiteit en sterker asembeheer verg as spraak, kan sangtegniese oefeninge positief bydra tot die akteur se stemontwikkeling. Verskeie stemfoute en stemprobleme van die akteur kan verbeter word met behulp van tegniese oefeninge, naamlik asemverwante probleme, gebrekkige resonansie-aanpassings en gebrekkige projeksie. 'n Ontleding van die tegnieke van spraak en sang dui op so 'n sterk ooreenkoms dat beide as stemtegnieke geklassifiseer kan word. Daarom sal 'n sangtegniekmatige benadering tot stemopleiding die spraakstem van die akteur positiefbeïnvloed.

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Greig, Elise. "The moving voice in performance." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35850/1/35850_Greig_1996.pdf.

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This paper documents one instance of a creative process that is shaped by a philosophical commitment to extend the Western actor's means of expression beyond conventional theatrical forms by working non-naturalistically with the voice and consequently, inviting the actor's body to become involved to a greater degree. The process focused primarily on the gestural landscape of the body and the rhythmic parameters of the spoken voice. The researcher locates herself as Writer/Director/ Actor, working in collaboration with a Rhythmist and two actors, within the two phase creative process which involved devising the vocal and physical score for ditto - the abbreviated journey of a relationship and rehearsing the score for two seasons of public performance. The creative process is presented and explored and houses the methodology for this project. The stepping off point for future projects of this researcher is identified.

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Valo, Maarit. "Käsitykset ja vaikutelmat äänestä kuuntelijoiden arviointia radiopuheen äänellisistä ominaisuuksista /." Jyväskylä : Jyväskylän yliopisto, 1994. http://books.google.com/books?id=LQ1aAAAAMAAJ.

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Pagan, Ellen M. "College choir directors' and voice instructors' techniques for classifying female voices." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237398533.

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Mills, Elizabeth. "Theatre voice as metaphor : the advocacy of a praxis based on the centrality of voice to performance /." South Africa : [s.n.], 1999. http://eprints.ru.ac.za/903/.

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Van, der Merwe Schalk Willem. "'n Ondersoek na Kristin Linklater se benadering tot stemontwikkeling." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/794.

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Books on the topic "Voice culture"

Appelbaum, David. Voice. Albany: State University of New York Press, 1990.

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Appelbaum, David. Voice. Albany: State University of New York Press, 1990.

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Durga, S. A. K. Voice culture: The art of voice cultivation. Delhi: B.R. Rhythms, 2007.

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Shewell, Christina. Voice work: Art and science in changing voices. Hoboken: Wiley, 2009.

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Shewell, Christina. Voice Work. New York: John Wiley & Sons, Ltd., 2008.

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Morrison, Malcolm. Clear speech: Practical speech correction and voice improvement. 3rd ed. Portsmouth, NH: Heinemann, 1997.

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Feindel, Janet M. The thought propels the sound. San Diego, CA: Plural Pub., 2009.

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Hillman, Ralph. Work for your voice. Murfreesboro, Tenn. (121 N.W. Broad St., 37130): Copymatte Pub., 1986.

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King, Robert G. Voice and diction handbook. Prospect Heights, Ill: Waveland Press, 1991.

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Mayer, Lyle Vernon. Fundamentals of voice & articulation. Madison: Brown & Benchmark, 1996.

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Book chapters on the topic "Voice culture"

Jagodzinski, Jan. "The Uncanny Figural Voice." In Music in Youth Culture, 45–58. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9780230601390_4.

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Khoury, Joelle El, Abdul-Latif Hamdan, Robert Thayer Sataloff, and Mary J. Hawkshaw. "Culture, Language and Voice Disorders." In Traits of Civilization and Voice Disorders, 79–91. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-15750-9_3.

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Meek, Barbra A. "The voice of (White) reason." In Culture and Language Use, 339–64. Amsterdam: John Benjamins Publishing Company, 2013. http://dx.doi.org/10.1075/clu.8.13mee.

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Rosenblatt, Alexander. "Pacific Northwest: Land, People, and Culture." In Land, Faith, and Voice, 11–32. New York: Jenny Stanford Publishing, 2024. http://dx.doi.org/10.1201/9781003473329-3.

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Callahan, Anne. "Occitania: The Culture of Love." In Writing the Voice of Pleasure, 25–53. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1057/9780312299149_2.

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Ballin, Malcolm. "Reviews: The Voice of Authority." In Irish Periodical Culture, 1937–1972, 45–65. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230613751_3.

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Lesnik-Oberstein, Karín. "Introduction: Voice, Agency and the Child." In Children in Culture, Revisited, 1–17. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230307094_1.

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Cobb, Ellen Pinkos. "Culture and ClimateWhose Voice Gets Heard?" In Managing Psychosocial Hazards and Work-Related Stress in Today's Work Environment, 156–62. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003187349-22.

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Zepeda, Sally J., Philip D. Lanoue, Grant M. Rivera, and David R. Shafer. "Teacher Voice and Agency." In Leading School Culture through Teacher Voice and Agency, 1–23. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003222651-1.

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Dovchin, Sender, Alastair Pennycook, and Shaila Sultana. "Language, Culture and the Periphery." In Popular Culture, Voice and Linguistic Diversity, 1–26. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61955-2_1.

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Conference papers on the topic "Voice culture"

Ilieva, Nina Zlateva. "Tolerance as a voice in the intercultural dialogue of humanity." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.10135i.

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The common horizon and path of different cultures outlined by modernity includes listening, understanding, dialogue, interaction and cooperation. A person’s life in society, engaging and joining him means living with others, accepting differences (ethnic, political, cultural, educational), but also upholding one’s own uniqueness. The culture of tolerance and cooperation is built around ethical phenomena that regulate interpersonal relationships, and considering the relationship of freedom and responsibility, both in human behavior and in situations of personal choice helps to realize the “identity” and “otherness” as two persons of the same human being, realized and seen from different points of view.

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Genese-Plaude, Inta. "URBAN CULTURAL PRACTICES AS A MIRROR OF THE MODERNIZATION OF LATE 19TH CENTURY SOCIETY AND LIFESTYLE IN AUGUSTS DEGLAVS� NOVEL �RIGA�." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.24.

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The study focuses on the late 19th century city as an equivalent of the formation of a modern society. In fiction, especially in novels, the depiction of the 19th/20th century city has always attracted attention as a reflection of the formation of modern society through portrayals of both daily life and the development trends of the era's ideas. Writer, publicist, social activist Augusts Deglavs (1862�1922) created a unique portrait of the modernization of the city in Latvian literature with his novel �Riga� (�Riga�) (part 1 in 1912, part 2 in 1921). The novel demonstrates the awakening of Latvians and their formation as a cultural nation in a multicultural society in the conditions of double colonialism in the second half of the 19th century. One of the focal points of the novel is the diverse spectrum of cultural practices in an emerging industrial and multicultural society. The novel shows that cultural practices are determined by power hegemony and confrontation, various social experiences, ethnic, professional, religious affiliations, ideologies, behavioural norms and mass cultural emancipation. The research was conducted in a culture-oriented perspective, involving the social sciences and the current interdisciplinary approach. The approach of Cultural Studies and New Historicism method are used, with which it is possible to discover how Augusts Deglavs� novel is rooted in the cultural practices, circulation of ideas and historical developments of the era. New Historicism looks at literature as one of the voices in the polyphony of history or an era, a voice which can sound just as powerful in content as the voice of history and culture itself, because literature is one of the links in the chain of cultural processes.

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Armoniene, Andzela. "One Voice Message as a Super-Destroyer of Cultural Borders." In 2001 Informing Science Conference. Informing Science Institute, 2001. http://dx.doi.org/10.28945/2352.

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What are steps toward a preparing of ”one voice” and consistent message, which may cross cultural borders? Is it so important to start with new technologies or maybe instead of this it would be better firstly to try to be ahead of them and rethink the capacity to change culture, communication management style and implement integrated communication approach? Addressing such questions leads to the main goal of this article: to search and investigate ways of cultural borders crossing having the evident importance of integration ideas incorporation in the field of organisational communication as a reference point. In sum, the derived conclusion is related to the suggestion to think about the new kind of marginalization and two not so strictly bounded cultural types: integrated organisations and their position of winners and not integrated organisations surrounded by isolation at the same time.

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Dan Paich, Slobodan. "Conciliation: Culture Making Byproduct." In 8th Peace and Conflict Resolution Conference [PCRC2021]. Tomorrow People Organization, 2021. http://dx.doi.org/10.52987/pcrc.2021.002.

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Abstract Reclaiming public space at Oakland's Arroyo Public Park, a nexus of crime and illegal activities. A coalition of neighbors invited local performing artists to help animate city agencies, inspire repair of the amphitheater and create daytime performances in the summer, mostly by children. It gave voice to and represented many people. Reclaiming space for community was the impetus, structured curriculum activates were means. Safe public space and learning were two inseparable goals. Conciliation learning through specific responses, example: Crisis Of Perseverance acute among children and youth lacking role models or witnessing success through perseverance. Artists of all types are the embodiment of achievable mastery and completion. Taking place on redefined historic 1940 passenger-cargo/military ship for public peacetime use and as a cultural space. Mixt generations after and outside school programs: Children and Architecture project’s intention was to integrate children’s internal wisdom of playing with learning about the world of architecture (environment and co-habitability) as starting point was an intergenerational setting: 5-12 olds + parents and volunteers, twice weekly from 1989 to 1995 at the Museum of Children’s Art in Oakland, California. Concluding Examples Public celebration and engagements as inadvertent conciliations if prepared for before hand. Biographical sketch: Slobodan Dan Paich native of former Yugoslavia was born 1945. He lived in England from 1967 to 1985. Slobodan taught the History of Art and Ideas, Design and Art Studio from 1969 through 1985 at various institutions in London, including North-East London Polytechnic, Thames Polytechnic and Richmond College-American University in London. Between 1986 to1992, he taught at the University of California at Berkeley. With a number of scholars, artists, and community leaders, he founded the Artship Foundation in 1992, and has been its Executive Director ever since. He also served as a board member of the Society of Founders of the International Peace University in Berlin/Vienna from 1996 to 2002, where he lectured annually and chaired its Committee on Arts and Culture. community@artship.org

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November, Nancy, Sean Sturm, and 'Ema Wolfgramm-Foliaki. "Critical Thinking and Culturally-Sustaining Teaching: Developing the Historical Literacy of Māori and Pasifika Undergraduates in Aotearoa/New Zealand." In Sixth International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/head20.2020.11179.

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In this paper, we explore critical thinking in the context of developing culturally-sustaining historical literacy in Māori and Pasifika students at a large, multicultural university in Aotearoa/New Zealand. Critical thinking and culturally-sustaining historical literacy might seem like an odd couple insofar as critical thinking tends to be associated with liberal Western (academic) culture. Students can resist developing their critical thinking, not least because culturally-sustaining ‘critical being’ is a threshold concept, requiring a flexible, yet clearly structured pedagogical approach. But the development of critical being is vital to culturally-sustaining teaching because of the role the associated skills and dispositions play in supporting cultural autonomy and voice. We talked with nineteen teachers of a range of ethnicities from across the historical disciplines at the University of Auckland to document the pedagogical strategies they used to develop the critical thinking skills of their Māori and Pasifika students in a culturally-sustaining way: fostering peer dialogue that draws on personal experience; practising perspective-taking; drawing on popular culture for its contemporary and cultural relevance; drawing on one’s culture in choosing relevant topics; and creating learning spaces conducive to critical being.

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Maltseva, O. V. "PECULIARITIES OF WORKING WITH THE VOICE AT THE INITIAL STAGE OF TRAINING." In FOCUS AREAS OF CULTURE AND ART IN UKRAINE AND THE REPUBLIC OF POLAND. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-374-3-11.

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Meiliana Asmaradhani, Salsa, and Pratiwi Retnaningdyah. "Womenrs Voice through Literacy Practices in Kathryn Stockettrs lThe Helpr." In 2nd Social Sciences, Humanities and Education Conference: Establishing Identities through Language, Culture, and Education (SOSHEC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/soshec-18.2018.41.

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Yang, Hoe-Chang. "The Influence of Work-Family Conflict on Subjective Well-being and Voice Behavior in the Workplace: Moderating Effects of Age and Flow." In Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.101.19.

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Wortham, Stanton. "Remix Culture and the English Language Learner: The Expression of Voice and Identity Through Digital Composition." In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1576528.

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Gao, Liping, and Kan Shi. "When employees face the choice of voice or silence: The moderating role of Chinese traditional culture values." In 2010 IEEE 2nd Symposium on Web Society (SWS). IEEE, 2010. http://dx.doi.org/10.1109/sws.2010.5607403.

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Reports on the topic "Voice culture"

Fedorchuk, Liudmyla. Культура в ефірі Суспільного: телевізійний контент і перспективи розвитку. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11729.

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Main objectives of this article are changes in the programming principles of the “Suspilne Culture” TV channel, the peculiarities of the program content in the period 2020-2022, as well as potential for further channel development from the content perspective. Methodology of the analysis includes processing primary sources of information, synthesis, induction and deduction, problem-thematic analysis of television programs. Results. During 2017-2021, the specialized public channel about culture increased the number of its own programs, and the ratings of the channel increased. “UA: Culture” produced their own daily information program and several analytical programs about various types of art. Although even now, a significant part of the channel content consists of not relevant and not adapted for the Ukrainian audience purchased serials and educational cycles. After analyzing “Suspilne Culture” TV channel program grid for October 3-7, 2022, significant part of not typical for declared program policy content was discovered. During the present period only 2 programs corresponded to the specifics of the channel and were developed by “Suspilne” production. Conclusions. In general, thematic blocks such as cultural policy of Ukraine and institutions, religious practices, economy of creative industries and representation of Ukrainian culture in the world are not broadcasted. Significance. The conducted research allowed us to actualize the need for a scientific approach to the content and programming policy of the “Suspilne Culture” TV channel. The collected material gives reasons to testify that the mission of the public channel and the declared program principles are implemented only partially. The channel lacks in-depth analytics on a whole range of current cultural issues. The share of self-produced programs is minimal. Instead, purchased content often does not represent the specifics of the channel and does not fulfill the mission of the public broadcaster. The channel program managers should focus on the change in cultural discourse that has been taking place since the beginning of the full-scale war of the Russian Federation against Ukraine. In battles, our army and people defend, first of all, our right to own identity, our right on culture and own voice to tell the world about ourselves. The air of the TV channel “Suspilne Culture” should be filled with exactly such ideas. Keywords: culture; public television; television content; journalism of the culture.

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Kawalkar, Aisha, Himanshu Srivastava, and Ruchi Shevade. Voices from the Margins: Exploring Possibilities of Connecting Formal Education to the Funds of Knowledge owned by Adivasi Communities in the Kesla Block of Madhya Pradesh. Indian Institute for Human Settlements, 2023. http://dx.doi.org/10.24943/tesf0405.2023.

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The Adivasis or the Scheduled Tribes (STs) are a significant segment of the Indian population, not just because they form a sizeable proportion of it, but also as a group with rich and varied cultural heritage. Despite constitutional provisions for their welfare and development, and protection against violence to their languages and cultures, they are historically the most marginalised communities in the country and lag way behind in terms of various socio-economic indicators, including health and education. Ironically, the Indian education system has been a significant factor in the marginalisation and invisibilisation of Adivasi interests.

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Audet, René, and Tom Lebrun. Livre blanc : L'intelligence artificielle et le monde du livre. Observatoire international sur les impacts sociétaux de l’intelligence artificielle et du numérique, September 2020. http://dx.doi.org/10.61737/zhxd1856.

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Québec et Montréal, le 21 septembre 2020 – L’intelligence artificielle (IA) dans le monde du livre est une réalité. En effet, elle n’est pas réservée aux plateformes de vente ou aux applications médicales. L’IA peut assister l’écriture, accompagner le travail éditorial ou encore aider le libraire. Elle peut répondre à des besoins criants ; malgré ses limites évidentes, elle permet d’envisager des applications inédites dans la chaîne du livre, qui font ici l’objet de recommandations précises. Ce livre blanc, rédigé par deux spécialistes du livre et de l’intelligence artificielle, vise à identifier des pistes d’action pour mettre l’IA au service des nombreux maillons du monde du livre. « Dans ce milieu, où doivent être menées les réflexions utiles à la planification de l’avenir immédiat de ce créneau culturel, l’idée d’une concertation de certains de ses acteurs sur l’utilisation d’IA (voire l’éventuelle mise en commun des données collectées) est une piste à suivre. » Cette concertation est appelée par nombre d’experts, qui témoignent dans ce Livre blanc des enjeux propres au contexte culturel actuel menacé par les géants du commerce : « Si l’IA appelle une vigilance constante concernant son utilisation, il paraît important pour les acteurs du monde du livre de rester très attentifs aux avancées technologiques, tant à ce qu’elles pourraient bousculer qu’à ce qu’elles pourraient apporter. » (Virginie Clayssen, Éditis / Commission numérique du Syndicat national de l’édition, France) Ainsi, « la voie dorée pour l’introduction d’IA, pensée comme intelligence augmentée, dans les différents maillons de la chaîne est sans aucun doute celle d’une exploitation des différentes données déjà disponibles ».

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Oosterom, Marjoke, Lopita Huq, Victoria Namuggala, Sohela Nazneen, Prosperous Nankindu, Maheen Sultan, Asifa Sultana, and Firdous Azim. Tackling Workplace Sexual Harassment. Institute of Development Studies, May 2022. http://dx.doi.org/10.19088/ids.2022.026.

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Employment is believed to be a crucial avenue for women’s empowerment, yet widespread workplace sexual harassment undermines this in many countries. Young and unmarried women from poor backgrounds are particularly at risk, but workplace sexual harassment is often overlooked in debates on decent jobs for youth. Based on case study research with factory and domestic workers in Bangladesh and Uganda, this briefing explains how social and gender norms constrain young women’s voices and agency in response to sexual harassment. It offers recommendations towards developing the laws, mechanisms and culture needed to reduce workplace sexual harassment and empower young women in their work.

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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.

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Jungsberg, Leneisja, and Diana N. Huynh. Young Voices from the Arctic: Insights on Climate Change and Permafrost Degradation. Nordregio, September 2023. http://dx.doi.org/10.6027/wp2023:61403-2511.

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The Arctic region is warming almost four times as fast as the global average. Snow and ice are thawing at an increasing rate, and the rapid environmental shifts have a disproportionate effect on communities across the Northern Hemisphere. This leads to significant permafrost degradation, which disrupts community infrastructure, cultural heritage, landscapes, and impacts animal migration and subsistence activities. This change has severe consequences for the youth in the region, affecting their present lives and future outlooks. This working paper emphasizes the importance of addressing these issues and enhancing the voices of Arctic youth, who advocate for climate change adaptation and mitigation, as they will be central in shaping society in the face of these environmental shifts. The paper highlights Arctic youths' perspectives on climate change and permafrost degradation, covering individuals from the legal age to early-career experts up to 35. Further, the paper states a need for more research and exploration of youth engagement methodologies in the Arctic to address the impacts of climate change and permafrost degradation.

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programme, CLARISSA. Family Lack of Awareness and Conflict Leads to Abuse and Exploitation at the Workplace. Institute of Development Studies, June 2024. http://dx.doi.org/10.19088/clarissa.2024.031.

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The Adult Entertainment Sector (AES) is a relatively new and growing sector in Kathmandu, developing rapidly after international aid and trade relations led to the growth of a consumer economy and the development of a consumer culture. The AES employs women and girls in a context where alternative work opportunities are limited. The sector is included by CLARISSA as one of the worst forms of child labour (WFCL) due to the nature of forced labour, slavery, and commercial sexual exploitation of children inside the sector. During the CLARISSA life story analysis, many children from this area emphasised poor family relationships and the majority of children from this settlement are engaged in some sort of child labour. This is a report of the Action Research Group in this location, which covered two themes: (1) lack of awareness and family conflict leading to abuse and exploitation at the workplace, and (2) social norms around voices of children not being important in relation to family matters.

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Spahiu, Nexhmedin. Kosova and Albania in the Future : Closer or Further Apart from Each Other? Külügyi és Külgazdasági Intézet, 2021. http://dx.doi.org/10.47683/kkielemzesek.ke-2021.71.

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This is a study that addresses Kosovar and Albanian identity relationships, highlighting the similarities and differences of these two communities throughout their historical journey on their respective lands. The study identifies the key historical moments that have influenced Kosovar national identity branding and concludes that the occurrence of cultural and political differences within the Albanian ethnicity since the nineteenth century has been instigated by the Serbian stance regarding Kosova. The study substantiates a clear cultural and political identity of Kosova, indicating its forthcoming solidification whilst keeping Kosovar and Albanian differences distinct, despite the eventual change in Belgrade’s stance towards Kosova. Concerns are arising from some of the voices in European diplomacy that favour Tirana’s official involvement in the Belgrade-Pristina dialogue. An analysis of the progression of their historical path, however, indicates the opposite, i.e., Tirana’s involvement in the Belgrade-Pristina dialogue would only benefit Belgrade and consequently have a negative impact on the compromises between Kosova and Serbia that the US and the European Union aim for.

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Smith, Hinekura, Jenn Sarich, Taoitekura Eruera, Ann-Margaret Campbell-Strickland, and Lillian Mato Bartlett. Whakarongo ki te Tangi! – Listen to Our Tears, Listen to Our Call! Learnings from a Summer Research Mentorship to Grow Kaupapa Māori Community Health Researchers. Unitec ePress, November 2023. http://dx.doi.org/10.34074/ocds.105.

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This co-authored paper centres the Māori cultural practice of tangi, both as a way to heal and to be heard, for four new and emerging Māori community health researchers involved in a Kaupapa Māori research mentorship. If research mentorships are about growing research capability and capacity, we highlight here that another important ‘c’ comes first – confidence. For over 20 years, Kaupapa Māori theory and research have carved out critically important space for Māori to research ‘as Māori’ in academia, yet omnipresent colonialism continues to cast doubts on the validity of our voices as researchers, and our ‘worthiness’ or ability to step confidently into research space. Here, four emerging Māori researchers who are committed to making research-informed health changes in our communities share how our confidence to ‘do’ research grew during a summer Kaupapa Māori research mentorship. We each experience the emotion of tangi – be it a bird’s call or weeping – in different ways. Therefore, rather than offer advice on ‘how to become confident as an emerging Kaupapa Māori researcher’, this co-authored paper encourages you to hear, and importantly feel, these stories about ‘becoming’ and to consider how research must do better to create more Kaupapa Māori-led opportunities for Māori to confidently step into research with, and for, their communities.

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Emerson, Sue, Lesley Ferkins, Gaye Bryham, and Mieke Sieuw. Young People and Leadership: Questions of Access in Secondary Schools. Unitec ePress, September 2016. http://dx.doi.org/10.34074/ocds.0291.

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There is seemingly an abundance of leadership opportunities available to youth within school environments, including sport captaincy, sport coaching, prefect roles, and assigned arts or cultural leadership. For many students, the opportunity to captain a sports team, or lead an event or activity is perceived as their first taste of leadership action. However, as evidenced in a growing body of literature (Jackson & Parry, 2011), leadership is increasingly being conceived as much more than an assigned formal position. Furthermore, there is some evidence to suggest that formal leadership roles may be presenting barriers for students wishing to access leadership opportunities in a more informal capacity (McNae, 2011). In this conceptual article, we examine the value and nature of informal leadership practices, and from this, identify questions of access to leadership for youth in secondary school settings. Specifically, the aim of our paper is to advance current conceptualisations about youth leadership and to offer future research directions (via questions) to establish a deeper evidence base for better understanding access to leadership for youth. To achieve this, we explore three interrelated themes: leadership practices and accessibility for youth; learning through leadership for youth; youth access and the notion that leadership belongs to everybody. As a result of the platform provided by our conceptualising, a series of questions are presented for future research. Directions for future research relate to understanding more about formal and informal leadership opportunities in the secondary school context, what we will hear when we listen to the student’s voice about access to these opportunities, and how informal leadership opportunities might influence overall access to leadership for students.

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