Voices Found

Voices Found: Leader's Guide presents the music from Voices Found in a spiral bound format, easy for an accompanist to use. There are alternate harmonizations, guitar chords, descants, and expanded arrangements of the basic hymns and songs. The Scriptural and Topical Indices along with the Three-Year Lectionary Index (including the Revised Common Lectionary) provide excellent guidance for service planning. The Leader's Guide is not designed just for musicians and clergy. The Guide presents a great deal of background information about the composers, text writers, and arrangers who contributed to the volume. Many parishioners, as well as church professionals, will want to read about the fascinating women who contributed to the Church's Song for over 13 centuries, from the 8th Century to the present.

Voices Found: Free Jazz and Singing contributes to a wave of voice studies scholarship with the first book-length study of free jazz voice. It pieces together a history of free jazz voice that spans from sound poetry and scat in the 1950s to the more recent wave of free jazz choirs. The author traces the developments and offers a theory, derived from interviews with many of the most important singers in the history of free jazz voice, of how listeners have experienced and evaluated the often unconventional vocal sounds these vocalists employed. This theory explains that even audiences willing to enjoy harsh sounds from saxophones or guitars often resist when voices make sounds that audiences understand as not-human. Experimental poetry and scat were combined and transformed in free jazz spaces in the 1960s and 1970s by vocalists like Yoko Ono (in solo work and her work with Ornette Coleman and John Stevens), Jeanne Lee (in her solo work and her work with Archie Shepp and Gunter Hampel), Leon Thomas (in his solo work as well as his work with Pharoah Sanders and Carlos Santana), and Phil Minton and Maggie Nicols (who devoted much of their energy to creating unaccompanied free jazz vocal music). By studying free jazz voice we can learn important lessons about what we expect from the voice and what happens when those expectations are violated. This book doesn't only trace histories of free jazz voice, it makes an attempt to understand why this story hasn't been told before, with an impressive breadth of scope in terms of the artists covered, drawing on research from the US, Canada, Wales, Scotland, France, The Netherlands, and Japan.

The contributors to this volume probe systematically and in depth the adaptation patterns and trajectories of concrete ethnic groups. They provide a close look at this rising second generation by focusing on youth of diverse national origins—Mexican, Cuban, Nicaraguan, Filipino, Vietnamese, Haitian, Jamaican and other West Indian—coming of age in immigrant families on both coasts of the United States. Their analyses draw on the Children of Immigrants Longitudinal Study, the largest research project of its kind to date. Ethnicities demonstrates that, while some of the ethnic groups being created by the new immigration are in a clear upward path, moving into society's mainstream in record time, others are headed toward a path of blocked aspirations and downward mobility. The book concludes with an essay summarizing the main findings, discussing their implications, and identifying specific lessons for theory and policy.

A comprehensive exploration of the history, phenomenology, meanings and causes of hearing voices that others cannot hear (auditory verbal hallucinations).

The notion of voice has been used in a number of ways within Translation Studies. Against the backdrop of these different uses, this book looks at the voices of translators, authors, publishers, editors and readers both in the translations themselves and in the texts that surround these translations. The various authors go on a hunt for translational agents’ voice imprints in a variety of textual and contextual material, such as literary and non-literary translations, book reviews, newspaper articles, academic texts and e-mails. While all stick to the principle of studying text and context together, the different contributions also demonstrate how specific textual and contextual circumstances require adapted methodological solutions, ending up in a collection that takes steps in a joint direction but that is at the same time complex and pluralistic. The book is intended for scholars and students of Translation Studies, Comparative Literature, and other disciplines within Language and Literature.

One writer is stranded by the Second World War. Another flees multiple revolutions to live the rest of his life in Rio de Janeiro. Two others, public about their sexuality at home, choose self-exile. In Lost and Found Voices Luc Beaudoin offers a critical engagement with these four displaced authors: Witold Gombrowicz, Valerii Pereleshin, Abdellah Taïa, and Slava Mogutin. Not quite fitting into their respective diasporas and sharing an urge to express their queer desires, it is in their published works of literature, film, and photography that these writers locate their shifting identities and emergent queer voices. Their artistry is the basis from which Beaudoin traces their expressions of desire in language, culture, and community, offering a contextual queer reading that navigates their linguistic, cultural, artistic, and sexual self-translations and self-portrayals. Their choices are determinative: Gombrowicz masked his attraction to men in his works, keeping the truth hidden in an intimate diary; Pereleshin explored his lust in Brazilian Portuguese after being shunned by the Russian diaspora; Taïa writes in French to destabilize both the language and his status as an immigrant in France; Mogutin becomes a hardcore gay rebel in word and image to rattle assumptions about gay life. Bringing authors generally not familiar to an English-speaking readership into one volume, and including Beaudoin's own experience of living between languages, Lost and Found Voices provides provocative insights into what it means to be gay in both the past and the present.

This book draws on clinical research findings from the last three decades to offer a review of current psychological theories and therapeutic approaches to understanding and treating auditory hallucinations, addressing key methodological issues that need to be considered in evaluating interventions. Mark Hayward, Clara Strauss and Simon McCarthy-Jones present a historical narrative on lessons learnt, the evolution of evidence bases, and an agenda for the future. The text also provides a critique of varying therapeutic techniques, enabling practice and treatment decisions to be grounded in a balanced view of differing approaches. Chapters cover topics including: behavioural and coping approaches cognitive models of voice hearing the role of self-esteem and identity acceptance-based and mindfulness approaches interpersonal theory. Psychological Approaches to Understanding and Treating Auditory Hallucinations brings together and evaluates diffuse literature in an accessible and objective manner, making it a valuable resource for clinical researchers and postgraduate students. It will also be of significant interest to academic and clinical psychologists working within the field of psychotic experiences.

Verbal performances are often encountered in the media where they are used to embody characters or social archetypes. Performed voices define the norm as well as the linguistic Others and by doing so circulate associated values and linguistic ideologies. This book explores the idea that, far from simply being exercises in verbal skill and flair, performances of social, ethnic or gendered voices in the media not only have the power to accomplish ideological work, they are also sites of linguistic tension and negotiation. Critically examining performances of French voices in the media, this book raises the following questions: - How are repertoires of voices constructed and subsequently perpetuated in the media? - How do the stereotypic personae these voices contribute to build become familiar to national as well as transnational audiences? - How do such performed voices reproduce hegemonic ideologies of standard and non-standard languages and participate in the perpetuation of social discriminations? - How are these performed voices commodified into cultural products of otherness that may later be reclaimed by stigmatized communities? Following an innovative framework which allows for analysis of performances of varied voices and their impact in the media sphere, Voices in the Media offers a new approach to the linguistics of media performance.