The human voice consists of sound made by a human being using the vocal folds for talking, singing, laughing, crying, screaming, etc. Its frequency ranges from about 60 to 7000 Hz. The human voice is specifically that part of human sound production in which the vocal folds (vocal cords) are the primary sound source. Generally speaking, the mechanism for generating the human voice can be subdivided into three parts; the lungs, the vocal folds within the larynx, and the articulators. The lung (the pump) must produce adequate airflow and air pressure to vibrate vocal folds (this air pressure is the fuel of the voice). The vocal folds (vocal cords) are a vibrating valve that chops up the airflow from the lungs into audible pulses that form the laryngeal sound source. The muscles of the larynx adjust the length and tension of the vocal folds to ‘fine tune’ pitch and tone. The articulators (the parts of the vocal tract above the larynx consisting of tongue, palate, cheek, lips, etc.) articulate and filter the sound emanating from the larynx and to some degree can interact with the laryngeal airflow to strengthen it or weaken it as a sound source.

The vocal folds, in combination with the articulators, are capable of producing highly intricate arrays of sound. The tone of voice may be modulated to suggest emotions such as anger, surprise, or happiness. Singers use the human voice as an instrument for creating music.

Voice types and the folds (cords) themselves

Adult men and women have different sizes of vocal fold; reflecting the male-female differences in larynx size. Adult male voices are usually lower-pitched and have larger folds. The male vocal folds (which would be measured vertically in the opposite diagram), are between 17 mm and 25 mm in length. The female vocal folds are between 12.5 mm and 17.5 mm in length.

As seen in the illustration, the folds are located just above the vertebrate trachea (the windpipe, which travels from the lungs). Food and drink do not pass through the cords but instead pass through the esophagus, an unlinked tube. Both tubes are separated by the epiglottis, a "flap" that covers the opening of the trachea while swallowing.

The folds in both sexes are within the larynx. They are attached at the back (side nearest the spinal cord) to the ''arytenoids cartilages'', and at the front (side under the chin) to the thyroid cartilage. They have no outer edge as they blend into the side of the breathing tube (the illustration is out of date and does not show this well) while their inner edges or "margins" are free to vibrate (the hole). They have a three layer construction of an epithelium, vocal ligament, then muscle (vocalis muscle), which can shorten and bulge the folds. They are flat triangular bands and are pearly white in color. Above both sides of the vocal cord is the vestibular fold or ''false vocal cord'', which has a small sac between its two folds (not illustrated).

The difference in vocal folds size between men and women means that they have differently pitched voices. Additionally, genetics also causes variances amongst the same sex, with men and women's singing voices being categorized into types. For example, among men, there are bass, baritone, tenor and countertenor (ranging from E2 to even F6), and among women, contralto, mezzo-soprano and soprano (ranging from F3 to C6). There are additional categories for operatic voices, see voice type. This is not the only source of difference between male and female voice. Men, generally speaking, have a larger vocal tract, which essentially gives the resultant voice a lower-sounding timbre. This is mostly independent of the vocal folds themselves.

Voice modulation in spoken language

Human spoken language makes use of the ability of almost all persons in a given society to dynamically modulate certain parameters of the laryngeal voice source in a consistent manner. The most important communicative, or phonetic, parameters are the voice pitch (determined by the vibratory frequency of the vocal folds) and the degree of separation of the vocal folds, referred to as vocal fold adduction (coming together) or abduction (separating).

The ability to vary the ab/adduction of the vocal folds quickly has a strong genetic component, since vocal fold adduction has a life-preserving function in keeping food from passing into the lungs, in addition to the covering action of the epiglottis. Consequently, the muscles that control this action are among the fastest in the body. Children can learn to use this action consistently during speech at an early age, as they learn to speak the difference between utterances such as "apa" (having an abductory-adductory gesture for the p) as "aba" (having no abductory-adductory gesture). Surprisingly enough, they can learn to do this well before the age of two by listening only to the voices of adults around them who have voices much different from their own, and even though the laryngeal movements causing these phonetic differentiations are deep in the throat and not visible to them.

If an abductory movement or adductory movement is strong enough, the vibrations of the vocal folds will stop (or not start). If the gesture is abductory and is part of a speech sound, the sound will be called Voiceless. However, voiceless speech sounds are sometimes better identified as containing an abductory gesture, even if the gesture was not strong enough to stop the vocal folds from vibrating. This anomalous feature of voiceless speech sounds is better understood if it is realized that it is the change in the spectral qualities of the voice as abduction proceeds that is the primary acoustic attribute that the listener attends to when identifying a voiceless speech sound, and not simply the presence or absence of voice (periodic energy).

An adductory gesture is also identified by the change in voice spectral energy it produces. Thus, a speech sound having an adductory gesture may be referred to as a "glottal stop" even if the vocal fold vibrations do not entirely stop. for an example illustrating this, obtained by using the inverse filtering of oral airflow.]

Other aspects of the voice, such as variations in the regularity of vibration, are also used for communication, and are important for the trained voice user to master, but are more rarely used in the formal phonetic code of a spoken language.

Physiology and vocal timbre

The sound of each individual's voice is entirely unique not only because of the actual shape and size of an individual's vocal cords but also due to the size and shape of the rest of that person's body, especially the vocal tract, and the manner in which the speech sounds are habitually formed and articulated. (It is this latter aspect of the sound of the voice that can be mimicked by skilled performers.) Humans have vocal folds that can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume, timbre, or tone of the sound produced. Sound also resonates within different parts of the body, and an individual's size and bone structure can affect somewhat the sound produced by an individual.

Singers can also learn to project sound in certain ways so that it resonates better within their vocal tract. This is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx, which people can manipulate in different ways to produce different sounds. These different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, which has been shown to be a resonance added to the normal resonances of the vocal tract above the frequency range of most instruments and so enables the singer's voice to carry better over musical accompaniment.

Vocal registration

Vocal registration refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality. Registers originate in ''laryngeal'' functioning. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular ''Vocal range range'' of pitches and produces certain characteristic sounds. the term register can be somewhat confusing as it encompasses several aspects of the human voice. The term register can be used to refer to any of the following:

A particular part of the vocal range such as the upper, middle, or lower registers.

A resonance area such as chest voice or head voice.

A phonatory process.

A certain vocal timbre.

A region of the voice that is defined or delimited by vocal breaks.

A subset of a language used for a particular purpose or in a particular social setting.

In linguistics, a register language is a language that combines tone and vowel phonation into a single phonological system.

Within speech pathology the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, and the falsetto register, and the whistle register. This view is also adopted by many vocal pedagogists.

Vocal resonation

Vocal resonation is the process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. Various terms related to the resonation process include amplification, enrichment, enlargement, improvement, intensification, and prolongation; although in strictly scientific usage acoustic authorities would question most of them. The main point to be drawn from these terms by a singer or speaker is that the end result of resonation is, or should be, to make a better sound. There are seven areas that may be listed as possible vocal resonators. In sequence from the lowest within the body to the highest, these areas are the chest, the tracheal tree, the larynx itself, the pharynx, the oral cavity, the nasal cavity, and the sinuses.

Influences of the human voice

The twelve-tone musical scale, upon which some of the music in the world is based, may have its roots in the sound of the human voice during the course of evolution, according to a study published by the New Scientist. Analysis of recorded speech samples found peaks in acoustic energy that mirrored the distances between notes in the twelve-tone scale.

Voice disorders

There are many disorders that affect the human voice; these include speech impediments, and growths and lesions on the vocal folds. Talking improperly for long periods of time causes vocal loading, which is stress inflicted on the speech organs. When vocal injury is done, often an ENT specialist may be able to help, but the best treatment is the prevention of injuries through good vocal production. Voice therapy is generally delivered by a speech-language pathologist.

Vocal Cord Nodules and Polyps

Vocal nodules are caused over time by repeated abuse of the vocal cords which results in soft, swollen spots on each vocal cord. These spots develop into harder, callous-like growths called nodules. The longer the abuse occurs the larger and stiffer the nodules will become. Most polyps are larger than nodules and may be called by other names, such as polypoid degeneration or Reinke's edema. Polyps are caused by a single occurrence and may require surgical removal. Irritation after the removal may then lead to nodules if additional irritation persists. Speech-language therapy teaches the patient how to eliminate the irritations permanently through habit changes and vocal hygiene. Hoarseness or breathiness that lasts for more than two weeks is a common symptom of an underlying voice disorder such as nodes or polyps and should be investigated medically.

See also

Accent (linguistics)

Acoustic phonetics

Belt (music)

Histology of the Vocal Folds

Intelligibility (communication)

Lombard effect

Manner of articulation

Paralanguage: nonverbal voice cues in communication

Phonation

Phonetics

Voice change in boys

Speaker recognition

Speaker verification

Speech Synthesis

Vocal loading

Vocal rest

Vocal range

Vocal warm up

Vocology

Voice analysis

Voice disorders

Voice frequency

Voice organ

Voice pedagogy

Voice projection

Voice synthesis

Voice types (singing voices)

References

Further reading

Howard, D.M., and Murphy, D.T.M. (2009). Voice science acoustics and recording, San Diego: Plural Press.

Titze, I. R. (2008). The human instrument. Sci.Am. 298 (1):94–101.

Thurman, Leon & Welch, ed., Graham (2000), Bodymind & voice: Foundations of voice education (revised ed.), Collegeville, Minnesota: The VoiceCare Network et al., ISBN 0-87414-123-0

External links

University College London">Free Voice analyzer and Biometrics displaying software from University College London

The Head Voice and Other Problems, 1917, by D. A. Clippinger, from Project Gutenberg

The Voice Foundation's official website

The Anatomy of Singing

David Harper, vocal coach: A passion for the voice that never wanes – Opera~Opera article

Irish Voice festival official website

How the voice works-- ''The Voice Works Like a Car''

Voice acoustics: an introduction from the University of New South Wales

Category:Phonetics Category:Voice registers Category:Vocal music

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name	Jessica Hammond
origin	Belfast, Northern Ireland, United Kingdom
background	solo_singer
genre	Pop, rock
years active	2009 – present
past members	}}

Jessica Hammond is a singer songwriter. Jessica is the winner of the 2010 Northern Ireland Belfast CityBeat competition Young Star Search developed by Stuart Robinson (now Cool FM) . Before winning Young Star Search, Jessica Hammond has been a finalist on the Disney Channel UK talent search ''My Camp Rock'' in April 2009. She is from Belfast, Northern Ireland, United Kingdom.

Jessica Hammond fought off competition from thousands of hopefuls to secure her place in the contest, along with 7 other acts. The show aims to find a young music star aged 8 to 16. She sang Here I Am from the Camp Rock soundtrack at the Camp Jam, Gary Lloyd, Zoe Tyler and R&B; star Craig David sat on the judging panel responsible for whittling the finalists down from eight to four, along with the head of Walt Disney Records in Europe, who released the winning track. The Final Jam aired on April 24, 2009. Jessica Hammond has written songs, ''Try Again'', ''No Doubt'', ''My Boyfriend'' , ''Star'' and ''Cheater'' which is just about to received Radio play on Citybeat Radio. YouTube.

She is currently studying at Ashfield Girls' School.

By age six she was singing, by age 10 Jessica had completed vocalist grades 1,2 and 3 with the British School of Music and by twelve she was playing the guitar. She began playing the saxophone and drums about a year ago "just for fun". She described her music style as rock-pop.

In 2012, Jessica auditioned for the first UK series of The Voice, and progressed to the Battle Rounds as part of Jessie J's team, but was eliminated in the Battle Rounds after losing to Vince Kidd.

References

External Links

Official Website

Category:Female singers from Northern Ireland Category:Living people Category:1994 births

name	Ruth Brown
background	solo_singer
birth date	January 12, 1928
birth place	Portsmouth, Virginia, United States
death date	November 17, 2006
death place	Henderson, Nevada, United States
Occupation	Singer-songwriter, actress, record producer
instrument	Vocals, piano, keyboards
genre	Pop, R&B;, jazz, soul, gospel, funk
years active	1949–2006
label	Atlantic, Philips, Fantasy }}

Ruth Brown (January 12, 1928 – November 17, 2006) was an American pop and R&B; singer-songwriter, record producer, composer and actress also known as "Queen of R&B;" noted for bringing a pop music style to R&B; music in a series of hit songs for Atlantic Records in the 1950s, such as "So Long", "Teardrops from My Eyes" and "(Mama) He Treats Your Daughter Mean". For these contributions, Atlantic became known as "The house that Ruth built" (alluding to the popular nickname for Old Yankee Stadium).

Following a resurgence that began in the mid-1970s and peaked in the 1980s, Brown used her influence to press for musicians' rights regarding royalties and contracts, which led to the founding of the Rhythm and Blues Foundation. Her performances in the Broadway musical, ''Black and Blue'', earned Brown a Tony Award, and the original cast recording won a Grammy Award.

Early life

Born Ruth Alston Weston in Portsmouth, Virginia, United States, she attended I. C. Norcom High School, a historically black high school. Brown's father was a dockhand who directed the local church choir, but the young Ruth showed more of an interest in singing at USO shows and nightclubs. She was inspired by Sarah Vaughan, Billie Holiday and Dinah Washington. In 1945, Brown ran away from her home in Portsmouth along with trumpeter, Jimmy Brown, whom she soon married, to sing in bars and clubs. She then spent a month with Lucky Millinder's orchestra.

Career

Blanche Calloway, Cab Calloway's sister, also a bandleader, arranged a gig for Brown at a Washington, D.C. nightclub called Crystal Caverns and soon became her manager. Willis Conover, a Voice of America disc jockey, caught her act with Duke Ellington and recommended her to Atlantic Records bosses, Ahmet Ertegün and Herb Abramson. Brown was unable to audition as planned because of a serious car accident that resulted in a nine-month hospital stay. She signed with Atlantic Records on her hospital bed. In 1948, Ertegün and Abramson drove to Washington, D.C., from New York City to hear her sing in the club. Although her repertoire was mostly popular ballads, Ertegün convinced her to switch to rhythm and blues.

In her first audition, in 1949, she sang "So Long," which ended up becoming a hit. This was followed by "Teardrops from My Eyes" in 1950. Written by Rudy Toombs, it was the first upbeat major hit for Brown. Recorded for Atlantic Records in New York City in September 1950, and released in October, it was ''Billboard'''s R&B; number one for 11 weeks. The hit earned her the nickname "Miss Rhythm" and within a few months Brown became the acknowledged queen of R&B.;

She followed up this hit with "I'll Wait for You" (1951), "I Know" (1951), "5-10-15 Hours" (1953), "(Mama) He Treats Your Daughter Mean" (1953), "Oh What a Dream" (1954), "Mambo Baby" (1954), and "Don't Deceive Me" (1960), some of which were credited to Ruth Brown and the Rhythm Makers. In all, between 1949 and 1955, she stayed on the R&B; chart for a total 149 weeks, with sixteen Top 10 records including five number ones.

Brown played many dances that were deeply segregated in the Southern States, where she toured extensively and was extremely popular. Brown herself claimed that a writer had once summed up her popularity by saying: "In the South Ruth Brown is better known than Coca Cola."

Her first pop hit came with ''Lucky Lips'', a song written by Jerry Leiber and Mike Stoller and recorded in 1957. The single reached number 6 on the R&B; chart, and number 25 on the US pop chart. The 1958 follow up was ''This Little Girl's Gone Rockin''', written by Bobby Darin and Mann Curtis. It reached number 7 on the R&B; chart and number 24 on the pop chart.

She was to have further hits with ''I Don't Know'' in 1959 and ''Don't Deceive Me'' in 1960, although these were more successful on the R&B; chart than on the pop chart.

Later life

During the 1960s, Brown faded from public view to become a housewife and mother. She returned to music in 1975 at the urging of Redd Foxx, followed by a series of comedic acting gigs. These included a role in the sitcom ''Hello, Larry'', and the John Waters film, ''Hairspray'', as well as Broadway appearances in ''Amen Corner'' and ''Black and Blue''. The latter earned her a Tony Award as "Best Female Star of a Musical", and a Grammy Award as Best Female Jazz Artist for her album, ''Blues on Broadway'', featuring hits from the show.

Brown's fight for musicians' rights and royalties in 1987 led to the founding of the Rhythm and Blues Foundation. She was inducted as a Pioneer Award recipient in its first year, 1989, and inducted into the Oklahoma Jazz Hall of Fame in 1992. In 1993, she was inducted into the Rock and Roll Hall of Fame.

Brown recorded and sang along with fellow rhythm and blues performer Charles Brown, and toured with Bonnie Raitt in the late 1990s. Her 1995 autobiography, ''Miss Rhythm'', won the Gleason Award for music journalism. She was nominated for another Grammy in the Traditional Blues category for her 1997 album, ''R+B=Ruth Brown.'' Brown was still touring at the age of 77.

Brown had completed pre-production work on the Danny Glover film, ''Honeydripper'', which she did not live to finish, but her recording of "Things About Comin' My Way" was released posthumously on the soundtrack CD.

Personal life

Oldest of seven children.

First husband Jimmy Brown (trumpeter) was found to be already married.

Married Earl Swanson (saxophonist) in 1955, the father of her son Earl Swanson Jr.

Married to Bill Blunt (police officer) for three years.

Was mother of Ronald David Jackson ("Ronnie") with Clyde McPhatter of The Drifters, although Ronnie grew up believing that his father was Brown's former companion and accompanist Willis "Gator" Jackson.

Her nephew Rakim is considered one of the most influential rappers in the history of the hip hop genre.

Brown died in a Las Vegas-area hospital on November 17, 2006, from complications following a heart attack and stroke she suffered after surgery in October 2006. A memorial concert for her was held on January 22, 2007 at the Abyssinian Baptist Church in Harlem, New York.

Brown is buried at the Roosevelt Memorial Park, Chesapeake City in Virginia.

Discography

Albums

1957: ''Rock & Roll'' (Atlantic)

1959: ''Late Date With Ruth Brown'' (Atlantic)

1959: ''Miss Rhythm'' (Atlantic)

1962: ''Along Comes Ruth'' (Philips Records)

1962: ''Gospel Time'' (Philips Records)

1968: ''The Big Band Sound of Thad Jones / Mel Lewis Featuring Miss Ruth Brown'' (Solid State)

1969: ''Black Is Brown And Brown Is Beautiful'' (Skye Records)

1972: ''The Real Ruth Brown'' (Cobblestone Records)

1970s: ''You Don't Know Me'' (Dobre Records)

1989: ''Blues on Broadway'' (Fantasy Records)

1991: ''Fine and Mellow'' (Fantasy Records)

1993: ''The Songs Of My Life'' (Fantasy Records)

1997: ''R+B=Ruth Brown'' (Bullseye Blues)

1999: ''A Good Day For The Blues'' (Bullseye Blues)

2006: ''Jukebox Hits'' (compilation, Acrobat)

Singles

{|class="wikitable" |- ! Year !! Single !! US R&B; Singles !! US Pop Singles !! Album |- | 1949 || "So Long" || align="center"|4 || align="center"|- || |- | 1950 || "Teardrops from My Eyes" || align="center"|1 || align="center"|- || ''Rockin' with Ruth'' |- |rowspan="2"|1951 || "I'll Wait for You" || align="center"|3 || align="center"|- || |- | "I Know" || align="center"|7 || align="center"|- || |- |rowspan="2"|1952 || "5-10-15 Hours" || align="center"|1 || align="center"|- || |- | "Daddy Daddy" || align="center"|3 || align="center"|- || rowspan="3"|''Ruth Brown'' |- |rowspan="3"|1953 || "(Mama) He Treats Your Daughter Mean" || align="center"|1 || align="center"|23 |- | "Wild, Wild Young Men" || align="center"|3 || align="center"|- |- | "Mend Your Ways" || align="center"|7 || align="center"|- || ''Ruth Brown & Her Rhythmakers - Sweet Baby of Mine'' |- |rowspan="2"|1954 || "Oh What a Dream" (with The Drifters) || align="center"|1 || align="center"|- || ''Ruth Brown'' |- | "Mambo Baby" || align="center"|1 || align="center"|- |- |rowspan="5"|1955 || "As Long As I'm Moving" || align="center"|4 || align="center"|- || rowspan="3"|''Rockin' with Ruth'' |- | "Bye Bye Young Men" || align="center"|13 || align="center"|- |- | "I Can See Everybody's Baby" || align="center"|7 || align="center"|- |- | "It's Love Baby (24 Hours a Day)" || align="center"|4 || align="center"|- || rowspan="2"|''The Best of Ruth Brown'' |- | "Love Has Joined Us Together" || align="center"|8 || align="center"|- |- |rowspan="2"|1956 || "I Want to Do More" || align="center"|3 || align="center"|- || rowspan="2"|''Sweet Baby of Mine'' |- | "Sweet Baby of Mine" || align="center"|10 || align="center"|- |- | 1957 || "Lucky Lips" || align="center"|6 || align="center"|25 || ''The Best of Ruth Brown'' |- |rowspan="2"|1958 || "This Little Girl's Gone Rockin'" || align="center"|7 || align="center"|24 || ''Rockin' with Ruth'' |- | "Why Me" || align="center"|17 || align="center"|- || rowspan="3"|''Miss Rhythm'' |- |rowspan="2"|1959 || "I Don't Know" || align="center"|5 || align="center"|64 |- | "Jack'O Diamonds" || align="center"|23 || align="center"|96 |- |rowspan="2"|1960 || "Don't Deceive Me" ||align="center"|10 || align="center"|62 || ''Rockin' with Ruth'' |- | "Taking Care of Business/Honey Boy" || align="center"| || align="center"| || |}

References

External links

Ruth Brown at the Rock and Roll Hall of Fame [Link compromised 2011-Apr-04.]

Ruth Brown biography at VH1

Atlantic Records discography

Jazz Conversations with Eric Jackson: Ruth Brown from WGBH Radio Boston

Category:African American female singers Category:American blues singers Category:American rhythm and blues singers Category:Blues Hall of Fame inductees Category:Grammy Award winners Category:Rock and Roll Hall of Fame inductees‎ Category:Tony Award winners Category:Musicians from Virginia Category:People from Portsmouth, Virginia Category:Deaths from myocardial infarction Category:Deaths from stroke Category:Cardiovascular disease deaths in Nevada Category:Atlantic Records artists Category:Cobblestone Records artists Category:Skye Records artists Category:Jump blues musicians Category:1928 births Category:2006 deaths

bs:Ruth Brown ca:Ruth Brown de:Ruth Brown es:Ruth Brown fr:Ruth Brown it:Ruth Brown nl:Ruth Brown ja:ルース・ブラウン pl:Ruth Brown ru:Браун, Рут sv:Ruth Brown tr:Ruth Brown

William Randall "Bill" Downs (August 17, 1914 – May 3, 1978) was a Kansas City-born American broadcast journalist for CBS Radio from 1942 to 1962.

During the War

Downs was hired on at CBS by Edward R. Murrow and was one of Murrow's Boys, a team of correspondents who covered the war for CBS Radio. Before signing on with Murrow and CBS Downs worked for United Press, the same outfit that Murrow cohort Richard C. Hottelet worked at before joining CBS. He had no relation to the later television broadcaster Hugh Downs.

In part, he covered paratroopers during World War II for CBS. According to Walter Cronkite's autobiography "A Reporter's Life", Cronkite and Downs once found themselves accidentally behind enemy lines during the war. They were separated in a dense forest, but did eventually find each other and make it back to Allied lines. Walter asked Downs why he didn't call out for him, and Downs replied: "Because I didn't want to be walking around behind German lines shouting "Cronkite!" ("Krankheit!" is German for "Sickness!").

After the war

In 1946, Downs covered the nuclear tests at Bikini Atoll for CBS, some of his reporting was carried across all networks. In November, 1952, Downs covered the Hydrogen bomb explosion for CBS.

References

Caskets on Parade
Time.com Program Preview

Category:1914 births Category:1978 deaths Category:American reporters and correspondents Category:American radio reporters and correspondents Category:War correspondents