#phonatic

[fieriframes]

[Phonating.]

[jules-has-notes]

A Crimpella — VoicePlay music video

This is one of the more odd and creative things VoicePlay concocted early on. They turned a collection of phonations, sound effects, nonsense words, and foreign language lyrics from two dozen songs into a delightfully goofy performance art piece. You will almost certainly recognize some of the samples. The set-up is a little drawn-out for my taste, but once the beat kicks in, it's off to the races.

Details:

title: A Crimpella

original songs / performers: [2:20] "Walk the Dinosaur" by Was (Not Was); [2:28] "Witch Doctor" by Alvin & the Chipmunks; [2:35] "Chitty Chitty Bang Bang" from Chitty Chitty Bang Bang; [2:40] "We Go Together" from Grease!; [2:47] “Motownphilly” by Boyz II Men; [2:55] "Imma Be" by the Black Eyed Peas; [3:03] "Tutti Frutti" by Little Richard; [3:05] "Shoop" by Salt N Pepa; [3:12] "Jock-A-Mo" (aka "Iko Iko") by James "Sugar Boy" Crawford; [3:20] "Mahna Mahna" from The Muppet Show; [3:30] "Lovin, Touchin, Squeezin" by Journey; [3:54] "Goofy Goober Rock" from The SpongeBob SquarePants Movie; [3:57] "MMMBop" by Hanson; [4:10] "Hooked on a Feeling" by Blue Swede; [4:14] "Bawitdaba" by Kid Rock; [4:19] "Breaking Up Is Hard to Do" by Neil Sedaka; [4:29] "Can't Get You Outta My Head" by Kylie Minogue; [4:32] "Bohemian Rhapsody" by Queen; [4:45] "Bad Romance" by Lady Gaga; [4:51] "Limbo La La" by James Lloyd; [5:01] "All Night Long" by Lionel Richie; [5:18] "Wanna Be Starting Something" by Michael Jackson; [5:24] "Na Na Hey Hey Kiss Him Goodbye" by Steam

arranged by: VoicePlay

release date: 1 September 2012

My favorite bits:

the thump at 2:30 propelling Eli into the air

everyone "watching" the UFO fly by

their most concerted effort at choreography being to "Shoop"

all the tentative poking and grimacing as they try to figure out how to "fix" their necks

Tony rocking out solo while the other guys consider whether to join in

the string of silly noises starting at 4:08

Layne's lowkey Little Monster claws during the Lady Gaga section

Trivia:

○ The boys gnaw on five CD cases at the beginning, but only Earl's album contains a song included in the ensuing medley:

Earl — Cooleyhighharmony by Boyz II Men (1991)

Tony — The Doors' greatest hits (1996 re-release)

Eli — Pump by Aerosmith (1989)

Geoff — Toxic Audio's eponymous debut album (1999)

Layne — Contra by Vampire Weekend (2010)

○ Several of the songs referenced here have appeared in VoicePlay's later medleys or short videos:

The bell tone section from Motownphilly was also included in their Boy Bands in 5 Minutes medley.

Different sections of Bohemian Rhapsody were part of their Queen in 5 Minutes medley.

Hooked on a Feeling and Mahna Mahna have both been featured in recent short-form videos.

○ This piece was included in their setlist for the 2014 Sing-Off tour.

○ This medley was inspired by British comedy troupe The Mighty Boosh. TMB had a series of sketches containing absurdist songs / performance art pieces they called "crimping". (Fair warning, most of their "crimps" feature adult language and gestures.)

[iphisesque]

world's first classically trained singer-songwriter who doesn't know anything about music theory

[madoo-net]

/ch2/ Satzebene- Inputsequenz

Ihr könnt diese Geschichte mit einer Überbetonung auf dem /ch2/ als Inputsequent vorlesen. Oder ihr lest sie vor und das Kind soll die Geschichte für die gelenkte Spontansprachebene nacherzählen. Ich lege immer Glassteine für jedes korrekte /ch2/ Wort auf den Tisch und am Ende der Geschichte werden die Steine zu einer langen Glassteinschlange aneinander gelegt….

[reiding-writing]

could i please request spencer reid comforting reader whos been picking at her lips? Like idk maybe he brings around chapstick for her smth. Tysm!

dermatillomania [ s.r ]

Summary:

Spencer doesn’t want you to hurt yourself. Even unintentionally. So a lot little bit of research later he’s ready to confront you about it.

WARNINGS: dermatillomania (impulsive picking at the skin), mentions of very minor self induced harm, sharing germs??? spencer would be deterred by that i’m sure, well maybe not in this case

pairing: spencer reid x gn!reader

genre: pretty much straight fluff

wc: 1.5k

masterlist!!

a/n: this marks the my final fic of 2023, currently uploading at 10 past 11 pm so like less than an hour until 2024 (yay??)

i love writing for reid because it allows me to satisfy that nerdy part of my brain that endlessly thirsts for knowledge

Everyone had subconscious habits.

Yours just happened to be more physically harming than some.

You found comfort in the monotonous repetition of peeling away the layers of skin covering your lips, whether it be with your fingernails or your teeth.

It would often leave your skin red and raw, sometimes to the point where they cracked or bled.

It wasn’t usually too bad, but during times where you were over-stressed and under pressure, the small habit of yours became more of a staple of your personality.

You sigh softly as you sit at your desk, head resting in your hands as your eyes pour over the file in front of you.

Paperwork wasn’t exactly stressful when you compare it to the rest of your job, but after the week you’d just returned from it was clear that you needed a break.

Spencer glances up at you from his own desk opposite you, a small frown present on his face.

“Stop that,” His tone is soft and unchastising.

"Hm?" Your eyes flicker upwards towards his, your eyebrows knitted into a small line of clear confusion.

“Your lips. You’re going to scar yourself if you keep pulling at them like that.” Spencer’s words come out even softer than before, a small look of worry in his eyes.

"Oh-"

You pull you hands down from your face, the thumb and forefinger of your left hand that had been tugging at the cracked skin of your lower lip now tucked securely in your right as you clasp them together in your lap in fumbled embarrassment. "Sorry.."

Spencer sighs softly, and takes a brief moment to observe you. The corners of his mouth twitch downwards into a slight frown.“Don’t apologize. I just… I’d hate for you to have permanent scarring.”

You hum softly in response to his caring nature, not meeting his eyes anymore out of the small amount of shame that trickles into the back of your mind, and your tongue runs smoothly over the raw skin on your lip in an attempt at soothing the sting. "Yeah.. thanks,"

Spencer looks away for a few seconds, thinking about your actions. After a beat, he leans over his desk slightly to grab a tube of chapstick from his desk drawer and holds it out to you over the small metal hatched wall of separation between your two desks.

It’s dark blue with no writing or labelling of any kind on it and has very clearly been previously opened.

“Take care of your lips, okay? They’re very important for human expression, phonation, and sensation.”

And to be able to kiss people with.

You hesitate to take the tube from him at first, not because he’d used it, but because it was his, and you knew how much he hated sharing his personal belongings for fear of germ contamination.

“Are you- sure you want to give me this? I can go and get one after work-“ You take the tube from his hand carefully, as though it might explode if you grip it too tightly.

Spencer is slightly relieved to see you take the chapstick, and smiles brightly at you before shaking his head. “It’s fine. You clearly need some form of relief, and I doubt you want to be waiting another six hours.”

He pauses, before adding, “I’d like you to keep it. It’s pure white petroleum, it should solve any soreness or dryness in no time,”

"Thank you.." You give Spencer a grateful smile as you remove the cap and twist the bottom of the tube to extend the chapstick upwards.

You choose not to acknowledge the small dip in the balm from where Spencer had used it on his own lips in the past, fearing the inevitable flush of your cheeks if you thought about the way you were indirectly touching your lips to his for too long.

"I’m- not sure why i can’t just stop, but.. yeah- thanks.." Your half-assed explanation is more of a way for you to distract yourself from your impending emotional implosion rather than a genuine want to explain yourself.

Spencer watches you apply the chapstick, nodding once as he does. “I have some advice on how to stop, if you’d like to hear it.”

You re-cap the tube of chapstick and place it next to the pencil holder on your desk for easy later access, exhaling softly through your nose as your mouth bends into a soft smile. "Alright, have at me,"

“First things first, you should try and figure out what’s causing you to want to peel at your skin.” Spencer dives into full explanation mode once you give him the chair. “Everything has a trigger, and figuring out what yours is is the first step to stopping it,”

You give a understanding nod to Spencer’s suggestion, your mind beginning to scrub your brain for and reasons why you might have the insatiable urge to pull the skin off your lips like you would the meat from a turkey.

“You should also redirect the behaviour. When feeling the urge or the subconscious action towards picking at your skin you should instead reapply a layer of chapstick to your lips instead,” Spencer gestures towards the tube on your desk, just barely visible from his point of view past your pencil holder.

“People with dermatillomania often times don’t realise that they’re engaging in the behaviour, so having somebody who is aware of the situation to redirect your attention is also a good idea.”

He’s obviously referring to himself in this moment, indirectly telling you that he’s willing to be stuck to you like a piece of gum under a shoe until you fully manage to break your habit.

"dermatillomania?" You blink your eyes blankly at him at the unnecessarily complicated term you’d never heard of that Spencer had casually thrown into his sentence.

“It’s the term for excessive skin-picking that causes damage or scarring. That’s what you were doing to your lips just now.” Spencer nods nonchalantly at you like it was common knowledge.

“Oh-“

You can’t say you’re surprised that there’s a term for what you’re experiencing.

You also can’t say that you’re surprised that Spencer knows what it’s called.

Spencer feels the need to explain himself upon your confusion and surprise at the revelation that what you were doing had a proper medical diagnosis.

“I’ve observed you for a while now, and noticed you often picking at your lips.. So I did some research and came across dermatillomania.” There is a tiny bit of embarrassment in his tone.

"You- looked it up for me?"

Spencer Reid had gone out of his way to research something that gave him no personal benefit solely for your wellbeing.

You swear you could melt.

You probably look like you do, physically feeling the pink rise to your cheeks as they heat up in flustered gratitude.

Spencer’s cheeks mirror your own in their soft pink hue, slightly embarrassed to have outed himself to going out of his way to research something on your behalf.

“I did, yes.” He pauses. “I just… well, I didn’t want you to unintentionally do any damage to yourself.”

You let out a soft exhale that could almost constitute as a laugh, pressing your lips together to prevent a smile from breaking out on your face. “Thank you Spencer.. That’s really sweet,”

Spencer nods, diverting his eyes from yours and leaning back in his desk chair to try and look as casual as possible. “Don’t worry about it. I’ve researched countless topics to help the team, this was just one of them.”

It wasn’t exactly a lie. But he wasn’t going to tell you that instead of the usual half an hour he would spend learning about something for one of his team mates he’d instead read every single publicly available medical journal on dermatillomania he could possibly find.

He turns his face back down to his work as you do the same, pushing his desk drawer closed now that nothing inside it was any longer needed.

His eyes fixed on the blue tube that rolled to his the front of the drawer as he pushed it closed.

It was identical to the one he had given you in every way.

Except for the fact that the one in his drawer was still brand new.

But you didn’t need to know that.

[ryanmarshallryan]

THE WINNER OF THE FOOD CHALLENGE CHALLENGES HIS CHALLENGER SINCE THE CHALLENGER DIDN'T EXPECT ANYONE TO COMPLETE THE CHALLENGE BUT OF COURSE HE LOSES THE CHALLENGE BECAUSE THIS IS A VORE STORY AND SOMEONE OBVIOUSLY HAS TO GET EATEN

VORETOBER SHORT VORE STORY DAY 5

“Very sorry sir, but the waiter was not on the menu so we must ask you to let him out.”

The customer opened his mouth to reply and before he could phonate the words a great belch escaped his gut. “Don't worry, he was in on the bet,” the customer said, rubbing his squirming gut and feigning being uncomfortably full, “But hey, how about another challenge? If I, with my absolutely stuffed gut,” his proposition was interrupted by another booming belch, “If I could swallow you whole in addition to the waiter in there… both of you become a dinner course… but if I can't stomach it, I'm sure I'll vomit you both out in the process.”

The restaurant owner stroked his chin and considered the enormously bloated customer. He saw the curious, gurgling and shifting movement of the customer’s belly pushing up against the table he was seated at and thought that there was simply no way this belch tank could fit any more inside it, as it already was stretching to the max from the enormity of the food challenge contents and the full grown waiter man inside, “Hmm… well, worth a try.”

It was not worth it. The restaurant owner was eaten as easily as the waiter was, and the customer barely even needed to try too hard to get him down. As the customer gave one more satisfactory belch that rumbled the entire restaurant like thunder, the restaurant owner found himself being squeezed tightly between the shrinking and quivering stomach walls and the waiter’s warm body, jerking around with no room to move. The restaurant owner was surprised to find that the waiter's squirming around was not in fact due to fear of being digested… but excitedly attempting to play with his… well you know where this is going.

Featuring BurlyHunk @burlypred, and a beefy willing meal of his!

[justabunchofdragons]

explanations of what they all do under the cut! (information from this website) no option for no opinion because you have to have an opinion (<- my decree as pollmaster)

musculoskeletal system - mechanical support, posture and locomotion

cardiovascular system - transportation of oxygen, nutrients and hormones throughout the body and elimination of cellular metabolic waste

respiratory system - exchange of oxygen and carbon-dioxide between the body and air, acid-base balance regulation, phonation (the production of sound and speech through vocal cords).

nervous system - initiation and regulation of vital body functions, sensation and body movements.

digestive system - mechanical and chemical degradation of food with purpose of absorbing into the body and using as energy.

urinary system - filtration of blood and eliminating unnecessary compounds and waste by producing and excreting urine.

endocrine system - production of hormones in order to regulate a wide variety of bodily functions (e.g. menstrual cycle, sugar levels, etc)

lymphatic system - draining of excess tissue fluid, immune defence of the body.

reproductive system - production of reproductive cells and contribution towards the reproduction process.

integumentary system - physical protection of the body surface, sensory reception, vitamin synthesis.

[vryfmi]

silent boy theory

bringing this theory back because ive been rotating it nonstop

[mild book spoilers!]

skull is characterised by his voice and snarky comments that Lucy has to put up with during their conversations, as well as the whispering tone which is heavily emphasised throughout the series. so when Dulac references to Bickerstaff's servant boy (aka skull) as "that silent Boy" in her confessions it really clashes with skull's personality as we know it.

TL;DR: my theory is that skull was mute or on a verge of losing his voice due to sickness, caused by working conditions and Bickerstaff's abandonment. thus, his ghost can't recall his healthy voice and can only whisper.

[id from alt text: a photo of the passage from the book with line "that silent Boy" being emphasised by image's dimensions./end id]

firstly, it's the whispering skull. not quietly talking skull, not its-voice-sounds-far-away skull. whispering.

‘Because you sure as hell look it.’ It was the lowest, throatiest of whispers; alien, but familiar. I’d heard it once before. (TWS) The hoarse whisper came from somewhere close behind my ear. ‘I say stab them first, ask questions later! That’s your only sensible option.’ (THB)

argument could be made, that silver-glass muffles the voice and it becomes quieter. but here's a thing - whisper is a voice alteration, not a sound quality. when whispering, vocal cords don't vibrate, and produced speech has a different phonation. so whisper and quiet speech are technically two different things.

secondly, skull's work field and conditions. as a young servant, skull was able to see visitors and ward them off Bickerstaff and his master's friends, while they were robbing graves for potential sources. ghosts radiate cold, temperature can drop down to 5 degrees centigrade, that much we know from books, that's why agents are wearing jackets and gloves during ghost hunting cases. and skull's ghost was described as wearing only a shirt and ill fitting trousers, while also being barefooted.

It was the first time I’d ever really looked at him, at the spirit that he truly was. He wore a white shirt and gray trousers that were slightly too short for his bony legs. His feet were bare. He’d still been young when he died. (TEG)

with Bickerstaff's obsession and apparent blindness to anything else that wasn't his device, it's safe to say that he would neglect skull's needs and didn't bother to get his servant any proper clothes, not to mention shoes, which at the time were expensive, since children constantly need shoes as they grow up, and it wasn't uncommon for children from lower class to not have shoes at all and walk barefooted.

that said, my theory is that skull came down with sickness while grave robbing, and Bickerstaff ignored it (mainly because he was a psych doctor, not a medical one), skull's condition worsened and turned into laryngitis. without treatment, his vocal cords got damaged, resulting in loss of voice.

[now, im in no way educated to diagnose a fictional character and there can be mistakes in my logic (like how skull could have lost his voice prior to Bickerstaff), but i went down a rabbit hole and need to share this.]

there's a condition that fits the description of person losing their voice or only be able to talk in whisper, it's called aphonia. there are multiple common causations for this condition, namely psychological, but organic aphonia is caused by damage on vocal cords or throat, that could have happened due to disease or physical trauma. (source)

it's also worth pointing out that any voice disorders in children and teenagers affects the way they socialise and behave. gestures and facial expressions become alternative to communication when voice is too weak for speech or it is painful to talk.

Someone had knocked the cloth off the ghost-jar, and the face had re-materialized. It pulled extravagant expressions of horror and disgust whenever I passed by. (TWS)

‘You know the rules: minimal manifestations, no rude faces, and absolutely no talking.’ The ghost looked wounded. ‘I wasn’t talking, was I? Do you call this talking? Or this?’ It pulled a rapid series of grotesque expressions, each one worse than the last. (THB)

and finally, Lucy. she almost undeniably plays a role of interpretor that passes down what skull says, since others have no way of communicating with him or, more specifically, no way of hearing him. it all does seem to fit perfectly together (at least to me) so i can't stop wondering of how intentional any of that was on Stroud's behalf. then yet again, Stroud did say that that he had a draft for skull's backstory but scraped it in favour of keeping his character as mysterious as possible. some elements could've stayed in the final version of the books, who knows.

[yeli-renrong]

The inventary vocalic at seven vowels is rich in comparison at the other languages otomangues who have an majority five vowels, with a contrast at three nivels of fermiture and three nivels of anteriority, the position central beingn't occupied that per an vowel central-overt.

It exists also dix-nine contrasts consonantics, from where three appearisen't with which the emprunts spanishes. The amuzgo has as contrasts at five lels of articulations, and five manners of articulations, without distinction of voicement. The segments entering parentheses are rares or existn't that in emprunts. These who are entering crochets are as allophones. As segments complexes are admitted from within our inventary for the considerations phonotactics and phonetics.

With an squelette syllabic also strict and an number of restrictions under the possible clusters in attack, the amuzgo trouves its structural allures. With its languages sisters, it's for the others strategies which that language augments its inventaries. As systems of phonation of voice souffle et laryngalized, of nasality, of ballisticity under the syllable (analyzed behold here in the mode of the soufflement in fin of mot, but which exprime themselves in party for the modulation tonal at the nivel of the syllable), and not minus the eleven valors tonals (6 tons lies at the syllable non-ballistic, and 5 lies at the syllable ballistic), forment an eventuality of diverse possibilities structurals, give an grain final of oppositions and of contrasts. To in thus, the inventory vocalic could be gonfled of September at 48 valors if we count the number of vowels, multiplied for the four valors of voice (souffle, cracked, ballistic and modal) that gives 48 valors vocalics.

[datasoong47]

This is a wild inflectional system. 25 different inflectional paradigms, but only a very small number of actual suffixes, and a mere six cells in the full paradigm. Just different distributions of the same suffixes

With the exception of class XXV, the plural is marked by -ni or -∅, with all three cases having the same two options (there's a predictable allomorph -i for -ni after -l, -n, and -r but this apparently is without exception). Out of the 8 logical possible combinations, there are 6 found (all but -ni/-∅/-∅ and -ni/-ni/-∅), with a very strong tendency (the only exceptions being class XXIV) for -ni to only be used in the nominative plural if it's also used in the other two cases (the author hypothesizes that there were originally two distinct suffixes, one a general plural and the other specifically a genitive/locative suffix, which phonetically merged in an earlier stage - this seems plausible to me and would make sense of the distribution, but it's speculative), so that one can treat 5 of those patterns as "regular" and 2 (classes XXIV and XXV with -ni/-∅/-ni and -∅/-kä/-ni respectively) as irregular

In the singular, while the nominative consistently has no suffix, the genitive and locative have the same three possibilities: -∅, -kä, and -ä, with all but one logical possibility found (none with -ä for genitive and -∅ for locative; given the rarity of the -ä suffix, this is probably an accidental gap; and indeed the relatively small number of nouns in the corpus used makes me wonder if a larger corpus might actually find a noun with that pattern)

In both the singular and plural there's a strong statistical tendency towards using the same suffix (or lack thereof) for both genitive and locative:

In addition, many nouns (the majority in fact) also have stem changes, which can combine with the various paradigms given above, and also show massive numbers of possibilities (48 different patterns according to this paper - the suffix paradigms and stem paradigms combine to make a total of 208 attested patterns among the 252 nouns in this corpus!). Stem alternations can occur between cases and between singular and plural - up to a maximum of five stems! Alternations may involve vowel length, diphthongization, vowel quality, phonation, and stem-final consonants or combinations of these, and even, for number, suppletion

As with the paradigms for suffixes, there are some statistical tendencies. Genitive and locative frequently have the same stem, for example, so that if there's two stems in either number, it's usually going to be nominative vs genitive/locative - but exceptions exist. These stem alternations interact with the various paradigms to some degree in that stem-changes tend to be associated with zero suffixes and lack of stem-changes tends to be associated with overt suffixes (especially strong for number, where there are only two nouns with zero suffixes and no stem change, thus the singular and plural are almost always distinct whether that's from different stems, affixes, or both)

[madoo-net]

Satzebene - Inputgeschichte F

Entweder lest ihr die Geschichte mit Überbetonung auf dem /f/vor als Inputsequenz, oder ihr lest sie vor und das Kind soll die Geschichte nacherzählen, quasi für die gelenkte Spontansprachebene.

[samhaft]

Vocal warm up suggestions?

Also love yours and yoavs music❤️❤️❤️

Thanks for your kind words!

I am gonna make all the vocal coaches mad when I say I’m not crazy about vocal warmups. Rather than warming up with scales and arpeggios, I prefer to warm up for the songs I’m gonna sing *by singing those songs.* Sometimes when I’m drinking water or tea, I’ll hum songs while gargling, which creates negative laryngeal pressure (or something like that lmao) which is very helpful for loosening up. If you don’t like to gargle, or just find it gross and offputting, you can achieve the same effect by humming thru a straw into a bottle of water.

For me, it’s more about vocal health. I don’t smoke cigarettes, I don’t vape, I don’t drink on days I sing, I don’t eat foods that will trigger excessive acidity, and I voraciously consume vocalzone pastilles, throat coat and marshmallow tea, and honey. My main vocal health shortcomings are that I have a tendency to over-eat, my duration and quality of sleep is sub-par (especially on tour), and I don’t drink as much water as I should, though once I’m onstage I generally go through 3-4 water bottles per show. I’m working on that stuff!

I also do my best to reduce strain as much as possible when singing challenging notes, by relaxing my throat and phonating vowels in more open ways, which is a persistent challenge, as I’m a baritone and most of our songs are in more of a tenor zone. Hope this was helpful!

[xuexishijian]

Articulatory Phonetics - 调音语音学

字音 zǐyīn - (n.) consonant (also 福音 fǔyīn)

调音部位diàoyīnbùwèi - (n.) place of articulation (also 发音部位)

双唇音 shuāngchúnyīn - (n.) bilabial sound

唇齿音/齿唇音 chúnchǐyīn/chǐchúnyīn - (n.) labiodental sound

齿音 chǐyīn - (n.) dental sound

齿龈音 chǐyínyīn - (n.) alveolar sound

龈腭音 yín'èyīn - (n.) alveolo-palatal sound

卷舌音 juǎnshéyīn - (n.) retroflex sound

腭音 èyīn - (n.) palatal sound

软腭音 ruǎn'èyīn - (n.) velar sound

小舌音 xiǎoshéyīn - (n.) uvular sound

咽音 yānyīn - (n.) pharyngeal sound

声门音/喉音 shēngményīn/hóuyīn - (n.) glottal sound

调音方法 diàoyīnfāngfǎ - (n.) manner of articulation

阻碍音 zǔ'àiyīn - (n.) obstruent

塞音 sèyīn - (n.) stop, plosive

擦音 cāyīn - (n.) fricative

咝音 sīyīn - (n.) sibilant

塞擦音 sècāyīn - (n.) affricate

响音 xiǎngyīn - (n.) sonorant

鼻音 bíyīn - (n.) nasal

流音 liúyīn - (n.) liquid

边音 biānyīn - (n.) lateral

近音 jìnyīn - (n.) approximant

半元音bànyuányīn - (n.) semivowel, glide

颤音 chànyīn - (n.) trill

弹音 tányīn - (n.) tap

闪音 shǎnyīn - (n.) flap

发声态 fāshēngtài - (n.) phonation

清音 qīngyīn - (n.) voiceless sound

浊音 zhuóyīn (n.) voiced sound

送气音 sòngqìyīn - (n.) aspirated sound

不送气音 búsòngqìyīn - (n.) unaspirated sound (also 非送气音)

发声起始时间 fāshēngqǐshǐshíjiān - (n.) voice-onset time (VOT)

元音 yuányīn - (n.) vowel

元音高度 yuányīn gāodù - (n.) vowel height

元音舌位 yuányīn shéwèi - (n.) vowel backness

前元音 qiányuányīn - (n.) front vowel

央元音 yāngyuányīn - (n.) central vowel

后元音 hòuyuányīn - (n.) back vowel

闭元音 bìyuányīn - (n.) close vowel

次闭元音 cìbìyuányīn - (n.) near-close vowel

半闭元音 bànbìyuányīn - (n.) close-mid vowel

中元音 zhōngyuányīn - (n.) mid vowel

半开元音 bànkāiyuányīn - (n.) open-mid vowel

次开元音 cìkāiyuányīn - (n.) near-open vowel

开元音 kāiyuányīn - (n.) open vowel

圆唇元音 yuánchúnyuányīn- (n.) rounded vowel

不圆唇元音 bùyuánchúnyuányīn - (n.) unrounded vowel

鼻化元音 bíhuāyuányīn - (n.) nasal vowel

声调/声 shēngdiào/shēng - (n.) tone

阴平声 yīnpíngshēng - (n.) high level tone

阳平声 yángpíngshēng - (n.) rising tone

上声 shǎngshēng (also shàngshēng) - (n.) falling-rising tone

去声 qùshēng - (n.) falling tone

轻声 qīngshēng - (n.) neutral tone

声�� shēngdào - (n.) vocal tract

发音器官 fāyīnqìguān - (n.) articulators, speech organs

肺脏 fèizàng - (n.) lungs

喉 hóu - (n.) larynx

声带 shēngdài - (n.) vocal folds

振动 zhèndòng - (v.) vibrate

口腔 kǒuqiāng - (n.) oral cavity

颚 è - (n.) jaw

鼻腔 bíqiāng - (n.) nasal cavity

舌根 shégēn - (n.) tongue root

舌面 shémiàn - (n.) tongue body (dorsum) (also 舌背）

舌尖 shéjiān - (n.) tongue tip

We can also divide the tongue like this: 舌前部，舌中部，舌后部

气流机制 qìliújīzhì - (n.) airstream mechanism

外呼音 wàihūyīn - (n.) egressive sound

内吸音 nèixīyīn - (n.) ingressive sound

肺部外呼音 fèibùwàihūyīn - (n.) pulmonic egressive sound

声门外呼音 shēngménwàihūyīn - (n.) glottalic egressive sound

挤喉音 jǐhóuyīn - (n.) ejective consonant

声门内吸音 shēngménnèixīyīn - (n.) glottalic ingressive sound

内爆音 nèibàoyīn - (n.) implosive consonant

舌内吸音 shénèixīyīn - (n.) lingual (velaric) ingressive sound

搭嘴音 dāzuǐyīn - (n.) click consonant

声源-滤波器理论 shēngyuán-lǜbōqì lǐlùn - (n.) source-filter theory

[jules-has-notes]

Geoff Castellucci's bass singing tutorials

Relatively few singers and musicians are able to make performing their primary job, let alone their only job. So young Geoff started college as an education major and planned to become a music teacher. In some alternate universe, a lot of lucky kids have great memories of being in Mr. Castellucci's class. In our world, fortunately, theme park gigs were plentiful enough, 4:2:Five transformed into VoicePlay and was able to become self-sustaining, and we've been provided with this series of videos chock full of advice, demonstrations, anecdotes, and Geoff's endearingly corny humor.

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How to sing REALLY low – a short tutorial

In this first video, Geoff gives a brief overview of several common bass techniques — growl, vocal fry, and subharmonics — with descriptions and demonstrations of each.

release date: 6 December 2019

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How to sing LOW – your questions answered, part 1

After his initial video generated a deluge of questions, he made this follow-up to provide a few answers. The topics include further description of vocal fry, more detailed advice for practicing and performing subharmonics, ways to improve recorded sound in post-production, methods of increasing your lower range, and his opinions on the best bass singers.

release date: 8 January 2020

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How to sing LOW – your questions answered, part 2

The answers continue, getting more specific and personal. Segments include a demonstration of Geoff's natural range, a humble description of his own vocal type, the ending of "Oogie Boogie's Song", maintaining his upper range, microphone recommendations, increasing resonance, general vocal maintenance, other ways to improve overall musicality, and a shout-out to his subharmonic inspiration David Larsen.

release date: 17 January 2020

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Singing REALLY LOW – questions answered

In this final (so far) Q&A, Geoff provides yet more advice for practicing bass techiniques, shows off his best Thurl Ravenscroft impression, reiterates how to achieve cleaner sounds in post-production, explains the impressive descending parts in "Kidnap the Sandy Claws" and "Oogie Boogie's Song", considers more complex subharmonic techniques, demonstrates why he doesn't use ingressive phonation, provides further advice for practicing subharmonics, reflects on his own vocal development and maintenance, dashes some folks hopes for an ASMR channel, and teases his hair care routine.

release date: 12 March 2020

[dk-thrive]

This is the only way in the world you can escape the things that made you.

I walked back and forth across the parade in the blowing snow. Then I went to my room and threw off my jacket. I wanted to look up words. I took off my boots and wrung out my cap over the washbasin. I wanted to look up words. I wanted to look up velleity and quotidian and memorize the fuckers for all time, spell them, learn them, pronounce them syllable by syllable — vocalize, phonate, utter the sounds, say the words for all they're worth. This is the only way in the world you can escape the things that made you.

— Don DeLillo, "Underworld" (Scribner, 1997)

[kitsoa]

So. I've been having a hard time for the past 7 weeks.

I caught a cold that knocked my voice out and I... haven't been the same since. I kept catching colds or allergies and regardless of my speaking voice, my singing voice wouldn't come back. I was unable to hit notes above a B4, my resonance was shot, phonation threshold far too high, if I had anything it would go after 30 minutes. I was lipsynching for my church job and for the chorale I sing for-- something that filled me with shame. I have literally, for weeks, been inconsolable with the torture of being unable to sing and provide for the jobs I've been committed to.

Recovery felt like an up and down. I would have 4 days of rest and still lose it the next day i worked. I was fragile. I was useless.

So I got over my little doctor phobia and reached out to an ENT and well. I got scoped by a singing specialist. and well. It's the nightmare.

I got nodes. And im sorry this is a big deal for a singers because this is my life. This is my identity. my self-worth has been dangerously intertwined with my voice and my ability to provide to the groups I've committed to... not to mention that singing is my greatest joy.

There is only one solution to this problem and that means I have to cold turkey-- abandon all of my singing. (not to mention I work with children as a teacher so i have to manage a 50% reduction of speech at work). I'm on extreme vocal rest, not talking socially and no singing. This is a level of torture I don't think many could really fathom. its literally a special kind of hell for me specifically.

I can't even cry without fucking things up. I have just abandoned my musical homes. I can't express myself with ease. I've been going through it. I'm sorry to vent but this is the most significant event in my life since I got my damn job. Maybe even bigger than that.