Singing a song.

Examina los factores que afectan a la voz humana, incluyendo el tono, volumen, y el ritmo, y ofrece ejercicios para demostrar cómo los diferentes elementos influyen en el sonido que se escucha. Las fotografías se centran en la parte externa y las ilustraciones revelan lo que sucede dentro de nuestros cuerpos. Hay información sobre el mantenimiento de nuestros cuerpos sanos.

Singing grammar : teaching grammar through songs.

Recurso para enseñar gramática por medio de canciones, y adecuado para estudiantes de primaria en los niveles elemental e intermedio. Contiene dieciocho canciones, cada una con un enfoque específico de gramática. Cada unidad incluye notas para el profesor con sugerencias para utilizar el material, gramática y juego, y partitura de las canciones. El material también puede ser utilizado con adultos. Las canciones del cd-audio tienen variedad de estilos musicales: glosario de música pop; karaoke alternativo o versión lenta para cada canción; cancionero con letras y acordes. Incluye hojas fotocopiables e instrucciones y consejos para los profesores.

Beyond Student Voice : Patterns of Partnership and the Demands of Deep Democracy. 'Más allá de la voz del alumnado : patrones de colaboración y las exigencias de la democracia profunda'.

Monográfico con el título: 'Las posibilidades de la voz del alumnado para el cambio y la mejora educativa'. Resumen basado en el de la publicación

The voice in transsexuals

Resumen basado en el de la publicaci??n

Alleviation of voice difficulties in adults

This paper discusses methods of therapy for voice disorders in adults.

An experiment in voice identification

The paper studies the role of hearing aids in voice identification by hearing-impaired children.

Overview and response to reviewers of The Singing Neanderthals

Why are humans musical? Why do people in all cultures sing or play instruments? Why do we appear to have specialized neurological apparatus for hearing and interpreting music as distinct from other sounds? And how does our musicality relate to language and to our evolutionary history? Anthropologists and archaeologists have paid little attention to the origin of music and musicality — far less than for either language or ‘art’. While art has been seen as an index of cognitive complexity and language as an essential tool of communication, music has suffered from our perception that it is an epiphenomenal ‘leisure activity’, and archaeologically inaccessible to boot. Nothing could be further from the truth, according to Steven Mithen; music is integral to human social life, he argues, and we can investigate its ancestry with the same rich range of analyses — neurological, physiological, ethnographic, linguistic, ethological and even archaeological — which have been deployed to study language. In The Singing Neanderthals Steven Mithen poses these questions and proposes a bold hypothesis to answer them. Mithen argues that musicality is a fundamental part of being human, that this capacity is of great antiquity, and that a holistic protolanguage of musical emotive expression predates language and was an essential precursor to it. This is an argument with implications which extend far beyond the mere origins of music itself into the very motives of human origins. Any argument of such range is bound to attract discussion and critique; we here present commentaries by archaeologists Clive Gamble and Iain Morley and linguists Alison Wray and Maggie Tallerman, along with Mithen's response to them. Whether right or wrong, Mithen has raised fascinating and important issues. And it adds a great deal of charm to the time-honoured, perhaps shopworn image of the Neanderthals shambling ineffectively through the pages of Pleistocene prehistory to imagine them humming, crooning or belting out a cappella harmonies as they went.