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| Spoken or vocal characteristics that are not yet habitual. Any deviation or change in current speech and voice habits will deem affected; once such changes have been developed they seem "natural" |
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| The production of sounds-namely vowels dipthongs and consonants |
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| A vocal technique that brings attention to thoughts and ideas through variations of pitch. These changes of stress, tempo, and pitch ocurr without speech interruption and support, enhance, reflect, and amplify meaning. |
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| The tendency to replace into a previous condition or mode of oral behavior |
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| A sound family that conveys meaning within languages; the individual sound components of a word. The smallest unit of recognizable speech |
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| A factor of sound related to frequency, or the number of vibrations per unit of time. The perception of the highs and lows of a sound. |
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| A factor of sound determined by the complexity of vibrations per unit of time. The subjective interpretation of sound determined by the complexity of the vibration; The amplification of the partials- the overtones that individualize a voice. |
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| The result of the production, combination, and presentation of the individual components of vocal sound |
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| The amount of force or energy applied to the profuction of the vocal sound; sound intensity shown by sound waves |
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| Breathing while raising and lowering your shoulders |
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| Muscles located between the ribs; When contracted they elevate the rib cage |
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| The sound made by the vibrations of your vocal folds |
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| Process that amplifies and modifies the intesity of tone. Amplificaton occurs in the cavaties in your mouth, nost and throat because of either forced/sympathetic vibration. In other words, the fundamental tone produced at the vocal folds is "re-sounded" within these cavaties. |
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| The soft digestive organs in the abdomen |
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| Folds of muscle located with the larynx tha, when vibrated cause most of the sounds of speech |
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| The sound produced by the vibration of the vocal folds as a wole unit |
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| Partials give the voice its particular quality and are usually higher in pitch than the fundamental tone |
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| The amount of time that is given to a speech utterance as well as silences. How quickly or slowly speech is produced |
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| The false vocal folds that grow just above the true vocal folds |
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| The projection of an aryteniod to which the bac portion of the vocal fold is attached |
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| The choice and use of words |
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| The sensory perception of muscular movement |
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| The act of controlling loudness |
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| The influence of one speech sound on another |
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| A vocal quality characterized by insufficient nasal resonance |
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| Small growths on the vocal folds due to vocal strain |
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| A quality of voice characterized by harshness and high pitch |
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| A quality of voice characterized by scratchy sound, usually characterized by poor breathing habits and characterized by excessive opening and closing of the glottis during phonation |
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| The production of sounds- namely, vowels, diphtongs, and consonants |
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| A speech sound composed of a plosive followed by a fricative |
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| A sound composed predominatly of breath |
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| The ability to produce difficult sound combinations with rapidity and precision |
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| A speech sound in which breath or sounds waves pass though a narrow opening in the oral cavity, creating frictional noises |
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| Sometimes speakers produce an additional vowel between two consonants Example: triathlon /triathOlon |
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| The influence of one speech sound on another |
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| Pertaining to the two lips |
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| The erroneous use of the teeth in the production of sounds |
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| The release of impounded breath in the production of a plosive |
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| A linguistic error in which a repeated sound or syllable is omitted |
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| One of 2 or more words that are spelled the same but differ in meaning, pronounciation and derivation |
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| The amount of intensity given to a sounds |
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A error in which sounds are reversed in the pronunciation of words
Example:
strategy and stragety |
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| The changing of a vowel due to a change in stress |
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| The transposition of sounds in different words |
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| The combination of vowels, consonants, and dipthongs to form words |
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| The study of pure motion w/o references to the masses or forces involved in it |
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| The neurophysical feeling process; it refers to intrinsic, "self to self" sensation, perception and response |
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| The study of body motion related to speech and voice |
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| The study of the physical sensation of position, movement, tension, and stress perceived through nerve and orans in muscles, tendons & joints |
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| The study of any action energy or dynamic resulting from movement |
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| Having a sense of the beautiful characterized by a love of beuty |
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| intrisnic component of the feeling process...anything in the body that promotes sensitivity and induces awareness of sensation and perception in the body |
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| Represents the internal production of overtones or partials as a carry over from the outer fundamental senses. We search to discover the feel of these harmonic overtones through the experiencing systems of our own body NRG states and body esthetics |
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| The search and use holistic unifiers to reduce complexity; a conscious capacity to perceive the body in motion- a first step in the self-teaching process of identifying sensation, acquiring perceptions, responding to awareness, and through inner harmonic sensing, training oneself to use these feelings and their memoty images as organic directions for the body |
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| Favorable to or promoting good health; promotoing or conducive to some beneficial purpose; whole-some |
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| Relating to any behavior such as breathing that is affected by sensory involvement, spontaneous curiousty, and inner harmonic excitement or incitement |
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| The production of pleasing sound that is agreeable to the ear/ |
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| A special attribute, emphasis, or way of working that marks certain energies, individuals, things, groups, innovations, and so one. |
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