Title Page	3
	Copyright	4
	Table of Contents	5
	Body	9
	Dmitri Zakharine: Preface: Electrified Voices. Medial, Socio-Historical and Cultural Aspects of Voice Transfer	11
	Subject `E-voices'	11
	E-voice Recording	12
	E-voice Reproduction	12
	E-voice Transmission	13
	E-voice Reception	13
	E-voice Montage	14
	E-voice Synthesis	15
	Approaches	16
	The Content of the Volume	17
	Introduction	17
	E-voices: From Soundscape to Sound-Design	17
	Gendered E-voices and Listening Community	18
	E-voice Synthesis and E-voice Montage. Techniques and Social Meaning	21
	1920s: The Roaring Twenties	21
	1930–1940s: The Shouting Thirties	22
	1950s: The Icy Fifties	24
	1960s: The Storming Sixties	25
	1970–1980s: The Metallic Seventies	26
	1990s-2000s The Calculating Late Modernity	27
	Human Voice Cultures That Resisted Electrification	28
	Walter Sendlmeier: Introduction: Voice—Emotion—Personality	31
	1 Introduction	31
	2 Gender-Specific Effects	32
	3 Age and Voice	36
	4 Emotional Expression by Voice Quality and Speaking Style	38
	5 Voice and Personality	40
	6 Synchronic Voices	42
	7 Visual Images of Radio Presenters	43
	8 Conclusion	45
	References	46
	E-Voices: From Soundscape to Sound-Design	49
	David Sonnenschein: Sound Spheres and the Human Voice	51
	Genesis of Sound Spheres	51
	Established Models of Psychoacoustic Space and Auditory Cognition	53
	Sound Spheres Model	54
	I Think	54
	I Am	55
	I Touch	56
	I See	57
	I Know	57
	I Don't Know	58
	Multi-Sphere	59
	Conclusion	60
	References	60
	Further Readings	60
	Barry Truax: Voices in the Soundscape: From Cellphones to Soundscape Composition	61
	1 Introduction	61
	2 Models of Acoustic and Electroacoustic Communication	63
	2.1 The Energy Transfer Model	63
	2.2 The Soundscape Model and Neo-Orality	66
	2.3 An Information-Based Communication Model	70
	3 The Alternative Voice	72
	4 Conclusion	77
	References	77
	Friederike Wissmann: About the Generation of Affects in Serial Music: On Luciano Berio's Composition “Thema. Omaggio a Joyce” (1958)	81
	References	89
	Gendered E-Voices and Listening Community	91
	Philip Brophy: Evaporate Music 1: Revoicing & Gendered Vocalization	93
	Introduction: Theoretical considerations in the production of the video Evaporated Music 1 (2000 + 2004)	93
	Development	94
	Evaporation	96
	Ingrained Vocality	97
	Re-Voicing	99
	Cinesonic Voices	100
	Musical Voices	101
	Audio-Visual Vocalisation	102
	Gendered Vocalisation	103
	Conclusion	105
	References	105
	Nicola Dibben: The Intimate Singing Voice: Auditory Spatial Perception and Emotion in Pop Recordings	107
	Introduction	107
	1 Song Recordings as Expressive Performances	109
	2 Sound Spatialisation as the Creation of a Virtual Environment	112
	3 The Impact of Spatialisation on Perceptions of Interpersonal Distance and Emotion in Recordings	114
	4 Consequences of the Sonic Construction of Author-Image	116
	5 Subverting the Author-Image: Alternative Approaches to the Voice in Recorded Space	117
	References	119
	Discography	122
	Kate Lacey: Speaking Up and Listening Out: Media Technologies and the Re-Sounding of the Public Sphere	123
	Speaking Up	124
	Listening Out	130
	References	134
	Jason Loviglio: U.S. Public Radio, Social Change, and the Gendered Voice	137
	1 Introduction	137
	2 Gender and Voice	141
	3 Minority Culture and the NPR Habitus	142
	References	145
	E-Voice Synthesis and E-Voice Montage. Techniques and Social Meaning	147
	Liubov Pchelkina: The Biomechanics of Voice and Movement in the Solomon Nikritin's Projection Theatre (1920s)	149
	References	161
	Andrey Smirnov: Synthesized Voices of the Revolutionary Utopia: Early Attempts to Synthesize Speaking and Singing Voice in Post-Revolutionary Russia (1920s)	163
	Speaking Machines	164
	Synthetic Acoustics	168
	Audio Computing and the Rules-based Synthesis in the 1930s	169
	The Vibroexponator	172
	Syntone Database	173
	Timeline	184
	Acknowledgments	184
	References	184
	Lydia Kavina: Thereminvox	187
	References	199
	Further Readings	199
	Discography	200
	Dmitri Zakharine: Voice—E-Voice-Design—E-Voice-Community: Early Public Debates about the Emotional Quality of Radio and TV Announcers' Voices in Germany, the Soviet Union and the USA (1920–1940)	201
	Structural Change and Technological Change	201
	E-Voices in Narrative Film	205
	E-Voices in Documentary Film	208
	The United States	210
	Great Britain	213
	Germany	215
	Soviet Russia	221
	“Cannon Voice” Announcers and the Bass Fetishism of the 1930s	227
	Conclusions	228
	References	229
	Folke Müller: Die Tonhöhe historischer Filmstimmen als soziolinguistische Variable	233
	1 Die Untersuchung historischer Tondokumente im Rahmen der Soziolinguistik	233
	2 Die Tonhöhe und ihre soziolinguistische Wirkung	235
	3 Analysebeispiel: Annelie (1941)	240
	4 Fazit und Ausblick	244
	Literaturverzeichnis	245
	Filme	247
	Software	247
	Natascha Drubek: The Exploited Recordings: Czech and German Voices in the Film “Theresienstadt: Ein Dokumentarfilm aus dem jüdischen Siedlungsgebiet” (1944–5)	249
	Memories and Histories of the Camp and Its Media	250
	Messages from the Camp: Postcards and “Kassibers”	251
	The Unique Case of Recorded Voices from a Concentration Camp	253
	Strategies of Deception 1943–45: Theresienstadt as the Friendly Camp in the Heart of Europe	254
	About the Production of the Film and its Intended Audience	257
	Authorship in the Film and Two Layers of Sound Recordings	260
	The Chronologically Last Layer: Lampl, the Reticent Narrator	260
	The Chronologically Earliest Layer	262
	Music Recordings for the Film in 1944 and 1945	266
	Diegetical Elements in the Sound-Mix	267
	Voices and Sounds of the Subaltern	268
	Messages of the Recorded Voices	269
	References	270
	Konstantin Kaminskij: The Voices of the Cosmos. Electronic Synthesis of Special Sound Effects in Soviet vs. American Science Fiction Movies from Sputnik 1 to Apollo 8	273
	Sound For Sputnik	275
	Voices Of Venus	281
	References	289
	Hans-Ulrich Wagner: Sounds like the Sixties: Approaches to Analyze Radio Aesthetic in the Past	291
	1 Radio Times: Voices on Air	291
	2 Why Analyzing Mediated Voices in the Past?	293
	3 Why Analyzing the Sixties?	295
	4 “Radio Analysis? Sure! But How?”	296
	5 Conclusion	298
	References	299
	Susan Smith: `The shock of each moment, of still being alive'. Vocal Sensations in Boom! (Losey, 1968)	301
	References	310
	Nils Meise: “Seven-six-two millimeter. Full, metal, jacket”. Voice and Sound in Popular Late 20th Century War Movies	311
	I	313
	II	314
	III	317
	IV	318
	V	319
	References	321
	Filmography	323
	Golo Föllmer: Theoretical-methodical Approaches to Radio Aesthetics: Qualitative Characteristics of Channel-Identity	325
	1 Introduction	325
	2 The Problems of Classic Program Research	327
	3 Alternative Perspectives	329
	4 The Approach of the Radio Practitioner	330
	5 The Theoretical Approach	331
	6 Subject Matter and Methodical Approach	333
	7 Hypotheses	334
	8 Results to Date	335
	9 Summary	339
	References	340
	Further Readings	341
	Philip Preuß and Steffen Lepa: Alien Voices: The Sonic Construction of Foreignness in Science Fiction	343
	Introduction: Science Fiction and the Voco-Acoustical Construction of Alterity	343
	1 An Englishman in Washington D.C.: The Day The Earth Stood Still (USA 1951, 92 min)	346
	2 Goats, Racoons and an Old Lady with a Smoker's Lung: E.T.—The Extra-Terrestrial (USA 1982, 115 min)	349
	3 Electric Beehives and Swarming Marine Mammals: District 9 (USA, NZ, CA, SA 2009, 112 min)	352
	Conclusion: Alterity and Familiarness— The Sonic Construction of Foreignness in SciFi	355
	References	356
	Christofer Jost: Computer-Based Analysis of Audiovisual Material	359
	Einleitung	359
	Das Musikvideo als audiovisuelle Gattung	361
	Transkription – Analyse – Interpretation. Zu den grundlegenden methodologischen Anforderungen an kulturelle Artefakte	364
	„trAVis”. Auf dem Weg zu einer computergestützten Analyse von musikbasierten Medienprodukt.(ion).en	366
	Fazit und Ausblick	371
	Literaturverzeichnis	373
	Human Voice Cultures, which Resisted Electrification	377
	Bernd Brabec de Mori: A Medium of Magical Power: How to do Things with Voices in the Western Amazon	379
	Introduction: Electrified Voices do not Work	379
	Understanding Amazonian Magic	381
	The Spirits' Language	383
	How to do Things with Voices	387
	Electrification without Electricity	395
	Conclusion: Why Electrified Voices do not Work	397
	References	399
	Tanja Zimmermann: The Voice of Gusle and its Resistance Against Electrification	403
	References	410
	Authors	411