3 2 1 0
can
multiple
reader
listener
process
respire 1
notation
Volume Waveform
composition
dynamic
respiration
loud
pictorial
system
Air flow
disturbance
audible
catalogue
decay cardinal
duration
produces maintains
resonance curve
Function Non
articulation
band
heard
resonance
Theory acoustic
invisible
Pitch Forms Pressure
composition Realization
involves establishing
RESONANCE speaking
once
phonetic
respiration hum pitch
articulation attack
emerges
lines strict
one thinks in
respiration
single pitch studies
suite Realization
Jazz
excite meaning sound
multi voiced counterpoint
notated respiratory
realization superimposed
thinking
director
multiple articulation Highly
Not
range
realization Summary
Function
application
respire 1 2 1 2
solo One
generated structurally
meter velocity
performer body
episodic causal
masses One
pitches
utterance Graphic
metric
parenthesis Characteristic
pitches
poetry
Non contracted unpitched Respires
nature phone
value articulatory syntax
Multivoiced
distinctive functionally
pitches Alternations
resultant
Pitches one non
Respires
concepts establish
melody Remodeling
narrative exposition Graphisms
pitch unblocked blocked
requirements
difficulty 1 natural
place
placed regions determine
Material technology
attack
procedures
required
speakers singers
tone
transmission
6 Nasal Oral 7 Interrupt
Press Notation
material
sounded Problems Realization identify
written
1883 sections Treatise
poetry
production
realization notation establishes
Silencing
Sonority Function Nasal Guttural
coherency invisible embedded
guidelines task
sensory Activism world
intrusive
notation realization graphism
performer
pitch Recent
poetry multiple once Performance
practices
stimulus page reassembles
3 physically realize
4 Tense 5 Sonora
act prior audition
contractive groups
negation 3 8 require
performer ability
1975
Articulation Performance
Speaking Essays Introductions 19
aloud
deviation
directions micro rhythms
energies 2 2
page
phonetic
speech
Pitch multiphonics
articulation PERFORMANCE
audibility playing ear intonation
case
energy 2 1 1 2 Simultaneous
parameters determine
pressure
sounded
static vocalization pressure
tangled values Finally
decode
devaluates
energies 1 2 Waste energies 2
enumerate detail
personalities
volume pitch resonance
2 3 2 Voices Trill
Realization Mimetic treated Evaluation
Silence spectral
Sound Six
Vocal throat tongue 2
faculties
oral aspired Intonation
priorities
product activism
1 Vowel Vowels Vowels 2 Consonant
Consonant Vowels Vowel Mumbled 3 Dense Diffuse
contraction Structural
excitation emphatic
pressure pitch distortion
verse displayend
Oxford London
diagonalization Sustained respires
final
instrument graphs charts
meaning Conclusion
page echo effect
principles
realize
3 physically
4 Tense Lax Contractions Expansion
approach
audible 3 inhale nasalized 3
bassoonist poetry written
bursts
delay echo turn
life time
mid ranges intensification irony laugh
notation phonetics semantic
accuracy music methods
articulations
audibility 6 Nasal Oral Beat values 7
intentional lineal narration exposition
realization
realization
simultaneous
traits Articulation Falsetto
1 Vocal vocal Consonant 3 Dense Diffuse
Diagonalization regions aspired
Music Music 7 1986 Form
Restriction respiration MULTIPHONIC
Telephonic Radio Fields Closed
instructional development
mimicry Generative
nasal oral pathways
sensation sensation new purpose
2 artificial non functional 3 unnatural
Continuous Trill gargle directional 8 Strident
One pension Silence
Performance Comedy Satire Ritual
analytical work
inflections Schemes Compositional
ranges
renewed dropped varied
rephonolized
respire cavity
vocal respiratory
2 1 residual
Journal Society 1985
Place
Self auto experimentation
Translate Note
asking What time
encrypts
heard notation
inhale breath exhale air
invisible graphism Establish
lost phonema Rephonolization
outline traits functions materials practical
silence self analysis activism
One Song 1970
ahead forward time never back
energy
multi voices
passed interior Stand
pitch
properties laws Such system enumerates
rigid Since music
simultaneous 2
simultaneously Through
sustain prolong kind
vocalization respired articulation
5 Continuous Curvation
Along
New London 9 12
Style 3
Supreme interest 114 119 article
Unpublished
analysis civics
compounded Note
contractive intonation Diagonalization
lay out time poem
performance Specialization techniques ensemble
phrasings
Alternative Essays
Concentration instrument capabilities
Creativity Theatrics Highlights Display
Difference
Faked native Flute
Harmonics
Rephonolization Child
Tonal
Unable Translate COMPRESSED
When time
against
employed
form tactile memorial
pitch intonation finish
play poet
realization granted Not
shifts Once narration
two realization
unblocked blocked 9 Recursive I
1 secondary O
2 3
Text song
articulation articulation dialogue
cadences repetitions deviations
cavity 1 natural 2 artificial 3
clarifying
course poetry
indications composer differentiate
irrational polyrhythms Realization notation
respires 2 alternating Nullifying
time warp
2 residual Null
61
Continuous 8 Strident Mate 9
Introduction Generative
Non musicians Phonetic musical poem
composer dramatist
contexts mimetics gestural resonance beating
developed
deviation articulation
express vocalization graphically
formation periodic
invisible generative own
looks
make
meant text illustration
point
reader
reaspiration Energy Pitch
singing droning undertone transforms
song hum flute sung ARTICULATION
thematics relate
tone inflection
|
I
I
O
I
O I O
O O
O O I I O
I
I I O
O
I O I
I O
I
I
O
I
I O
O I I
O
I O O
I I O
O
O O I
I I I
I O
O O I I O I I O
I O I I
O I
O
O I
I I O I
I I O
I I
O I I
I I O
I I I
I I I O
I I O
I O I O O I
O I O
I I O I O
I I
I O
I I I O I
O
I I O
I O
I I O
I
O O O
O I
O O
I O I
O
I
I
I
I I I
I
O
O O I I
O
I O
I O I
I I I I O
I I O
I O O
I
O I
O O I
I O I I O I
I O O
I
I I
I O I
I O O
O
I
I
O
I I O
O I
O I O
I
O O I I O I I
I
I O I
O
O I O
I I O O I O I
I I
O O I I O
O I I I
I I
O I I O
I I
O I O I I O I
O
I
O I O O
I
I
I I
O O
I O I I O
O I O
I O I
O I I
I I O O
I I O I O
O
I I O
I I O I O
I
O I
I I O I
I I O O
I I I I I O I O
I O
I
O
I O I I O
I
O
I I
I
O I I
O I O
O I I
I I O I I I O
I
O I
O O O
I
O I I O I O
I O I I
O I I
O O O O O
O O O O I
O I O
I I O I
I I O I O
I
O O O O
I O I I O I I
I
I
I O I O
O
I I
I
I
O I O I O
O
I I I
O O I O I
O
I I
I I I I I O I O
O I O O I I
I O
I I O
I I I O
I I O I I O O I I O
I I O
I I O
I O
I I I O O
O O O O I
I O I I O I O I
I I O
I I O I I O I O I
O I I O I O
I I O O
I I I
O
I O I O O
I I I O I O
O I O I I I O I
O I O I
O O I I
I O
I I O O O I I O
O I
O O I
I I
O I O
I
O O I
O I I O
O
I I
O I O
I I
I I I I I
O O O O I I O
O I I I O I I
I I I I
O O
O I
I O I
I I O
I
O I
I I I I
I O
I O O
I O O I
O I I O I I I O
O I O I O
O
O O
I I
I
I I I
O O O
O I I O I O I O I I O
O I O
O I I I O I
I
I
O I O I I I I
I I I I I I
I
I
O I
O O I I O I
O
O
I
I
O
O I O I
I I O I O I I
O
I I O O
I O I O
O I I O
O O I I
O O
O
I I O I I O I O
I I O I I O
I I I I
I I
O O
I I I O O O I I
I I O O I I O O I O
I I I I
I
I
O I O I
I O I O I
O I I O I I O
O O I
O I I O I
O
I I O I I O
O I I O I
O I O I O I
I I I I O
O O
I I O
O I
I I O I
I I O I O O
O I I O
I
O I I O
|