The voice as timbral entity has proved especially resistant to analysis. Focusing on the voice of black South African choralism, this essay attempts to do two things: provide an account of the colonial-historical conditions – political acts and “structural aesthetics” – in which the black choral voice was fashioned, and then, through an approach one might call the “phonetics of timbre”, describe that voice's sonic identity.
No takes yet. Share an insight, caveat, or question.
Grant Olwage (2004) studied this question.
Synapse has enriched 5 closely related papers on similar clinical questions. Consider them for comparative context: