ABSTRACT
Chapter 6 explores similarities and differences between singers and actors. It discusses singing and speaking, how composers have exploited the spoken voice through melodrama and how various composers devise ways of notating the spoken voice. It expands the discussion into drama and music, extending into dance, and proposes that performance demands a synthesis of these disciplines, which composers might wish to incorporate into their work, beyond musical parameters. It goes further into discussions of gender-related issues of voice, working with synthetic and prosthetic voices and into composing for puppets.
