Call for Chapters for Edited Collection on Creak and Creaky Voices



This multidisciplinary publication brings together leading scholars and practitioners, to explore what pulse phonation is, what it can do, and how it can be framed as a cultural phenomenon. This volume will draw on a broad range of approaches, from psycholinguistics and vocal training to new materialism and queer theory. By fusing critical theoretical approaches with performance, the book will consider the processes of production and perception of pulse phonation, its uses, and meanings in contemporary culture, music, theatre, and performance art, and the place it occupies in a broader reflection on voice and sound production. The book will conclude with a series of interviews and short statements from users and listeners of creaky voices.



This will be the first thorough investigation of pulse phonation to jointly take into consideration its sociocultural, sonic, and musical aspects. We invite proposals from a broad range of methodologies, processes, and contexts. We are especially keen for case studies.



Lines of inquiry may include, but are not limited to:

       • Case studies of creaky voices in mass and niche media

       • Creak and creaky voice across cultures and languages

       • Vocal fry singing: physiology, technique, affordances, perspectives

       • Composition, notation, improvisation with creak

       • Case studies of uses of creak in music, theatre, and performance art

       • Amplifying, filtering, and recording the creaky voice

       • Post-humanism and creak, from music to cinema to video game

       • Pulse phonation in birds, mammals, and frogs

       • Perceiving creak as a listener

       • Creak, embodiment and gender, from Generation Y to the "sissy voice"

       • Somatic perspectives and psychophysical approaches

       • Training, therapy and the debate over vocal fry and voice health

       • Statements from users and listeners of creaky voices (shorter contributions)



Proposals should be sent to [log in to unmask] by 20 December 2021. Contributors can expect to receive a response by 10 January 2022. Chapter abstracts should be no longer than 300 words and should be accompanied by a biographical note of 150 words. Completed chapters should be between 4,000 and 10,000 words. Statements should be between 300 and 1,000 words. We explicitly ask that all work be original, so proposals for contributions that have been previously published elsewhere cannot be considered. Full drafts will be expected by 1 May 2022, after which we will begin the review process. The edited collection will be published in late 2022 by Jenny Stanford Publishing.



Should you have any further questions, please contact the Editor at the address listed above.



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