Sprechstimme

I could take it until the term Sprechstimme popped up in an article on The Supremes.

Buried Alive, The Biography of Janis Joplin Friedman, Myra 1973

The mannerisms that drive some people crazy were all there — vaults into notes from initial consonants a floor or two below; sudden shifts into near-Sprechstimme stage whisper; slide-whistle floating in high, soft phrases; a certain slipperiness of vowel (“uh” became “eh” fairly consistently).

To-morrow, and to-morrow, and to-morrow Matthew Guerrieri 2009

A recording of Arnold Schönberg's Sprechstimme -style setting of Albert Giraud's poem sequence "Pierrot Lunaire" is played continually in the back room.

A Teacher, a Student and Three Books William Meyers 2011

Nor is the singing allowed to be pretty: Much of it is delivered in a kind of Sprechstimme.

Waging Underclass Warfare Heidi Waleson 2011

The mannerisms that drive some people crazy were all there — vaults into notes from initial consonants a floor or two below; sudden shifts into near-Sprechstimme stage whisper; slide-whistle floating in high, soft phrases; a certain slipperiness of vowel (“uh” became “eh” fairly consistently).

Archive 2009-04-01 Matthew Guerrieri 2009

Both roles featured the swooping phrases and extreme leaps characteristic of both Chinese opera and the 20th-century song-speech technique of Sprechstimme, emphasizing the nonhuman essence of these characters without resorting to caricature.

The Sweet Smell of Success Heidi Waleson 2010

Both roles featured the swooping phrases and extreme leaps characteristic of both Chinese opera and the 20th-century song-speech technique of Sprechstimme, emphasizing the nonhuman essence of these characters without resorting to caricature.

The Sweet Smell of Success Heidi Waleson 2010

Lucy Shelton was the soprano, singing with a text-driven timbral variety that ran the gamut from whispered Sprechstimme to soaring verismo; Christoph Altstaedt conducted.

Magna Carter (3): The stuff that dreams are made of Matthew Guerrieri 2008

Both roles featured the swooping phrases and extreme leaps characteristic of both Chinese opera and the 20th-century song-speech technique of Sprechstimme, emphasizing the nonhuman essence of these characters without resorting to caricature.

The Sweet Smell of Success Heidi Waleson 2010

Both roles featured the swooping phrases and extreme leaps characteristic of both Chinese opera and the 20th-century song-speech technique of Sprechstimme, emphasizing the nonhuman essence of these characters without resorting to caricature.

The Sweet Smell of Success Heidi Waleson 2010