This book investigates the topics of tone, vowel harmony, and metrical structure, with special reference to Kera, a Chadic language spoken in Chad and Cameroon. Kera is a tone language where a change in the pitch of the word can make a difference to its meaning. Drawing on a decade of experience living and working with the Kera, Mary D. Pearce looks at both the phonetics and phonology to examine how tone interacts with the vowel quality and rhythm of the language. The implications arising from this research are relevant for phonologists and Africanists far beyond the boundaries of Chad and should be useful to anyone working on languages with interesting tonal and rhythmic properties.

Theorists of the soundtrack have helped us understand how the voice and music in the cinema impact a spectator's experience. James Buhler and Hannah Lewis edit in-depth essays from many of film music's most influential scholars in order to explore fascinating issues around vococentrism, the voice in cinema, and music’s role in the integrated soundtrack.

The collection is divided into four sections. The first explores historical approaches to technology in the silent film, French cinema during the transition era, the films of the so-called New Hollywood, and the post-production sound business. The second investigates the practice of the singing voice in diverse repertories such as Bergman's films, Eighties teen films, and girls' voices in Brave and Frozen. The third considers the auteuristic voice of the soundtrack in works by Kurosawa, Weir, and others. A last section on narrative and vococentrism moves from The Martian and horror film to the importance of background music and the state of the soundtrack at the end of vococentrism.

Contributors: Julie Brown, James Buhler, Marcia Citron, Eric Dienstfrey, Erik Heine, Julie Hubbert, Hannah Lewis, Brooke McCorkle, Cari McDonnell, David Neumeyer, Nathan Platte, Katie Quanz, Jeff Smith, Janet Staiger, and Robynn Stilwell