voice

1. 1. The sound produced by the vocal organs of a vertebrate, especially a human.
   2. The ability to produce such sounds.
2. A specified quality, condition, or pitch of vocal sound: a hoarse voice; the child's piping voice.
3. Linguistics. Expiration of air through vibrating vocal cords, used in the production of vowels and voiced consonants.
4. A sound resembling or reminiscent of vocal utterance: the murmuring voice of the forest.
5. Music.
   1. Musical sound produced by vibration of the human vocal cords and resonated within the throat and head cavities.
   2. The quality or condition of a person's singing: a baritone in excellent voice.
   3. A singer: a choir of excellent voices.
   4. One of the individual vocal or instrumental parts or strands in a composition: a fugue for four voices; string voices carrying the melody. Also called voice part.
6. 1. Expression; utterance: gave voice to their feelings at the meeting.
   2. A medium or agency of expression: a newsletter that serves as a neighborhood voice.
   3. The right or opportunity to express a choice or opinion: a territory that has a voice, but not a vote, in Congress.
7. Grammar. A property of verbs or a set of verb inflections indicating the relation between the subject and the action expressed by the verb: “Birds build nests” uses the active voice; “nests built by birds” uses the passive voice. Also called diathesis.
8. The distinctive style or manner of expression of an author or of a character in a book.

1. To give voice to; utter: voice a grievance. See synonyms at vent¹.
2. Linguistics. To pronounce with vibration of the vocal cords.
3. Music.
   1. To provide (a composition) with voice parts.
   2. To regulate the tone of (the pipes of an organ, for example).
4. To provide the voice for (a cartoon character or show, for example): The animated series was voiced by famous actors.

at the top of (one's) voice

1. As loudly as one's voice will allow.

1. In complete agreement; unanimously.

[Middle English, from Old French vois, from Latin vōx, vōc-.]

Voice production is dependent on the flow of air from the lungs via the trachea and through the gap between the vocal folds (known more familiarly as vocal cords) in the larynx and out past the lips. The vocal folds are separated relatively widely during quiet breathing, but come closely together during sound production (phonation). The position of the vocal folds during speech determines in part the type of sounds produced. Voiced sounds such as vowels and certain consonants such as b, d, and g require vibration of the vocal folds, while voiceless sounds such as the consonants p, t, and k require the vocal folds to be wide apart. Voiceless sounds are produced by turbulence in the upper vocal tract.

To produce sounds the vocal folds are brought together by the muscles of the larynx. At the same time, the respiratory muscles of the chest wall that assist expiration cause the air pressure immediately below the vocal folds to increase, pushing them apart. As the air escapes between them through the larynx, the pressure below the vocal folds decreases and they come together; the pressure beneath the folds rises again, and the process repeats itself. This rapid opening and closing of the vocal folds produces vibration that we perceive as voice.

— Marjorie Lorch

See also larynx; singing; speech.

noun

1. A person who sings: singer, songster, songstress, vocalist. See performing arts.
2. The act or an instance of expressing in words: articulation, expression, statement, utterance, verbalization, vocalization. See words.
3. The right or chance to express an opinion or participate in a decision: say, suffrage, vote. Informal say-so. See participate/abstain.

verb

To put into words: articulate, communicate, convey, declare, express, say, state, talk, tell, utter¹, vent, verbalize, vocalize. Idioms: givetongueventvoiceto. See words.

Definition: express opinion; put into words
Antonyms: be quiet

To phone someone, as opposed to emailing them or connecting in talk mode. “I'm busy now; I'll voice you later.”

Sound produced primarily by the vibration of the vocal bands.

A. O. Hirschman's term to categorize the expression of grievances and demands on leaders by members of a political organization. Where the option of leaving the organization is reduced or eliminated, the threat of exit becomes non-credible, and members will be forced to voice their discontent through internal pressure.

— Stewart Wood

voice, a rather vague metaphorical term by which some critics refer to distinctive features of a written work in terms of spoken utterance. The voice of a literary work is then the specific group of characteristics displayed by the narrator or poetic ‘speaker’ (or, in some uses, the actual author behind them), assessed in terms of tone, style, or personality. Distinctions between various kinds of narrative voice tend to be distinctions between kinds of narrator in terms of how they address the reader (rather than in terms of their perception of events, as in the distinct concept of point of view). Likewise in non‐narrative poems, distinctions can be made between the personal voice of a private lyric and the assumed voice (the persona) of a dramatic monologue.

For more information on voice, visit Britannica.com.

Paranormal voices may be objective or subjective. The latter category is covered by clairaudience. The former is on the borderline of apparitions, as in the biblical statement: "And he fell to the earth, and heard a voice saying unto him: Saul, Saul, why persecutest thou me? … And the men which journeyed with him stood speechless, hearing a voice, but seeing no man." (Acts 9:4, 7).

According to Eusebius, a spirit voice was heard by the crowds at the martyrdom of Bishop Polycarp: "Be brave, Oh Polycarp." St. Francis, praying in a little ruined church, heard a voice from the painted wooden crucifix before which he knelt: "Francis, seest thou not that my house is being destroyed? Go, therefore, and repair it for me."

Joan of Arc was started on her mission by voices. "A very bright cloud appeared to her and out of the cloud came a voice." The sentence of death was based on admission of her monitary voices. She heard them first at thirteen years of age. They came mainly when she was awake, but also roused her sometimes from sleep. They were not always intelligible. She believed in them implicitly. The predictions of the voices were mainly fulfilled: the siege of Orleans was raised, Charles VII was crowned at Rheims and Joan was wounded, all as foretold. The preacher George Fox stated in his Journal:

"When my troubles and torments were great, when all my hopes in men were gone so that I had nothing outwardly to help me, nor could I tell what to do, then, O then, I heard a voice which said: 'There is one, even Jesus Christ, that can speak to thy condition.' When I heard it my heart did leap for joy."

Dr. Edwin Ash, in his book Faith and Suggestion (1912), described the case of Dorothy Kerin, who, after a long illness and on the point of death, suddenly heard a voice say "Dorothy." She woke up and saw the bed enveloped in light and a beautiful woman holding an Annunciation lily in her hand, saying "Dorothy, you are quite well," putting the stress on "quite." She became instantly well. For her own account, see Dorothy Kerin's book The Living Touch (1919).

There are various types of clairaudience. As a conscious subjective phenomenon, many writers, from Socrates onward, have claimed that their works were dictated by an inner voice. In automatic writing, psychics and Spiritualist mediums are usually unaware what is being written through their hands. Many Spiritualist mediums go into trance and apparently transmit messages from the spirits of the dead through their own vocal organs, sometimes with the tones and mannerisms of the deceased, but often only an approximation. Inspirational speakers, or channelers, also occasionally speak with the voices of spirit entities, while at other time employing their own vocal mannerisms with only the message being dictated by inner inspiration.

In the case of a clairvoyant, images of the deceased are perceived and described by the mediums, sometimes in conjunction with clairaudient messages. Both clairvoyance and clairaudience are classed as mental phenomena, involving extrasensory perception. In such cases, the voices may be paranormal in origin, but not in manifestation, and sometimes they may be more reasonably credited to unconscious mental activity.

Much controversy has surrounded the phenomenon of " direct voice " in Spiritualist séances, where spirits are claimed to speak independently of the medium, either through a trumpet or through a "voice box" built up from ectoplasm drawn from the medium. Both the use of trumpets and the idea of ectoplasm have been largely abandoned.

In line with modern technological developments, a new type of paranormal vocal phenomenon has emerged—" Raudive voices, " or " electronic voice phenomenon. " It is claimed that messages, often individual words or phrases apparently from deceased individuals, have appeared paranormally on audiotape recordings. In spite of much research, the evidence is ambiguous, as some apparent successes might be due to a mediumistic power of the investigator, rather than to some susceptibility of audiorecording to communications from deceased individuals.

A variant phenomenon which has been reported anecdotally in modern times is the "electronic visual (or video) phenomenon," in which it is believed that paranormal images have appeared on videotape recordings. Much research remains to be done before such claims can be valida ted.

Sources:

Ellis, David. The Mediumship of the Tape Recorder. Pulbo-rough, U.K.: D. J. Ellis, 1978.

Lang, Andrew. The Valet's Tragedy and Other Studies. London: Longmans Green, 1903.

Raudive, Konstantin. Breakthrough: An Amazing Experiment in Electronic Communication with the Dead. Gerrards Cross, UK: Colin Smythe; New York: Taplinger, 1971. Reprint, New York: Lancer Books, 1973.

Smith, Hester Travers. Voices from the Void. London: William Rider, 1919.

Stokes, Doris. Voices in My Ear. London: Futura, 1981.

Swaffer, Hannen. Adventures with Inspiration. London: Kennerly, Morely and Mitchell, 1929.

The sound produced by the voice organs of the vocal cords, the soft palate and the nasal cavities. In birds it is the syrinx that plays the major part in what passes for voice.

• v. abnormalities — the normal voice patterns of barking, yelping, whining, whimpering, howling, baying, purring, meowing, bleating, mooing, bellowing, lowing, neighing, squealing, whinnying, whickering, nickering or grunting may be abnormal in that they are repeated ad nauseam, or are hoarse or altered in some other way. The myriad voices of birds and exotic species may be similarly affected. They may also be absent altogether so that the animal goes through the motions of making a call but no sound ensues.
• v. box — see larynx.

the agent or agency who is speaking throughout a poem.

Quotes:

"The sweetest of all sounds is that of the voice of the woman we love." - Jean De La Bruyere

"A man's style is his mind's voice. Wooden minds, wooden voices." - Ralph Waldo Emerson

"At some glad moment was it nature's choice to dower a scrap of sunset with a voice?" - Edgar Fawcett

"It is the still, small voice that the soul heeds, not the deafening blasts of doom." - William Dean Howells

"The human voice is the organ of the soul." - Henry Wadsworth Longfellow

"Then read from the treasured volume the poem of thy choice, and lend to the rhyme of the poet the beauty of thy voice." - Henry Wadsworth Longfellow

See more famous quotes about Voice

A voice in a dream could be another part of ourselves trying to get our attention, either our unconscious or an aspect we have cut ourselves off from. A dream voice could also be drawing on the meaning of expressions like "a voice in the wilderness" or to "speak with one voice."

This article needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (June 2009)

Grammatical categories

Animacy Aspect Case Clusivity Definiteness Degree of comparison Evidentiality Focus Gender Mood Noun class Number Person Polarity Tense Topic Transitivity Voice

v • d • e

In grammar, the voice (also called diathesis) of a verb describes the relationship between the action (or state) that the verb expresses and the participants identified by its arguments (subject, object, etc.). When the subject is the agent or actor of the verb, the verb is in the active voice. When the subject is the patient, target or undergoer of the action, it is said to be in the passive voice.

For example, in the sentence:

The cat ate the mouse.

the verb "ate" is in the active voice, but in the sentence:

The mouse was eaten by the cat.

the verbal phrase "was eaten" is passive.

In a transformation from an active-voice clause to an equivalent passive-voice construction, the subject and the direct object switch grammatical roles. The direct object gets promoted to subject, and the subject demoted to an (optional) complement. In the examples above, the mouse serves as the direct object in the active-voice version, but becomes the subject in the passive version. The subject of the active-voice version, the cat, becomes part of a prepositional phrase in the passive version of the sentence, and could be left out entirely.

Contents 1 The passive voice in English 2 The middle voice 3 Other grammatical voices 4 The passive voice in topic-prominent languages 5 The fourth person in Baltic-Finnic languages 6 The autonomous in Celtic languages 7 Dynamic and static passive 7.1 In German 7.2 In Spanish 7.3 In Italian 7.4 In Venetian 8 List of voices 9 Notes 10 References 11 See also

The passive voice in English

Main article: English passive voice

The English language uses a periphrastic passive voice; that is, it is not a single word form, but rather a construction making use of other word forms. Specifically, it is made up of a form of the auxiliary verb to be and a past participle of the main verb. In other languages, such as Latin, the passive voice is simply marked on the verb by inflection: poemam legit "He reads the poem"; poema legitur "The poem is read".

The middle voice

Further information: Deponent verb, Reflexive verb, Mediopassive voice and Unaccusative verb

Some languages (such as Sanskrit, Icelandic and Ancient Greek) have a middle voice. The middle voice is in the middle of the active and the passive voice because the subject cannot be categorized as either agent or patient but has elements of both. An intransitive verb that appears active but expresses a passive action characterizes the English middle voice. For example, in The casserole cooked in the oven, cooked appears syntactically active but semantically passive, putting it in the middle voice. In Classical Greek, the middle voice is often reflexive, denoting that the subject acts on or for itself, such as "The boy washes himself", or "The boy washes". It can be transitive or intransitive. It can occasionally be used in a causative sense, such as "The father causes his son to be set free", or "The father ransoms his son".

Many deponent verbs in Latin represent survivals of the Proto-Indo-European middle voice; many of these in turn survive as obligatory pseudo-reflexive verbs in the Romance languages such as French and Spanish.

Other grammatical voices

Some languages have even more grammatical voices. For example, Classic Mongolian features five voices: active, passive, causative, reciprocal and cooperative.

The antipassive voice deletes or demotes the object of transitive verbs, and promotes the actor to an intransitive subject. This voice is very common among ergative languages (which may feature passive voices as well), but rare among nominative-accusative languages.

There are also phenomena that look at first glance like they change the valence of a verb, but in fact do not. So called hierarchical or inversion languages are of this sort. Their agreement system will be sensitive to an external person or animacy hierarchy (or a combination of both): 1 > 2 > 3 or Anim > Inan and so forth. E.g., in Meskwaki (an Algonquian language), verbs inflect for both subject and object, but agreement markers do not have inherent values for these. Rather, a third marker, the direct or inverse marker, indicates the proper interpretation: ne-wa:pam-e:-w-a [1-look.at-DIR-3-3Sg] "I am looking at him", but ne-wa:pam-ekw-w-a [1-look.at-INV-3-3Sg] "He is looking at me". Some scholars (notably Rhodes) have analyzed this as a kind of obligatory passivization dependent on animacy, while others have claimed it is not a voice at all, but rather see inversion as yet another kind of alignment type, parallel to nominative/accusative, ergative/absolutive, split-S, and fluid-S alignments.

The passive voice in topic-prominent languages

Topic-prominent languages like Mandarin tend not to employ the passive voice as frequently. Mandarin-speakers construct the passive voice by using the coverb bèi and rearranging the usual word order.^[1] For example, this sentence using active voice:

Note: the first line is in Traditional Chinese while the second is Simplified Chinese.

狗	咬了	這個	男人。
狗	咬了	这个	男人。
Gǒu	yǎo-le	zhège	nánrén.
dog	bite-PERFECT	this	man
"A dog bit this man."

corresponds to the following sentence using passive voice. Note that the agent phrase is optional.

這個	男人	被	(狗)	咬了。
这个	男人	被	(狗)	咬了。
Zhège	nánrén	bèi	(gǒu)	yǎo-le.
This	man	BEI	dog	bite-PERFECT.
"This man was bitten (by a dog)."

In addition, through the addition of the auxiliary verb "to be" (shì) the passive voice is frequently used to emphasise the identity of the actor. This example places emphasis on the dog, presumably as opposed to some other animal:

這個	男人	是	被	狗	咬了。
这个	男人	是	被	狗	咬了。
Zhège	nánrén	shì	bèi	gǒu	yǎo-le.
This	man	to be	BEI	dog	bite-PERFECT.
"This man was bitten by a dog."

Although a topic-prominent language, Japanese employs the passive voice quite frequently, and has two types of passive voice, one that corresponds to that in English and an indirect passive not found in English. This indirect passive is used when something undesirable happens to the speaker.

彼	は	泥棒	に	財布	を	盗まれた。
Kare	wa	dorobō	ni	saifu	o	nusumareta.
He	TOPIC	thief	AGENT	wallet	OBJECT	steal-PASSIVE-PAST
"His wallet was stolen by a thief."

僕	は	彼女	に	嘘	を	吐かれた。
Boku	wa	kanojo	ni	uso	o	tsukareta.
I	TOPIC	her	AGENT	lie	OBJECT	tell-PASSIVE-PAST.
"I was lied to by her." (or "She lied to me.")

The fourth person in Baltic-Finnic languages

Some languages do not contrast voices, but have other interesting constructions similar to this. For example, Baltic-Finnic languages such as Finnish and Estonian have a "passive", expressed by conjugating the verb in a never-mentioned "common person" (called "passiivi" or in the older grammar theories "IV persoona" in Finnish). The function is simply leaving out the agent. Also transitivity may be used, such that the fourth-person Ikkuna hajotettiin, which uses the transitive, means "Someone broke the window", while the fourth-person Ikkuna hajosi uses the anticausative, and means "The window broke".

The autonomous in Celtic languages

Celtic languages possess a person/number inflection called the "autonomous" or "impersonal", which has been associated with a passive interpretation, though its syntax is different from canonical passives because the patient of the action is in the accusative, not the nominative. It can be translated into English as the nebulous "they", "one", or the impersonal "you". For example, the common sign interdicting tobacco consumption:

Ná	caitear	tabac
DON'T	consume-autonomous	tobacco.

The difference between the autonomous and a true passive is that to the speaker, the autonomous indicates that there is in fact no agent, whereas the passive indicates the demotion of an agent. In English, the formation of the passive allows the optional inclusion of an agent in a prepositional phrase, "by the man", etc. Where English would leave out the noun phrase, Irish uses the autonomous, where English includes the noun phrase, Irish uses its periphrastic passive - which can also leave out the noun phrase:

The tobacco	was	smoked	(by the man)
Bhí	an tabac	caite	(ag an bhfear)
Was	the tobacco	consumed	(by the man)

Dynamic and static passive

Some languages draw a distinction between static (or stative) passive voice, and dynamic (or eventive) passive voice. Examples include German, Spanish and Italian. "Static" means that an action was done to the subject at a certain point in time resulting in a state in the time focussed upon, whereas "dynamic" means that an action takes place.

In German

Static passive auxiliary verb: sein

Dynamic passive auxiliary verb: werden

Ich bin am 20. August geboren ("I was born on August 20", static)

Ich wurde am 20. August geboren ("I became born on August 20", dynamic)

In Spanish

Spanish has two verbs corresponding to English to be: ser and estar. Ser is used to form the ordinary (dynamic) passive voice:

La puerta es abierta. "The door is opened [by someone]."

La puerta es cerrada. "The door is closed [by someone]."

(Note that this construction is very unidiomatic in this case. The usual phrasing would be La puerta se cierra.) Estar is used to form what might be termed a static passive voice (not regarded as a passive voice in traditional Spanish grammar):

La puerta está abierta. "The door is open," i.e. it has been opened.

La puerta está cerrada. "The door is closed," i.e. it has been closed.

In both cases, the verb's participle is used as the complement (as is sometimes the case in English).

In Italian

Italian uses two verbs (essere and venire) to translate the static and the dynamic passive:

Dynamic passive auxiliary verb: essere and venire (to be and to come)

La porta è aperta. or La porta viene aperta. "The door is opened [by someone]" or "The door comes open [by someone]".

La porta è chiusa. or La porta viene chiusa. "The door is closed [by someone]" or "The door comes closed [by someone]".

Static passive auxiliary verb: essere (to be)

La porta è aperta. "The door is open," i.e. it has been opened.

La porta è chiusa. "The door is closed," i.e. it has been closed.

In Venetian

In Venetian (Vèneto) the difference between dynamic (true) passive and stative (adjectival) passive is more clear cut, using èser (to be) only for the static passives and vegner (to become, to come) only for the dynamic passive:

Ła porta ła vien verta. "The door is opened", dynamic

Ła porta ła xè / l'è verta. "The door is open", static

Static forms represents much more a property or general condition, whereas the dynamic form is a real passive action entailing "by someone":

èser proteto. "To be protected = to be in a safe condition", static

vegner proteto. "To be protected = to be defended (by so)", dynamic

èser considarà. "To be considered = to have a (good) reputation", static

vegner considarà. "To be taken into consideration (by people, by so)", dynamic

èser raprexentà (a l'ONU). "To be represented (at the UN) = to have a representation", static

vegner raprexentà a l'ONU (da un dełegà). "To be represented at the UN (by a delegate)", dynamic

List of voices

Voices found in various languages include:

• Adjutative voice
• Antipassive voice
• Applicative voice
• Active voice
• Causative voice
• Circumstantial voice
• Impersonal passive voice
• Mediopassive voice
• Middle voice
• Passive voice
• Reciprocal voice (subject and object perform the verbal action to each other, e. g. I cut her and she cut me)
• Reflexive voice (the subject and the object of the verb are the same, as in I cut myself)

Notes

1. ^ Li & Thompson (1981)

References

• Li, Charles N.; Thompson, Sandra A. (1981). Mandarin Chinese: A Functional Reference Grammar. Berkeley: University of California Press. ISBN 0-520-06610-3. 

See also

• Anticausative verb
• Dative shift
• Deponent verb
• Description
• E-Prime
• Grammatical conjugation
• Valency (linguistics)

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Dansk (Danish)
n. - stemme, røst, genus; om verber
v. tr. - fremføre, nævne, give stemme til, udtrykke

idioms:

• find one's voice    finde sin stemme, rømme sig
• give voice to    give udtryk for, udtrykke
• have a voice in    have noget at skulle have sagt, have medindflydelse
• in good voice    være begavet med en god sangstemme
• in voice    være begavet med en god sangstemme
• keep your voice down    tal lavt
• lose your voice    miste stemmen
• lower your voice    dæmp stemmen
• voice box    stemmeboks
• voice mail    telefonsvarer
• with one voice    enstemmigt

Nederlands (Dutch)
uiten, vertolken, stemmen, uitspreken met vibratie van stembanden, orgelpijpen bijstemmen, stem, stemgeluid, zangstem, zanger, zangstuk, het zingen, invloed, uitdrukking, uitdrukkings(recht), vervoeging van werkwoord, medezeggenschap

Français (French)
n. - voix, porte-parole, style (d'un auteur), (Ling) voix, (Phon) voix
v. tr. - exprimer, (Phon) sonoriser

idioms:

• find one's voice    travailler/placer sa voix
• give voice to    exprimer qch
• have a voice in    avoir voix au chapitre en/dans (qch)
• in good voice    être en voix
• in voice    (être) en voix
• keep one's voice down    baisser la voix
• lose one's voice    perdre sa voix
• lower one's voice    baisser le ton
• voice box    larynx
• voice mail    courrier vocal
• with one voice    d'une voix, à l'unisson

Deutsch (German)
n. - Stimme, Genus verbi, stimmhafter Laut
v. - zum Ausdruck bringen, stimmhaft aussprechen

idioms:

• find one's voice    die Sprache wiederfinden
• give voice to    etwas Ausdruck geben
• have a voice in    ein Mitspracherecht bei etwas haben
• in good voice    (gut) bei Stimme
• in voice    [gut]/nicht [gut] bei Stimme sein
• keep one's voice down    leiser sprechen
• lose one's voice    die Stimme verlieren
• lower one's voice    die Stimme senken
• voice box    Kehlkopf
• voice mail    (Comp.) Sprachpost
• with one voice    einstimmig

Ελληνική (Greek)
n. - (ανθρώπινη) φωνή, λαλιά, εκφρασθείσα επιθυμία ή γνώμη, ψήφος, (γραμμ.) φωνή, δικαίωμα έκφρασης γνώμης, δικαίωμα ψήφου
v. - εκφράζω, αρθρώνω, εκφράζω δια λόγου, διατυπώνω

idioms:

• find one's voice    βρίσκω τη φωνή μου, καταφέρνω να μιλήσω
• give voice to    εκφράζω, εξωτερικεύω
• have a voice in    μου πέφτει λόγος σε
• in good voice    (για ένα τραγουδιστή) σε φόρμα για να τραγουδήσει καλά
• in voice    (για ένα τραγουδιστή) σε φόρμα για να τραγουδήσει καλά
• keep your voice down    μίλα σιγά
• lose your voice    χάνεις τη φωνή σου
• lower your voice    χαμήλωσε τον τόνο της φωνής σου
• voice box    λάρυγγας
• voice mail    (Η/Υ) φωνητικό ταχυδρομείο
• with one voice    ομόφωνα

Italiano (Italian)
esprimere, accordare, voce, partecipazione

idioms:

• active/passive voice    modo attivo/passivo
• find one's voice    trovar la voce
• give voice to    dar voce a
• have a voice in    aver voce in
• in (good) voice    in (buona) voce
• keep your voice down    abbassare la voce, parla piano
• lose your voice    perdere la voce
• lower your voice    abbassare la voce
• voice box    laringe
• voice mail    posta orale
• with one voice    a una voce, all'unanimità

Português (Portuguese)
n. - voz (f) (Gram., Fon., Mús.), faculdade de falar (f), som (m)
v. - expressar, declarar, opinar

idioms:

• active/passive voice    voz ativa/passiva
• find one's voice    encontrar sua voz, recuperar a voz
• give voice to    expressar
• have a voice in    tomar parte na decisão
• in (good) voice    em boa voz (Mús.)
• keep your voice down    falar ou cantar em voz baixa
• lose your voice    perder a voz, ficar rouco
• lower your voice    falar mais baixo
• voice box    laringe (Anat.)
• voice mail    telefone gravador
• with one voice    a uma só voz

Русский (Russian)
голос, звук, мнение, произносить, высказывать

idioms:

• active/passive voice    активный/пассивный залог
• find one's voice    высказаться после долгого молчания
• give voice to    высказаться за что-л.
• have a voice in    иметь право выразить свое мнение
• in (good) voice    хорошо говорить, петь
• keep your voice down    молчать, не высказываться
• lose your voice    потерять голос
• lower your voice    понизить голос
• voice box    гортань
• voice mail    голосовая почта
• with one voice    единогласно

Español (Spanish)
n. - voz, sonoridad, rumor, fama, reputación
v. tr. - expresar, articular, sonorizar, afinar

idioms:

• find one's voice    recobrar el habla
• give voice to    expresar algo
• have a voice in    tener voz en (un asunto)
• in good voice    estar en buena voz (cantante), hablando o cantando del mejor modo posible
• in voice    en condiciones vocales apropiadas para cantar
• keep one's voice down    no levantes la voz, mantener baja la voz
• lose one's voice    perder la voz, quedarse afónico
• lower one's voice    bajar el tono, bajar la voz
• voice box    laringe
• voice mail    contestador automático, correo de voz
• with one voice    a una voz, por unanimidad

Svenska (Swedish)
n. - röst, ljud
v. - uttala, ge uttryck åt

中文（简体）(Chinese (Simplified))
声音, 发音能力, 嗓音, 表达, 调音, 吐露

idioms:

• find one's voice    能说话了
• give voice to    表达
• have a voice in    参与
• in good voice    嗓音好
• in voice    发票, 货物, 发货单
• keep your voice down    保持低声
• lose your voice    嗓子哑了, 倒嗓
• lower your voice    低声说话
• voice box    喉头
• voice mail    语音邮件
• with one voice    异口同声地

中文（繁體）(Chinese (Traditional))
n. - 聲音, 發音能力, 嗓音
v. tr. - 表達, 調音, 吐露

idioms:

• find one's voice    能說話了
• give voice to    表達
• have a voice in    參與
• in good voice    嗓音好
• in voice    發票, 貨物, 發貨單
• keep your voice down    保持低聲
• lose your voice    嗓子啞了, 倒嗓
• lower your voice    低聲說話
• voice box    喉頭
• voice mail    語音郵件
• with one voice    異口同聲地

한국어 (Korean)
n. - 목소리, 명령, 발언[권]
v. tr. - 목소리로 내다, 표명하다, 조율하다

idioms:

• give voice to    ~을 토로하다, ~을 표명하다, ~을 입밖에 내다
• have a voice in    ~에 발언권이 있다, ~에 대하여 선택권이 있다
• in good voice    좋은 소리로
• in voice    목소리로
• keep your voice down    목소리를 낮추어라
• with one voice    이구동성으로, 만장일치로

日本語 (Japanese)
n. - 声, 音声, 声を出す力, 声部, 歌手, 音, ことば, お告げ, 発言, 希望, 態, 表現, 発言権
v. - 声に出す, 表明する, 調律する

idioms:

• active/passive voice    能動態
• have a voice in    発言権がある
• in (good) voice    声が良く出る
• voice box    喉頭
• voice mail    ボイスメール
• with one voice    異口同音に

العربيه (Arabic)
‏(الاسم) صوت (فعل) اعرب عن, عبر عن, جهر, جاهر ب, ابدى‏

עברית (Hebrew)
n. - ‮קול, הבעת דעה, הגה קולי, הגה צלילי, קטגוריה תחבירית-סמנטית של ההבדלה בין פעלים פעילים וסבילים‬
v. tr. - ‮הפיק הגה קולי, הביע, ביטא‬

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