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  "text": "Passage 1:\nVocal fry register\nThe vocal fry register (also known as pulse register, laryngealization, pulse phonation, creaky voice, creak, croak, popcorning, glottal fry, glottal rattle, glottal scrape) is the lowest vocal register and is produced through a loose glottal closure that permits air to bubble through slowly with a popping or rattling sound of a very low frequency. During this phonation, the arytenoid cartilages in the larynx are drawn together, which causes the vocal folds to compress rather tightly and become relatively slack and compact. This process forms a large and irregularly vibrating mass within the vocal folds that produces the characteristic low popping or rattling sound when air passes through the glottal closure. The register (if well controlled) can extend far below the modal voice register, in some cases up to 8 octaves lower, such as in the case of Tim Storms who holds the world record for lowest frequency note ever produced by a human, a G−7, which is only 0.189 Hz, inaudible to the human ear.\nVocal fry is thought to have become more common among young female speakers of American English in the early 21st century, with the style of speaking being considered informal, nonaggressive and urban-oriented.\n\nHistory of register classification\nThe vocal fry register has been a recognized and identifiable register in American English only within the past few decades, but its characteristic sound was recognized much earlier. Discussion of the vocal fry or pulse register began first within the field of phonetics and speech therapy and did not enter the vocabulary of vocal music pedagogists until the early 1970s, when it was initially controversial. However, the controversy surrounding the term within vocal music has subsided as more research into the use of the vocal fry register within the context of singing ensued. In particular, vocal pedagogist Margaret Greene's videotaping of the physiological processes occurring in the body while singers were phonating in the vocal fry register offered solid evidence that this type of vocal phonation should be considered a vocal register from both speech pathology and vocal music perspectives. Like any other vocal register, the vocal fry register has a unique vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound that distinguishes it from other vocal registers.\n\nIn speech\nDiscussion of vocal fry is much more frequent in books related to phonetics and speech therapy than it is in those dealing with singing. Some authorities consider the use of vocal fry in speech a dysphonia, but others consider it so only if it is used excessively such as Hollien, Moore, Wendahl, and Michel:\n\nIt is simply our intent to suggest that ordinarily vocal fry constitutes one of several physiologically available types of voice production on the frequency-pitch continuum and hence, of itself, is not logically classified among the laryngeal pathologies. While the excessive use of fry could result in a diagnosis of voice disorder, this quality is too often heard in normal voices (especially in descending inflections where the voice fundamentally falls below frequencies in the modal register) to be exclusively a disorder.\nMany are quick to point out that although vocal fry is minimally a part of routine speaking patterns, the continued use of such a pattern makes it non-utilitarian or pathological.Some evidence exists of vocal fry becoming more common in the speech of young female speakers of American English in the early 21st century, but its frequency's extent and significance are disputed. Researcher Ikuko Patricia Yuasa suggests that the tendency is a product of young women trying to infuse their speech with gravitas by means of reaching for the male register and found that \"college-age Americans ... perceive female creaky voice as hesitant, nonaggressive, and informal but also educated, urban-oriented, and upwardly mobile.\"A 2014 national study of American adults found that speech with vocal fry was perceived more negatively than a voice without vocal fry, particularly in a labor market context. In young adult women, it was perceived as sounding less trustworthy, less competent, less attractive, and less hireable. The negative evaluation was stronger when the evaluator was also a woman.The national study of 800 listeners across age groups found that people making hiring decisions preferred a voice without vocal fry to one with vocal fry. A limitation of the study was that the vocal fry samples were produced by imitators rather than natural vocal fry speakers. That suggests that more research is needed, as the negative reaction could be attributable to other factors.In native speakers of American English, young women use vocal fry more frequently than men. When asked to read a passage, female speakers used vocal fry at a rate four times higher than male speakers.Some languages, such as Jalapa Mazatec, use vocal fry (creaky voice) as a linguistically significant marker; the presence or absence of vocal fry can then change the meaning of a word.\n\nSocial implications\nSome people seek out the help of speech pathologists as they feel vocal fry makes them appear unsure and less confident. Researchers have found that young adult women who use vocal fry are perceived as less competent and less hireable (listeners have less of a negative reaction to male voices). Others argue that these perceptions are part of a broader attack on women's speech.Vocal fry is generally seen as a negative characteristic in the workplace, but a study by Duke University researchers has determined the phenomenon is becoming more common and socially acceptable.\n\nIn singing\nThe croaking sound produced by male singers at the start of phrases in American country music is produced by moving from this to the modal register. Within choral music, when true basses are not available, choirs often rely on singers who can \"fry\" the low bass notes. Singers such as Tim Storms, Mike Holcomb and various other gospel basses use this technique to sing very low tones.  Some styles of folk singing showcase the vocal fry register in the female voice. Vocal fry is also used in metal music, usually in combination with air from the diaphragm, in order to create a \"growl\" or \"scream,\" which sounds aggressive and harsh.The chief use of the vocal fry register in singing is to obtain pitches of very low frequency, which are not available to the singer in the modal register. The physiological production of the vocal fry register may be extended up into the modal register. In some cases, vocal pedagogues have found the use of vocal fry therapeutically helpful to students who have trouble producing lower notes. Singers often lose their low notes or never learn to produce them because of the excessive tension of the laryngeal muscles and of the support mechanism that leads to too much breath pressure.Some throat singing styles such as kargyra use vocal techniques similar to vocal fry.\n\nSee also\nNotes\nPassage 2:\nBass (voice type)\nA bass is a type of classical male singing voice and has the lowest vocal range of all voice types. According to The New Grove Dictionary of Opera, a bass is typically classified as having a vocal range extending from around the second E below middle C to the E above middle C (i.e., E2–E4). Its tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef. Categories of bass voices vary according to national style and classification system.\nItalians favour subdividing basses into the basso cantante (singing bass), basso buffo (\"funny\" bass), or the dramatic basso profondo (low bass). The American system identifies the bass-baritone, comic bass, lyric bass, and dramatic bass.\nThe German Fach system offers further distinctions: Spielbass (Bassbuffo), Schwerer Spielbass (Schwerer Bassbuffo), Charakterbass (Bassbariton), and Seriöser Bass. These classification systems can overlap. Rare is the performer who embodies a single Fach without also touching repertoire from another category.\n\nHistory\nCultural influence and individual variation create a wide variation in range and quality of bass singers. Parts for basses have included notes as low as the B-flat two octaves and a tone below middle C (B♭1), for example in Gustav Mahler's Symphony No. 2 and the Rachmaninov's All-Night Vigil, A below that in Frederik Magle's symphonic suite Cantabile, G below that (e.g. Measure 76 of Ne otverzhi mene by Pavel Chesnokov) or F below those in Kheruvimskaya pesn (Song of Cherubim) by Krzysztof Penderecki. Many basso profondos have trouble reaching those notes, and the use of them in works by Slavic composers has led to the colloquial term \"Russian bass\" for an exceptionally deep-ranged basso profondo who can easily sing these notes. Some traditional Russian religious music calls for A2 (110 Hz) drone singing, which is doubled by A1 (55 Hz) in the rare occasion that a choir includes exceptionally gifted singers who can produce this very low human voice pitch.\nMany British composers such as Benjamin Britten have written parts for bass (such as the first movement of his choral work Rejoice in the Lamb) that center far higher than the bass tessitura as implied by the clef. The Harvard Dictionary of Music defines the range as being from the E below low C to middle C (i.e. E2–C4).\n\nIn choral music\nIn SATB four-part mixed chorus, the bass is the lowest vocal range, below the tenor, alto, and soprano. Voices are subdivided into first bass and second bass with no distinction being made between bass and baritone voices, in contrast to the three-fold (tenor–baritone–bass) categorization of solo voices. The exception is in arrangements for male choir (TTBB) and barbershop quartets (TLBB), which sometimes label the lowest two parts baritone and bass.\n\nRange and Subtypes\nBass has the lowest vocal range of all voice types, with the lowest tessitura. The low extreme for basses is generally C2 (two Cs below middle C). Some extreme bass singers, referred to as basso profondos and oktavists, are able to reach much lower than this. Within opera, the lowest note in the standard bass repertoire is D2, sung by the character Osmin in Mozart's Die Entführung aus dem Serail, but few roles fall below F2. \nAlthough Osmin's note is the lowest 'demanded' in the operatic repertoire, lower notes are heard, both written and unwritten: for example, it is traditional for basses to interpolate a low C in the duet \"Ich gehe doch rathe ich dir\" in the same opera; in Richard Strauss' Der Rosenkavalier, Baron Ochs has an optional C2 (\"Mein lieber Hippolyte\"). The high extreme: a few bass roles in the standard repertoire call for a high F♯ or G (F♯4 and G4, the one above middle C), but few roles go over F4. In the operatic bass repertoire, the highest notes are a G♯4 (The Barber in The Nose by Shostakovich) and, in the aria \"Fra l'ombre e gl'orrori\" in Handel's serenata Aci, Galatea e Polifemo, Polifemo reaches an A4.\nWithin the bass voice type category are seven generally recognized subcategories: basso cantante (singing bass), hoher bass (high bass), jugendlicher bass (juvenile bass), basso buffo (\"funny\" bass), Schwerer Spielbass (dramatic bass), lyric bass, and dramatic basso profondo (low bass).\n\nBasso cantante/lyric high bass/lyric bass-baritone\nBasso cantante means \"singing bass\". Basso cantante is a higher, more lyrical voice. It is produced using a more Italianate vocal production, and possesses a faster vibrato, than its closest Germanic/Anglo-Saxon equivalent, the bass-baritone.\n\nHoher Bass/dramatic high bass/dramatic bass-baritone\nHoher Bass or \"high bass\" or often a dramatic bass-baritone.\n\nJugendlicher Bass\nJugendlicher Bass (juvenile bass) denotes the role of a young man sung by a bass, regardless of the age of the singer.\n\nMasetto, Don Giovanni by Wolfgang Amadeus Mozart\nColline, La bohème by Giacomo Puccini\n\nBasso buffo/lyric buffo\nBuffo, literally \"funny\", basses are lyrical roles that demand from their practitioners a solid coloratura technique, a capacity for patter singing and ripe tonal qualities if they are to be brought off to maximum effect. They are usually the blustering antagonist of the hero/heroine or the comic-relief fool in bel canto operas.\n\nSchwerer Spielbass/dramatic buffo\nEnglish equivalent: dramatic bass\n\nLyric basso profondo\nBasso profondo (lyric low bass) is the lowest bass voice type. According to J. B. Steane in Voices, Singers & Critics, the basso profondo voice \"derives from a method of tone-production that eliminates the more Italian quick vibrato. In its place is a kind of tonal solidity, a wall-like front, which may nevertheless prove susceptible to the other kind of vibrato, the slow beat or dreaded wobble.\"\n\nDramatic basso profondo\nEnglish equivalent: dramatic low bass. Dramatic basso profondo is a powerful basso profondo voice.\n\nIn Gilbert and Sullivan\nAll of the Gilbert and Sullivan Savoy operas, except Patience and The Yeomen of the Guard, have at least one lead bass. Notable roles include:\n\nSee also\nCategory of basses\nFach, the German system for classifying voices\nVoice classification in non-classical music\nList of basses in non-classical music\nPassage 3:\nBasso profondo\nBasso profondo (Italian: \"deep bass\"), sometimes basso profundo, contrabass or oktavist, is the lowest bass voice type.\n\nWhile The New Grove Dictionary of Opera defines a typical bass as having a range that is limited to the second E below middle C (E2), operatic bassi profondi can be called on to sing low C (C2), as in the role of Baron Ochs in Der Rosenkavalier. Often choral composers make use of lower notes, such as G1 or even F1; in such rare cases the choir relies on exceptionally deep-ranged bassi profondi termed oktavists or octavists, who sometimes sing an octave below the bass part.\nBass singer Tim Storms holds the Guinness World Record for the \"lowest note produced by a human\".\n\nDefinition\nAccording to Rousseau (1775): \"Basse-contres – the most profound of all voices, singing lower than the bass like a double bass, and should not be confused with contrabasses, which are instruments.\"\n\nOktavist\nAn oktavist is an exceptionally deep-ranged basso profondo, especially typical of Russian Orthodox choral music. This voice type has a vocal range which extends down to A1 (an octave below the baritone range) and sometimes to F1 (an octave below the bass staff) with the extreme lows for oktavists, such as Mikhail Zlatopolsky or Alexander Ort, reaching C1.Slavic choral composers sometimes make use of lower notes such as B♭1 as in Rachmaninoff's All-Night Vigil, G#1 in \"The Twelve Brigands\" by Vladimir Pasjukov, G1 in \"Ne otverzhi mene\" by Pavel Chesnokov, or F1 in \"Kheruvimskaya pesn\" (Song of Cherubim) by Krzysztof Penderecki, although such notes sometimes also appear in repertoire by non-Slavic composers (e.g. B♭1 appears in Gustav Mahler's Second and Eighth Symphonies).\nIn popular culture, several a capella groups have bass singers with an oktavist range, such as Home Free's Tim Foust, VoicePlay's Geoff Castellucci, and Avi Kaplan formerly of Pentatonix, as well as Tony nominated broadway performer Patrick Page, each of these being able to reach down to a G1 or in some cases even lower, with Castellucci able to hit a B0 using subharmonic singing and Foust able to hit a G0 using growl.\n\nSee also\nBass\nFach\nVocal weight\nPassage 4:\nCosmos (band)\nCosmos was a Latvian a cappella band that formed in Riga in 2002. The band comprised singers Jānis Šipkēvics, Andris Sējāns (both countertenors), Juris Lisenko (tenor), Jānis Ozols (baritone), Jānis Strazdiņš (bass) and Reinis Sējāns (rhythm).\nCosmos gained national and international recognition after they were chosen to represent Latvia in the 2006 Eurovision Song Contest held in Athens, Greece with the song \"I Hear Your Heart\". Despite winning the national Eirodziesma 2006 contest, the band finished in joint sixteenth place out of the twenty-four finalists, with thirty points.\n\nDiscography\nCosmos (2003)\nPa un par (2005)\nТетради любви (2005)\nTicu un viss (2005)\nTurbulence (2008)\nPasaki man un tev (2009)\n\nExternal links\nOfficial website\nReview of Pa un par Archived 2008-10-25 at the Wayback Machine at RARB.org\nPassage 5:\nCosmos Holidays\nCosmos (formerly Cosmos Tours) is a UK independent tour operator providing a range of package holidays to the UK market. The tour operator is connected to the international Globus Travel Group, founded in 1928, which remains family owned with headquarters in Lugano, Switzerland. Under parent company Cosmos Tours Ltd, the tour operator offers holidays through two brands: Cosmos and Avalon Waterways.\nCosmos Holidays was founded in 1961 as Cosmos Tours. It became Cosmos Holidays in 1987. After Globus Travel Group sold Monarch Travel Group to Greybull Capital in October 2014, Monarch stopped using Cosmos as a Monarch Group brand in 2015. However, in March 2017 it was announced that Cosmos Tours had regained full rights and licences to the Cosmos brand and Monarch would change its corporate name from Cosmos Holidays Limited to Monarch Holidays Limited.\n\nBackground\nOrigins of Cosmos (1928–1986)\nIn 1928, Antonio Mantegazza started a company specialising in coach touring called Globus Viaggi.  The company began with a fleet of 12 coaches which operated local excursions for European tourists in Switzerland.  By 1950, Globus Viaggi had grown to a fleet of 33 coaches and featured overnight excursions to Rome, Venice, the Dolomites and the French Riviera.  Gradually these became regular scheduled tours and grew longer to cover more ground.  Later that decade Globus pioneered the concept of Grand European Touring by offering first-class European tours to North Americans.\nCosmos Tours was founded in the UK in 1961 by Sergio Mantegazza. The company was created to provide British customers with affordable package holidays by coach and air travel to Europe.  Destinations included Italy, Spain, Switzerland, and Austria by motor coach from London’s Victoria station, and by flights from Southend and Lympne airports.  Although the company's main programme focused on motor coach tours, it soon increased the choice of air package holidays too.  In 1968, the success of the company's air package holidays allowed Cosmos to form the airline Monarch Airlines.Throughout the 1970s and 1980s, Cosmos Tours increased its UK departure airports to include Manchester, Birmingham, Glasgow, Edinburgh and East Midlands, serving new destinations including Portugal, Yugoslavia, Greece, Malta and Tunisia, and longhaul destinations such as Florida, Thailand and Mexico.\nIn 1986 Cosmos Tours became the first mainstream operator in the UK to launch a Christmas Lapland programme.\n\nExpansion (1987–2009)\nIn 1987, the company changed its name from Cosmos Tours to Cosmos Holidays.\nIn September 1991, the Globus Travel Group acquired 80% of Avro Plc, a flight-only company set up by Paul Dendle. This acquisition enhanced the company’s charter seat-only presence in the market. In 1994, the Globus Group acquired the remaining 20%.\nIn 1994, Cosmos launched a direct-sell brand, Archers Direct (later Archers Holidays, shut down in November 2018), featuring a worldwide touring programme.\nIn 2002, Cosmos launched an accommodation-only brand, somewhere2stay, which supplied hotel, apartment and villa accommodation to the UK travel trade. Four years after launching somewhere2stay, sales made up £20-£40 million of an estimated £300-£350 million turnover in the accommodation-only sector. During 2006, the decision was made to run somewhere2stay separately from Cosmos Holidays.In 2007, Cosmos announced they would introduce package holidays using Monarch’s full range of scheduled flights, in line with the expansion plans announced by the airline during the same year.In 2009, executive chairman, Iain Rawlinson announced plans to reinvent the company as a scheduled carrier, after the company made financial losses. It was predicted at the time that the parent company of Cosmos Holidays would make a loss of around £45 million. During the same year, media coverage suggested there were problems with their approach. The Mantegazza family from Switzerland, which had owned Group Voyagers since its foundation, invested money into the group to cover the losses.\n\nConsolidation (2014-present)\nIn 2014, the Mantegazza family announced plans to sell Monarch Holdings Ltd. Subsidiaries included Monarch Airlines, Monarch Aircraft Engineering, First Aviation, Cosmos Holidays, somewhere2stay and Avro. On 31 October 2014, the holiday group was sold to venture capitalists, Greybull Capital. Cosmos Tours & Cruises was retained by the Mantegazza Family.In 2016, Cosmos introduced a private tour programme based on existing tour itineraries in Asia, Africa and India with a private guide/driver included.\nFrom 1 April 2017, the tour operator regained all rights to the brand Cosmos, having reached a formal agreement with Monarch which terminated the licence covering the use of the name.\n\nDestinations\nCosmos provides tours, cruises and rail journeys in over 40 countries, flying from up to 27 UK airports.\nThe tour operator with its origins in touring in Italy, offers holidays across Europe and the Mediterranean.  Other destinations include North America & Canada, Central & South America, Asia and the Far East, Africa, the Persian Gulf, Indian Ocean, Australia and New Zealand.\nIn recent years, river and ocean cruises have been added to the product range of tours.\n\nAwards\nCosmos has been shortlisted for travel industry and consumer awards including the TTG Travel Awards, the Globe Travel Awards, British Travel Awards as well as World of Cruising’s Wave Awards, and Cruise International’s Cruise Awards.\nPassage 6:\nList of basses in non-classical music\nThe bass singing voice has a vocal range that lies around the second E below middle C to the E above middle C (i.e., E2–E4). As with the contralto singing voice being the rarest female voice type, the bass voice is the rarest for males, and has the lowest vocal range of all voice types. However, the bass voice is determined not only by its vocal range, but also by its timbre, which tends to be darker than that of a baritone voice.\nThe term bass was developed in relation to classical and operatic voices, where the classification is based not merely on the singer's vocal range but also on the tessitura and timbre of the voice. For classical and operatic singers, their voice type determines the roles they will sing and is a primary method of categorization. In non-classical music, singers are primarily defined by their genre and their gender and not by their vocal range. When the terms soprano, mezzo-soprano, contralto, tenor, baritone, and bass are used as descriptors of non-classical voices, they are applied more loosely than they would be to those of classical singers and generally refer only to the singer's perceived vocal range.\nThe following is a list of singers in country, popular music, jazz, and musical theatre who have been described as basses.\n\nList of names\nGallery\nSee also\nVoice classification in non-classical music\nList of baritones in non-classical music\nList of tenors in non-classical music\nList of contraltos in non-classical music\nList of mezzo-sopranos in non-classical music\nList of sopranos in non-classical music\nVoice type\n\nNotes\nPassage 7:\nAlto\nThe musical term alto, meaning \"high\" in Italian (Latin: altus), historically refers to the contrapuntal part higher than the tenor and its associated vocal range. In 4-part voice leading alto is the second-highest part, sung in choruses by either low women's or high men's voices. In vocal classification these are usually called contralto and male alto or countertenor.\nSuch confusion of \"high\" and \"low\" persists in instrumental terminology. Alto flute and alto trombone are respectively lower and higher than the standard instruments of the family (the standard instrument of the trombone family being the tenor trombone), though both play in ranges within the alto clef. Alto recorder, however, is an octave higher, and is defined by its relationship to tenor and soprano recorders; alto clarinet is a fifth lower than B-flat clarinet, already an 'alto' instrument. There is even a contra-alto clarinet, (an octave lower than the alto clarinet), with a range B♭0 – D4.\n\nEtymology\nIn choral music for mixed voices, \"alto\" describes the lowest part commonly sung by women. The explanation for the anomaly of this name is to be found not in the use of adult falsettists in choirs of men and boys but further back in innovations in composition during the mid-15th century. Before this time it was usual to write a melodic cantus or superius against a tenor (from Latin tenere, to hold) or 'held' part, to which might be added a contratenor, which was in counterpoint with (in other words, against = contra) the tenor. The composers of Ockeghem's generation wrote two contratenor parts and designated them as contratenor altus and contratenor bassus; they were respectively higher and lower than the tenor part. From these derive both the modern terms \"alto\" (and contralto) and \"bass\".\n\nSolo voices\nThe contralto voice is a matter of vocal timbre and tessitura as well as range, and a classically trained solo contralto would usually have a range greater than that of a normal choral alto part in both the upper and lower ranges. However, the vocal tessitura of a classically trained contralto would still make these singers more comfortable singing in the lower part of the voice. A choral non-solo contralto may also have a low range down to D3 (thus perhaps finding it easier to sing the choral tenor part), but some would have difficulty singing above E5. In a choral context mezzo-sopranos and contraltos might sing the alto part, together with countertenors, thus having three vocal timbres (and two means of vocal production) singing the same notes.The use of the term \"alto\" to describe solo voices is mostly seen in contemporary music genres (pop, rock, etc.) to describe singers whose range is lower than that of a mezzo-soprano but higher than that of a true contralto, and is very rarely seen in classical music outside of soloists in choral works. In classical music, most women with an alto range would be grouped within mezzo-sopranos, but many terms in common usage in various languages and in different cultures exist to describe solo classical singers with this range. Examples include contralto, countertenor, haute-contre, and tenor altino, among others.\n\nIn choral music\nIn SATB four-part mixed chorus, the alto is the second-highest vocal range, above the tenor and bass and below the soprano. The alto range in choral music is approximately from F3 (the F below middle C) to F5 (the second F above middle C). In common usage, alto is used to describe the voice type that typically sings this part, though this is not strictly correct. Alto, like the other three standard modern choral voice classifications (soprano, tenor and bass) was originally intended to describe a part within a homophonic or polyphonic texture, rather than an individual voice type; neither are the terms alto and contralto interchangeable or synonymous, though they are often treated as such.\nAlthough some women who sing alto in a choir are contraltos, many would be more accurately called mezzo-sopranos (a voice of somewhat higher range and different timbre). Men singing in this range are countertenors, although this term is a source of considerable controversy, some authorities preferring the usage of the term \"male alto\" for those countertenors who use a predominantly falsetto voice production (boys singing in their natural range may be termed \"boy altos\").\n\nSee also\nVoice classification in non-classical music\nPassage 8:\nList of contraltos in non-classical music\nThe contralto singing voice has a vocal range that lies between the F below \"middle C\" (F3) to two Fs above middle C (F5) and is the lowest type of female voice.  In the lower and upper extremes, some contralto voices can sing from two Bs below middle C (B2) to two B♭s above middle C (B♭5).The term contralto was developed in relation to classical and operatic voices, where the classification is based not merely on the singer's vocal range but also on the tessitura and timbre of the voice. For classical and operatic singers, their voice type determines the roles they will sing and is a primary method of categorization. In classical music, a \"pure\" contralto is considered the rarest type of female voice. In non-classical music, singers are primarily defined by their genre and their gender, not their vocal range. When the terms soprano, mezzo-soprano, contralto, tenor, baritone, and bass are used as descriptors of non-classical voices, they are applied more loosely than they would be to those of classical singers and generally refer only to the singer's perceived vocal range. Contemporarily, the informal term alto is sometimes used interchangeably with contralto.The following is a list of singers in country, popular music, jazz, and musical theatre who have been described as contraltos.\n\nList of names\nSee also\nList of mezzo-sopranos in non-classical music\nList of sopranos in non-classical music\nList of basses in non-classical music\nList of baritones in non-classical music\nList of tenors in non-classical music\nList of operatic contraltos\nVoice classification in non-classical music\nVoice type\n\nNotes\nPassage 9:\nGeorgia Brown (Brazilian singer)\nRossana Monti, better known by the stage name Georgia Brown, is a Brazilian singer noted for her extensive vocal range.\n\nCareer\nAt the age of fifteen, Brown toured as backup vocalist for Brazilian singer Jorge Ben, during his \"W Brasil Tour\" in 1995. Following the conclusion of the tour, she entered in contests \"Skol Rock\" and \"Fest Valda\". In 1997, Brown relocated to California in the United States of America to begin recording her first album. In 2001, Brown released her debut album \"Black Nature\". The album spawned the singles: \"Commit A Crime\" and \"Hold On\". Following the release of her debut album, she headlined her first tour \"Black Nature Tour\". In 2002, \"Black Nature\" was certified gold in Brazil with sales in excess of 120,000 copies.\nIn 2003, she released a single \"Forgiven\". The song was remixed by DJ Patife and featured on his album \"Na Estrada\", released in 2005. In 2004, she released her second album Heart Beats, which became certified platinum in Brazil. She headlined first international tour \"Heart Beats World Tour\" in 2004. In the same year, Brown broke American singer Mariah Carey's vocal records on Guinness World Records and received a certificate for two records: \"World's Greatest Vocal Range by a Female B2-F8\" and \"World's Highest Note \"F8\".In 2006, Brown began recording her third album. In 2008, she released her third studio album The Renascence of Soul. In 2010, Brown released house music single titled \"Love 4 Real\". In 2012, she released an extended play entitled Me & Myself.\nIn July 2018, Brown released a single \"#HighVibration (Sweet Sensation)\".\n\nDiscography\nAlbumsBlack Nature (2001)\nHeart Beats (2004)\nThe Renascence of Soul (2008)\nMe & Myself – EP (2012)Singles\"Commit A Crime\" (2001)\n\"Hold On\" (2001)\n\"Forgiven\" (2003)\n\"Lost Love\" (2004)\n\"Art A Shield for Me\" (2008)\n\"Save My Soul\" (2008)\n\"Loneliness\" (2009)\n\"Love 4 Real\" (2010)\n\"#HighVibration (Sweet Sensation)\" (2018)\nPassage 10:\nRange (music)\nIn music, the range, or chromatic range, of a musical instrument is the distance from the lowest to the highest pitch it can play. For a singing voice, the equivalent is vocal range. The range of a musical part is the distance between its lowest and highest note.\n\nCompass\nAmong British English speakers, and perhaps others, compass means the same thing as chromatic range—the interval between the lowest and highest note attainable by a voice or musical instrument.\n\nOther ranges\nThe terms  sounding range, written range,  designated range, duration range and dynamic range have specific meanings.\nThe sounding range refers to the pitches produced by an instrument, while the written range refers to the compass (span) of notes written in the sheet music, where the part is sometimes transposed for convenience. A piccolo, for example, typically has a sounding range one octave higher than its written range. The designated range is the set of notes the player should or can achieve while playing. All instruments have a designated range, and all pitched instruments have a playing range. Timbre, dynamics, and duration ranges are interrelated and one may achieve registral range at the expense of timbre. The designated range is thus the range in which a player is expected to have comfortable control of all aspects.\nThe duration range is the difference between the shortest and longest rhythm used. Dynamic range is the difference between the quietest and loudest volume of an instrument, part or piece of music.\n\nRange limits\nAlthough woodwind instruments and string instruments have no theoretical upper limit to their range (subject to practical limits), they generally cannot go below their designated range.  Brass instruments, on the other hand, can play beyond their designated ranges. Notes lower than the brass instrument's designated range are called pedal tones. The playing range of a brass instrument depends on both the technical limitations of the instrument and the skill of the player.\nClassical arrangements seldom make woodwind or brass instruments play beyond their designed range. String musicians play the bottom of their ranges very frequently, but the top of a string instrument's range is rather fuzzy, and it is unusual for a string player to exceed the designated range. It is quite rare for wind musicians to play the extremes of their instruments. The most common exception is that in many 20th century works, pedal tones are called for in bass trombones.\nThis chart uses standard numberings for octaves where middle C corresponds to C4. In the MIDI language middle C is referred to as MIDI note number 60.\nThe lowest note that a pipe organ can sound (with a true pipe) is C−1 (or CCCC), which is 8 Hz, below the range of human hearing and not visible on this chart. However, if acoustic combination (a note and its fifth) counts, the lowest note is C−2 (or CCCCC), which is 4 Hz.\nIn terms of recording and reproduction, many speakers have a low limit of around 40–60 Hz.\n\nTypical ranges\n*This chart only displays down to C0, though some pipe organs, such as the Boardwalk Hall Auditorium Organ, extend down to C−1 (one octave below C0). Also, the fundamental frequency of the subcontrabass tuba is B♭−1.\n\nSee also\nTessitura\nExtension (music)\nSub-bass\nHearing range",
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      "question": "Who had the lowest vocal range in Cosmos?"
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