From maximal to minimal voice - concepts for evaluating vocal sounds in electroacoustic music

摘要: Introduction In this paper I would like to give the outlines of a theoretical framework that can be used in analysing, evaluating and classifying electronically transformed voices within acousmatic electroacoustic works. The presentation is based on an ongoing doctoral project its second year, by no means fully developed theory, but will nevertheless idea direction my research has taken so far. aim show how different conditions contribute more or less integrated, coherent stable images active sound-producing being responsible for perceived sound, which we, adopting one Michel Chion’s terms, call acousmetre. Thus, topic seen as special case what commentators Denis Smalley source/cause relationship, dealing not only with sound itself imagined origin sounds. However, voice, relationship highly complex multidimensional due voice’s status human relations communication. Also, our sounds vocal particular kind, general familiarity both from perception production point view. comments vocosentric character cinema, probably also apply “vocal” music: “There are voices, then everything else” (Chion: 5), meaning when voice present it sets up hierarchy perception, centring voice. As, Chion states, paraphrasing Christiane Sacco, “presence structures sonic space containing [...] If part [a space], ear inevitably carried toward it, picking out, structuring whole around it. attempts analyze order extract – peels sqeezes fruit always tries localize if possible identify voice” (loc.cit.). music, structuring, localizing, identifying extracting wholly dependent “condition” heard, their felt presence meaningfulness, degree they all together. It