Issues of voice and representation have always been relevant in the media, but social media have raised new questions about the potential for more diverse, representative voices to appear in the media. Questions of representation are important in terms of the ability to cultivate empathy in the audience for the people represented. The contact hypothesis suggests that exposure to people through media may decrease prejudice for people perceived to belong to different groups. This article examines the pandemic-driven changes made to the Humans of New York social media project to determine the effect of a change in whose voice is privileged in this storytelling medium. This study compared quantitative calculations of engagement on Instagram as well as attempted to qualitatively analyse two sets of comments on posts to determine how this change in ‘voice’ affected the perception of and engagement with the posts and the people featured in them.
{"title":"‘Humans of New York’ during the pandemic: Giving users a voice","authors":"Jessica Roberts","doi":"10.1386/jivs_00045_1","DOIUrl":"https://doi.org/10.1386/jivs_00045_1","url":null,"abstract":"Issues of voice and representation have always been relevant in the media, but social media have raised new questions about the potential for more diverse, representative voices to appear in the media. Questions of representation are important in terms of the ability to cultivate empathy\u0000 in the audience for the people represented. The contact hypothesis suggests that exposure to people through media may decrease prejudice for people perceived to belong to different groups. This article examines the pandemic-driven changes made to the Humans of New York social media project\u0000 to determine the effect of a change in whose voice is privileged in this storytelling medium. This study compared quantitative calculations of engagement on Instagram as well as attempted to qualitatively analyse two sets of comments on posts to determine how this change in ‘voice’\u0000 affected the perception of and engagement with the posts and the people featured in them.","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47377126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As part of a sustained increase in interest in voice studies from all kinds of fields of knowledge and from a post-humanistic comprehension of voice as an assemblage, this investigation understands vocal practices as the pivot of artistic collaboration between music and sound poetry. It presents a method for analysing vocal practices in sound poetry in a creative context of artistic research in collaboration with electroacoustic music. The method involves a mixture of close listening, audio information retrieval, phonetics and morphology. It is based on a standard voice analysis of a sound poet (i.e. prepared samples) and a case-specific vocal practice (i.e. actual sound poem) with a creative rather than comparativist aim. After discussing the principle of differentiation between analysing and creating, the text offers two concrete artistic outputs of electroacoustic interventions over the vocal practice of the Uruguayan sound poet Luis Bravo’s sound poem ‘Descubrimiento del Fuego’. Finally, a set of compositive ideas based on this method are classified as either mimetic or metaphoric, according to their relationship with the obtained data. Both the concrete examples and the compositive ideas provoke unavoidable questions about current electroacoustic and vocal practices and point to discussions on voice studies about issues such as presence, virtuality, identification and materiality.
作为对各种知识领域的声音研究兴趣持续增长的一部分，以及从声音作为一个集合的后人文主义理解，本研究将声乐实践理解为音乐和声音诗歌之间艺术合作的枢纽。它提出了一种在与电声音乐合作的艺术研究的创造性背景下分析声音诗歌中的声乐实践的方法。该方法包括近听、音频信息检索、语音学和形态学的结合。它是基于一个标准的声音分析一个健全的诗人(即准备的样本)和一个案例特定的声乐练习(即实际的健全的诗)具有创造性而不是比较主义的目的。在讨论了分析和创造之间的区别原则之后，本文通过乌拉圭声音诗人Luis Bravo的声音诗歌“Descubrimiento del Fuego”的声乐实践，提供了两种具体的电声干预艺术输出。最后，根据与所获得的数据之间的关系，将基于该方法的一组综合概念划分为拟态概念和隐喻概念。无论是具体的例子还是综合的想法，都引发了对当前电声和声乐实践不可回避的问题，并指出了对声音研究的存在性、虚拟性、识别性和物质性等问题的讨论。
{"title":"Technology-assisted close listening to sound poetry vocal practices for creative musical collaboration","authors":"Federico Eisner-Sagüés","doi":"10.1386/jivs_00046_1","DOIUrl":"https://doi.org/10.1386/jivs_00046_1","url":null,"abstract":"As part of a sustained increase in interest in voice studies from all kinds of fields of knowledge and from a post-humanistic comprehension of voice as an assemblage, this investigation understands vocal practices as the pivot of artistic collaboration between music and sound poetry.\u0000 It presents a method for analysing vocal practices in sound poetry in a creative context of artistic research in collaboration with electroacoustic music. The method involves a mixture of close listening, audio information retrieval, phonetics and morphology. It is based on a standard voice\u0000 analysis of a sound poet (i.e. prepared samples) and a case-specific vocal practice (i.e. actual sound poem) with a creative rather than comparativist aim. After discussing the principle of differentiation between analysing and creating, the text offers two concrete artistic outputs of electroacoustic\u0000 interventions over the vocal practice of the Uruguayan sound poet Luis Bravo’s sound poem ‘Descubrimiento del Fuego’. Finally, a set of compositive ideas based on this method are classified as either mimetic or metaphoric, according to their relationship with the obtained\u0000 data. Both the concrete examples and the compositive ideas provoke unavoidable questions about current electroacoustic and vocal practices and point to discussions on voice studies about issues such as presence, virtuality, identification and materiality.","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43880746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Centre for Interdisciplinary Voice Studies: Ten years of voicing-with","authors":"K. Thomaidis, Ben Macpherson","doi":"10.1386/jivs_00043_2","DOIUrl":"https://doi.org/10.1386/jivs_00043_2","url":null,"abstract":"","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49626014","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This Voicing is concerned with issues of voice perception, subjectivity and gender construction and explores the possibility of addressing them through the extended voice. It gives an account of the experience of ‘Voice X’, a singer who suffered from dysphoria, tracking the gendering process of their sounding voice through adolescence and its implications with personhood and social inclusion. I argue that the extended voice can problematize the gap between that which we say and what is said by the ‘grain’ of our voice. Focusing on the meaning potential of creak ‐ taken as an example of ‘another voice’ ‐ this practice research piece puts forward the argument that any extra-normal voicing has an implicit drag potential, made explicit each time a body to-be-looked-at and a voice to-be-listened-to do not seem to match. In conclusion, I introduce the idea of ‘minor creak’ as a queer space for vocal exploration.
{"title":"Creaky voice gender","authors":"F. Venturi","doi":"10.1386/jivs_00047_1","DOIUrl":"https://doi.org/10.1386/jivs_00047_1","url":null,"abstract":"This Voicing is concerned with issues of voice perception, subjectivity and gender construction and explores the possibility of addressing them through the extended voice. It gives an account of the experience of ‘Voice X’, a singer who suffered from dysphoria, tracking\u0000 the gendering process of their sounding voice through adolescence and its implications with personhood and social inclusion. I argue that the extended voice can problematize the gap between that which we say and what is said by the ‘grain’ of our voice. Focusing on the meaning\u0000 potential of creak ‐ taken as an example of ‘another voice’ ‐ this practice research piece puts forward the argument that any extra-normal voicing has an implicit drag potential, made explicit each time a body to-be-looked-at and a voice to-be-listened-to do not seem\u0000 to match. In conclusion, I introduce the idea of ‘minor creak’ as a queer space for vocal exploration.","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43692594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The ‘Elegy on the Nightingale’ is a curious Latin poem of uncertain (but probably post-classical) date and authorship that is transmitted by several medieval manuscripts. It offers a catalogue of animal sounds rich in what linguists call iconicity, and literary scholars, onomatopoeia: to read these verses aloud is to imitate the sounds being described. The poem begins in address to the nightingale of its title, praised for her ability to make music by mimicking all she hears. By the end has the poem itself done the same? For all their playfulness, the verses strike at the heart of our own theoretical commonplaces, starting with the supposed arbitrariness of the sign, always unsettled by such examples, exceptional though they may be. So too did the writing down of non-human sounds preoccupy ancient linguists, who sought to segregate them from language proper. Nevertheless, it is difficult to deny that these sound-words conjure what they name, especially since, in many cases, it is only our ability to match their sounds to animals we can still hear that enables us to know what the poem is saying. What happens to our understanding of the poetic text as a transcription of human speech or song when we take it seriously as a recording of non-human sound? And even more dramatically, what happens to our understanding of human language when we strive (as this poem strives, albeit surreptitiously) to listen with non-human ears? With some help from the animal imaginings of Jakob von Uexküll, this article attempts some preliminary answers.
{"title":"Animal listening","authors":"S. Butler","doi":"10.1386/jivs_00035_1","DOIUrl":"https://doi.org/10.1386/jivs_00035_1","url":null,"abstract":"The ‘Elegy on the Nightingale’ is a curious Latin poem of uncertain (but probably post-classical) date and authorship that is transmitted by several medieval manuscripts. It offers a catalogue of animal sounds rich in what linguists call iconicity, and literary scholars, onomatopoeia: to read these verses aloud is to imitate the sounds being described. The poem begins in address to the nightingale of its title, praised for her ability to make music by mimicking all she hears. By the end has the poem itself done the same? For all their playfulness, the verses strike at the heart of our own theoretical commonplaces, starting with the supposed arbitrariness of the sign, always unsettled by such examples, exceptional though they may be. So too did the writing down of non-human sounds preoccupy ancient linguists, who sought to segregate them from language proper. Nevertheless, it is difficult to deny that these sound-words conjure what they name, especially since, in many cases, it is only our ability to match their sounds to animals we can still hear that enables us to know what the poem is saying. What happens to our understanding of the poetic text as a transcription of human speech or song when we take it seriously as a recording of non-human sound? And even more dramatically, what happens to our understanding of human language when we strive (as this poem strives, albeit surreptitiously) to listen with non-human ears? With some help from the animal imaginings of Jakob von Uexküll, this article attempts some preliminary answers.","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":"6 1","pages":"27-38"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46727668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers the nature of vocal hyperreality in bio-musicals: a form of musical theatre in which actors simulate the voices of well-known pop singers or groups in theatrical retellings of their lives and careers. To do so, I employ the four successive stages of simulacrum found in Jean Baudrillard’s ‘The precession of simulacra’ (1981) to consider the potentials and limitations of such vocal simulation in the act of (re)authoring pop singers for the musical stage. Considering the way in which such performances mask or denature their source material (the ‘original’ voices of pop singers and artists), while at the same time employing a dual temporality of cultural memory and current experience, I offer a neologism that may help articulate the complex experience for audience members who attend these productions. The final part of the article considers the peculiar convention of releasing Original Cast Recordings of these works, arguing that these may be symptomatic of Baudrillard’s simulacrum, as popular culture reaches a terminus from which it is unable to progress without regression, intertextuality or manufactured nostalgia.
{"title":"Baudrillard on Broadway: Bio-musicals, the hyperreal and the cultural politics of simuloquism","authors":"Ben Macpherson","doi":"10.1386/jivs_00015_1","DOIUrl":"https://doi.org/10.1386/jivs_00015_1","url":null,"abstract":"This article considers the nature of vocal hyperreality in bio-musicals: a form of musical theatre in which actors simulate the voices of well-known pop singers or groups in theatrical retellings of their lives and careers. To do so, I employ the four successive stages of simulacrum\u0000 found in Jean Baudrillard’s ‘The precession of simulacra’ (1981) to consider the potentials and limitations of such vocal simulation in the act of (re)authoring pop singers for the musical stage. Considering the way in which such performances mask or denature their source\u0000 material (the ‘original’ voices of pop singers and artists), while at the same time employing a dual temporality of cultural memory and current experience, I offer a neologism that may help articulate the complex experience for audience members who attend these productions. The\u0000 final part of the article considers the peculiar convention of releasing Original Cast Recordings of these works, arguing that these may be symptomatic of Baudrillard’s simulacrum, as popular culture reaches a terminus from which it is unable to progress without regression, intertextuality\u0000 or manufactured nostalgia.","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44040225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
‘Whale wonder’ explores the allure of the humpback whale’s voice and our responses to it in a few seminal works involving music ‐ among them, Walt Disney’s The Whale Who Wanted to Sing at the Met (1946), Pete Seeger’s ‘The Song of the World’s Last Whale’ (1970) and John Cage’s ‘Litany for the Whale’ (1980). The article considers works in which the whale’s voice affects singing as well as our very concept of what singing is. ‘Whale wonder’ shows how music in these works is not a mere projection of what the whale symbolizes or signifies for us. As the whale’s voice enters music, it transforms it and our understanding of what music can be.
{"title":"Whale wonder","authors":"Michal Grover Friedlander","doi":"10.1386/jivs_00014_1","DOIUrl":"https://doi.org/10.1386/jivs_00014_1","url":null,"abstract":"‘Whale wonder’ explores the allure of the humpback whale’s voice and our responses to it in a few seminal works involving music ‐ among them, Walt Disney’s The Whale Who Wanted to Sing at the Met (1946), Pete Seeger’s ‘The Song\u0000 of the World’s Last Whale’ (1970) and John Cage’s ‘Litany for the Whale’ (1980). The article considers works in which the whale’s voice affects singing as well as our very concept of what singing is. ‘Whale wonder’ shows how music in these works\u0000 is not a mere projection of what the whale symbolizes or signifies for us. As the whale’s voice enters music, it transforms it and our understanding of what music can be.","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44134260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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