{"title":"最终重构声音：美德、技术的可承受性与羽生结弦中三谷的可逆性","authors":"Jessica Tsun Lem Hui","doi":"10.1017/S0954586722000301","DOIUrl":null,"url":null,"abstract":"Abstract This article explores the technological affordances of vocal production software in performance through a case study of Shibuya Keīchirō's The End (2012). In the performance of this ‘humanless opera’, desires for pliability and fantasies of control are realised through the affordances of a singing voice synthesis software known as Vocaloid. By reflecting on The End's thematic focus on death and existentialism and on notions of vocal virtuosity, and by exploring the socio-technical processes by which the protagonist, virtual pop star Hatsune Miku, was constructed, the article provides an alternative narrative to vocal production and intermundane collaboration as it relates to the fluid and reversible configurations between voices, bodies and technologies in performance.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"34 1","pages":"364 - 379"},"PeriodicalIF":0.3000,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Reconfiguring Voice in The End: Virtuosity, Technological Affordance and the Reversibility of Hatsune Miku in the Intermundane\",\"authors\":\"Jessica Tsun Lem Hui\",\"doi\":\"10.1017/S0954586722000301\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract This article explores the technological affordances of vocal production software in performance through a case study of Shibuya Keīchirō's The End (2012). In the performance of this ‘humanless opera’, desires for pliability and fantasies of control are realised through the affordances of a singing voice synthesis software known as Vocaloid. By reflecting on The End's thematic focus on death and existentialism and on notions of vocal virtuosity, and by exploring the socio-technical processes by which the protagonist, virtual pop star Hatsune Miku, was constructed, the article provides an alternative narrative to vocal production and intermundane collaboration as it relates to the fluid and reversible configurations between voices, bodies and technologies in performance.\",\"PeriodicalId\":42672,\"journal\":{\"name\":\"Cambridge Opera Journal\",\"volume\":\"34 1\",\"pages\":\"364 - 379\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2022-11-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Cambridge Opera Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1017/S0954586722000301\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Cambridge Opera Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/S0954586722000301","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
Reconfiguring Voice in The End: Virtuosity, Technological Affordance and the Reversibility of Hatsune Miku in the Intermundane
Abstract This article explores the technological affordances of vocal production software in performance through a case study of Shibuya Keīchirō's The End (2012). In the performance of this ‘humanless opera’, desires for pliability and fantasies of control are realised through the affordances of a singing voice synthesis software known as Vocaloid. By reflecting on The End's thematic focus on death and existentialism and on notions of vocal virtuosity, and by exploring the socio-technical processes by which the protagonist, virtual pop star Hatsune Miku, was constructed, the article provides an alternative narrative to vocal production and intermundane collaboration as it relates to the fluid and reversible configurations between voices, bodies and technologies in performance.
期刊介绍：
Containing lively and provocative essays, Cambridge Opera Journal has a well-established reputation for publishing first-rate scholarship on opera in all its manifestations. The Journal not only contains material on all aspects of the European canon, it has now widened its scope to publish high-quality essays on American opera and musical theatre, on non-Western music theatres, and on contemporary works. Carefully researched and often illustrated with music examples and pictures, articles adopt a wide spectrum of critical approaches. As well as major articles, each issue generally includes reviews on recent publications of importance in the field.
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