Daniela Cascella’s 2017 book Singed: Muted voice-transmissions after the fire contemplates the silences and fissures that take disconnected works and tune them into a shared frequency. The book inspires a reading and listening that opens rather than closes the depths of a given work of art. In Soused (2014), the collaborative record between the eminently obscure singer-songwriter Scott Walker and the minimalist sub-bass drone group Sunn O))), the same types of disconnect and shared frequencies elicited in Cascella’s Singed are brought together.
Given the extremity of both Walker and Sunn O))), the meeting point of these extremes leaves listeners to wonder, as Cascella might, how one is able to write or speak after listening to Soused? This evocation is based on the way that both Walker and Sunn O))) push their listeners to various limits, be it lyrically, vocally, aesthetically, or sonically. Walker’s excess is a coalescence of all these things–his lyrics operate through what he calls “edge work”; his voice matures toward a depersonalized space voided of the usual predicates so that it resembles the sound “of just a man singing”. Walker’s aesthetic becomes increasingly dark with each of his albums, punctuated by long periods of reclusiveness and silence. The musical soundscapes, from the album Climate of hunter (1984) onward, become increasingly expansive, more experimental, and ultimately more difficult. Similar to Walker, excess and minimalism characterize Sunn O)))’s primal slabs of guitar and synth. Their maximalist drone doom collapses the boundaries between the aural and haptic, carving out an immersive physio-aural-haptic experience. The idea of an “apocalyptic tone” (inspired by Maurice Blanchot’s notion of disaster) becomes the basis of these imagined frequencies and resonates in the soundworld created by Walker and Sunn O))) on Soused.
Read on in “The apocalyptic tone of Scott Walker, Sunn O))) and Soused” by Adam Potts (Journal for cultural research XXIV/3 , 185–202).
Below is the music video for Brando, from the album Soused, by Gisèle Vienne.
Ryūkyūan kumi wudui (組踊, Japanese kumi odori) uses a variety of codified vocal techniques to identify the gender and social class of each character. Degrees of musicality, variation in timbre, and pitch inflection are all understood as emblematic of particular character types.
These vocal techniques are constructed within Ryūkyūan society with reference to the Ryūkyūan language, class system, and gender relationships. Many parallels can be drawn between the ways vocal identities are constructed in kumi wudui vocal culture and in other world theater traditions.
This according to “Listening to the voice in kumiudui: Representations of social class and gender through speech, song, and prosody” by Matt Gillan (Asian music XLIX/1 [winter–spring 2018] pp. 4–33).
Voice is understood here as a phenomenon of different disciplines such as communication and performance, but also as a methodological tool and analytical mechanism. This journal aims to represent the wide variety of voice scholars and hopes to reflect the multifaceted nature of this subject.
Below, a project by the interactive theater collective non zero one, the subject of one of the articles in the inaugural issue.
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The vocal tract organ is a new musical instrument that consists of three-dimensional (3D)-printed vocal tracts (throat and mouth) for individual vowels sitting on loudspeakers to enable static vowel sounds to be produced.
The acoustic excitation from the loudspeakers is a synthesized version of the typical waveform produced by the vibrating human vocal folds during pitched sounds, which enables the instrument to be played from a keyboard.
The vocal tract organ will become an instrument in its own right, and it could be used as a direct replacement for the vox humana organ stop, given that its acoustic output is a much closer representation of the human vocal output than that from a vox humana organ pipe. The 3D-printed tracts may also be used in vocal and choral workshops as well as degree-level music technology education.
This according to “The vocal tract organ and the vox humana organ stop” by David M. Howard (Journal of music, technology & education VII/3  pp. 265–277).
Above, an illustration from the article; below, a composition by Professor Howard.
In an experiment, direct high-speed video observations of an elephant larynx demonstrated flow-induced self-sustained vocal fold vibration in the absence of any neural signals, thus excluding the need for any purring mechanism. The observed physical principles of voice production apply to a wide variety of mammals, extending across a remarkably large range of fundamental frequencies and body sizes, spanning more than five orders of magnitude.
This according to “How low can you go? Physical production mechanism of elephant infrasonic vocalizations” by Christian T. Herbst, et al. (Science CCCXXXVII/6094 [3 August 2012] pp. 595–599). Below, a podcast interview with Dr. Herbst provides examples and further details (including the fact that the elephant had died of natural causes).
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For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →