Voice Studies
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Voice Studies

Critical Approaches to Process, Performance and Experience
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Konstantinos Thomaidis
eBook Typ:
Adobe Digital Editions
eBook Format:
2 - DRM Adobe

Foreword - Paul Barker Part 1: Introducing Voice Studies Introduction: voice(s) as a method and an in-between - Ben Macpherson and Konstantinos Thomaidis 1. The Re-vocalization of Logos? Thinking, doing and disseminating voice - Konstantinos Thomaidis Part 2: Voice in Training and Process 2. The Singularity of Experience in the Voice Studio: a dialogue with Michel Henry - Päivi Järviö 3.Learning to Let Go: control and freedom in the passaggio - Tim Kjeldsen 4. Training Actors' Voices: towards an intercultural/interdisciplinary approach - Tara McAllister-Viel 5. A Sea of Honey: the speaking voice in the Javanese shadow puppet theatreJ - an Mrázek Part 3: Voice in Performance 6. Nonsense: towards a vocal conceptual compass for art - Mikhail Karikis 7. Performing the Entre-Deux: the capture of speech in (dis)embodied voices - Piersandra Di Matteo 8. Sensing Voice: materiality and the lived body in singing and listening philosophy - Nina Sun Eidsheim 9. Lamenting (with the) "Others," "Lamenting our Failure to Lament"? An auto-ethnographic account of the vocal expression of loss - Marios Chatziprokopiou 10. Enchanted Voices: voice in Australian sound art - Norie Neumark Part 4: Voice in Experience and Documentation 11. "Body Musicality": the visual, virtual, visceral voice - Ben Macpherson 12. Transcribing Vocality: voice at the border of music after modernism - Pamela Karantonis 13. Strange Objects/Strange Properties: female audibility and the acoustic stage prop - Ella Finer 14. The Eavesdropper: listening-in and overhearing the voice in performance - Johanna Linsley Part 5: A Polyphonic Conclusion 15. What is Voice Studies? - Ben Macpherson, George Burrows, Diana Van Lancker Sidtis, Yvon Bonenfant, Lyn Darnley, Amanda Smallbone, Nina Sun Eidsheim, 'Femi Adedeji, Jaroslaw Fret, Konstantinos Thomaidis
Voice Studies brings together leading international scholars and practitioners, to re-examine what voice is, what voice does, and what we mean by "e;voice studies"e; in the process and experience of performance. This dynamic and interdisciplinary publication draws on a broad range of approaches, from composing and voice teaching through to psychoanalysis and philosophy, including:voice training from the Alexander Technique to practice-as-research; operatic and extended voices in early baroque and contemporary underwater singing; voices across cultures, from site-specific choral performance in Kentish mines and Australian sound art, to the laments of Kraho Indians, Korean pansori and Javanese wayang; voice, embodiment and gender in Robertson's 1798 production of Phantasmagoria, Cathy Berberian radio show, and Romeo Castellucci's theatre; perceiving voice as a composer, listener, or as eavesdropper; voice, technology and mobile apps. With contributions spanning six continents, the volume considers the processes of teaching or writing for voice, the performance of voice in theatre, live art, music, and on recordings, and the experience of voice in acoustic perception and research. It concludes with a multifaceted series of short provocations that simply revisit the core question of the whole volume: what is voice studies?

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