Poesía Sonora (Composición con Textos Sonoros)

Géneros y Categorías [GyC]

 ]

Género que evolucionó originalmente de la poesía (texto sonoro o poesía fonética), que comprende a las obras que en primera instancia deben ser oídas, no leídas. Los artistas que trabajan este género vienen de la poesía, las bellas artes, la performance (en vivo) y la música. Pertenecen a esta categoría una cantidad de piezas electroacústicas en las que la voz es la fuente sonora clave o única.

 

See also

Objeto Fonémico

,

Arte Radial/Radiofónico (Hörspiel)

,

Expresión Vocal/Oral/Hablada ó Locución (Utterance)

 

Links

UNESCO DigiArts

- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 5 - La vocalité artificielle ( French )

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Battier, Marc (2001). De la machine à l’oreille. Le paradoxe de la musique concrète
Battier, Marc (2003c). Science et technologie comme sources d’inspiration
Blonk, Jaap, Peer, René van (2005). Sounding the Outer Limits
Bonardi, Alain, Rousseaux, Francis (2004). Un exemple de médiation numérique opératique : l’opéra interactif sur CD-ROM {Virtualis}
Bosma, Hannah (1996). Authorship and Female Voices in Electrovocal Music
Bossis, Bruno (2003a). Introduction à l’histoire et à l’esthétique des musiques électroacoustiques
Bossis, Bruno (2005c). La voix et la machine. La vocalité artificielle dans la musique contemporaine
Byrne, Madelyn (1999). Speech-Based Computer Music: Selected Works by Charles Dodge and Paul Lansky
Carter, Paul (1996). Speaking Pantomimes: Notes on {The Calling to Come}
Chasalow, Eric (2006). Composing from Memory: the convergence of archive creation and electroacoustic composition
Chion, Michel, Gayou, Evelyne (2005). Construire le temps alors même qu’il se fissure
Chion, Michel, Le Mézo, Ermeline (2005). Interview
Code, David Loberg (1990). Observations in the Art of Speech: Paul Lansky’s {Six Fantasies}
Dodge, Charles (1989). On {Speech Songs}
Ferrari, Luc, Caux Daniel, Zanési, Christian, (1989). Acousmathèque Luc Ferrari, 60 ans, Le machiniste
Ferrari, Luc, Zanési, Christian (1989). Acousmathèque Luc Ferrari, 60 ans, La femme
Georgaki, Anastasia (1999b). Proteïc Voices in the Computer Music Repertory (1972-1997)
Hettergott, Alexandra (1999). Human Voice Treatment in Various Types of Electroacoustic Music
Kennedy, Kathy (2000). A Few Facets of Pamela Z
Lane, Cathy (2006). Voices from the Past: compositional approaches to using recorded speech
Lussac, Olivier (1998). Peindre par les noms, peindre par les sons
Lydenberg, Robin (1992). Sound Identity Fading Out: William Burroughs’ Tape Experiments
Miranda, Eduardo Reck (2005). Artificial Phonology: Disembodied Humanoid Voice for Composing Music with Surreal Languages
Schrader, Barry (1982). Introduction to Electro-acoustic Music
Toop, David (2005). Sound Body: The Ghost of a Program
Twombly, Kristian (2002). Oppositional Dialectics in Joji Yuasa’s {The Sea Darkens}
Weinberg, Gil (2005b). Voice Networks: The Human Voice as a Creative Medium for Musical Collaboration
Wishart, Trevor (1988). The Composition of {Vox-5}
Wishart, Trevor (1989). The Function of Text in the {VOX} cycle
Young, John (2002b). Sju ... Who?
Zurbrugg, Nicolas (2000). Marinetti, Boccioni and Electroacoustic Poetry: Futurism and After

 

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