Utterance

Sound Production and Manipulation [SPM]  >  Sound Source  ]

Where (human) beings are heard to produce sounds, then we will tend to impute intention to the sonic event. We will hear it at some level as an Utterance. In particular, whenever the human voice is used as a source of sound in whatever context, the concept of Utterance will enter at some level into our apprehension of the event. This becomes particularly important in the sphere of electroacoustic music projected in the virtual space of loudspeakers where we can no longer rely on the physical and social cues of the concert hall. In general, non-music sounds produced by individual creatures may be taken to indicate or express something about internal state, reaction to environment events, responses to utterances by other creatures. At whatever level, the sense of Utterance, whether as indicator, signal, symbol, sign or syntactic or semantic-syntactic stream enters into our perception of the events. (Source - Trevor Wishart (1985). On Sonic Art. York: Imagineering Press.)

 

See also:

Indicative Fields and Networks, Phonemic Object, Text-sound Composition

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Blonk, Jaap, Peer, RenÚ van (2005). Sounding the Outer Limits
Bosma, Hannah (2003). Bodies of Evidence, Singing Cyborgs and Other Gender Issues in Electrovocal Music
Bossis, Bruno (2004). Reflections on the Analysis of Artificial Vocality: Representations, Tools and Prospective
Code, David Loberg (1990). Observations in the Art of Speech: Paul Lansky’s {Six Fantasies}
Drever, John Levack (1999). The Exploitation of ‘Tangible Ghosts’: Conjectures on soundscape recording and its reappropriation in sound art
Georgaki, Anastasia (1999b). Prote´c Voices in the Computer Music Repertory (1972-1997)
Hettergott, Alexandra (1999). Human Voice Treatment in Various Types of Electroacoustic Music
Jones, David Evan (1984). Composer’s View - David Evan Jones
Lane, Cathy (2006). Voices from the Past: compositional approaches to using recorded speech
Miranda, Eduardo Reck (2005). Artificial Phonology: Disembodied Humanoid Voice for Composing Music with Surreal Languages
Perry, Jeffrey (1996). The Inner Voices of Simple Things: A Conversation with Paul Lansky
Toop, David (2005). Sound Body: The Ghost of a Program
Weber-Lucks, Theda (2003). Electroacoustic Voices in Vocal Performance Art - A Gender Issue?
Wishart, Trevor (1988). The Composition of {Vox-5}
Wishart, Trevor (1989). The Function of Text in the {VOX} cycle
Wishart, Trevor (2000). Sonic Composition in {Tongues of Fire}
Wynne, John (2006). Language ecology and photographic sound in the McWorld
Young, John (2002b). Sju ... Who?
Young, Miriama (2006). Latent body-plastic, malleable, inscribed: The human voice, the body and the sound of its transformation through technology
Zurbrugg, Nicolas (2000). Marinetti, Boccioni and Electroacoustic Poetry: Futurism and After

 

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