On Vocal Assemblages: From Edison to Miku.
For all its hermeneutic density the voice is a profoundly malleable object. By drawing our attention away from the 'grain' of the voice to networks of vocality, this article explores how modern mediations of the voice--from the microphone to auto-tune--illustrate its co-evolution with a history of n...
| Published in: | Contemporary Music Review Vol. 37; no. 5/6; pp. 488 - 507 |
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| Format: | Article |
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Taylor & Francis Ltd
Oct-Dec2018
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=135567008&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 135567008 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Oct-Dec2018 vid: 37 iid: 5/6 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 135567008 10.1080/07494467.2017.1402467 ppf: 488 ppct: 19 formats: fmt: @attributes: type: P size: 179KB tig: atl: On Vocal Assemblages: From Edison to Miku. aug: au: Prior, Nick su: Social media Voice disorders Popular music Musicians Mediation sug: subj: Social media Voice disorders Popular music Musicians Mediation keyword: Actor Network Theory Assemblage Hatsune Miku Popular Music Voice ab: For all its hermeneutic density the voice is a profoundly malleable object. By drawing our attention away from the 'grain' of the voice to networks of vocality, this article explores how modern mediations of the voice--from the microphone to auto-tune--illustrate its co-evolution with a history of non-human circuits and exchanges. The voice is categorized as an assemblage in the sense suggested by Deleuzian theoretical currents and actor network theory: a multi-scalar, human-non-human hybrid that emerges through nested constellations. Four vocal modalities--synthesis, deconstruction, auto-correlation, and simulation--are identified as integral to a modern history of vocal breaching experiments that transform what voices can be and how they are heard. The final part of the paper explores how these extensions play out in relation to the Japanese virtual singer, performer, and idol, Hatsune Miku. Miku's voice, it will be argued, is constituted at the intersection of crowd-sourcing, corporate investment and the algorithm. But it also illustrates the distributed ontology of all voices. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2018 holdings: @attributes: islocal: N |
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