Text-sound Composition

A genre, originally evolved from poetry (text-sound or phonetic poetry) involving works that are to be heard in the first instance, not read. Artists involved in this genre have come from the worlds of poetry, fine arts, performance (live) art and music. A number of electroacoustic works in which the voice is the only or key sound source belong to this category.

Text-sound Composition

Genre emprunté à la poésie (poésie sonore ou poésie phonétique) dont les œuvres doivent être écoutées et non lues. Les artistes impliqués dans ce genre viennent des mondes de la poésie, des beaux-arts, des arts de la performance et de la musique. Un certain nombre d'œuvres électroacoustiques dans lesquelles la voix est la seule source ou la source la plus importante peuvent être classées dans cette catégorie.

Poesia Sonora

Genere mutuato dalla posia (poesia sonora, poésie sonore o poésie phonétique). Si tratta di opere pesate per l'ascolto e non per la lettura. Gli artisti implicati vengono dal mondo della poesia, delle arti visive, della performance e della musica. Un certo numero di opere elettroacustiche nelle quali la voce è l'univa fonte o la fonte più importante possono essere fatte appartenere a questa categoria.

Text-Klang-Komposition

A genre, originally evolved from poetry (text-sound or phonetic poetry) involving works that are to be heard in the first instance, not read. Artists involved in this genre have come from the worlds of poetry, fine arts, performance (live) art and music. A number of electroacoustic works in which the voice is the only or key sound source belong to this category.

Poesía Sonora (Composición con Textos Sonoros)

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.

References

Battier M. (2001) De la machine à l'oreille. Le paradoxe de la musique concrète
Battier M. (2003) Science et technologie comme sources d'inspiration
Bosma H. (1996) Authorship and Female Voices in Electrovocal Music
Bossis B. (2003) Introduction à l’histoire et à l’esthétique des musiques électroacoustiques
Bossis B. (2005) La voix et la machine. La vocalité artificielle dans la musique contemporaine
Byrne M. (1999) Speech-Based Computer Music: Selected Works by Charles Dodge and Paul Lansky
Carter P. (1996) Speaking Pantomimes: Notes on The Calling to Come
Chasalow E. (2006) Composing from Memory: the convergence of archive creation and electroacoustic composition
Chion M., Le Mézo E. (2005) Interview
Chion M., Gayou É. (2005) Construire le temps alors même qu'il se fissure
Chion M., Le Mézo E. (2005) Interview
Code D. L. (1990) Observations in the Art of Speech: Paul Lansky's Six Fantasies
Dodge C. (1989) On Speech Songs
Georgaki A. (1999) Proteïc Voices in the Computer Music Repertory (1972-1997)
Hettergott A. (1999) Human Voice Treatment in Various Types of Electroacoustic Music
Kennedy K. (2000) A Few Facets of Pamela Z
Lane C. (2006) Voices from the Past: compositional approaches to using recorded speech
Lussac O. (1998) Peindre par les noms, peindre par les sons
Lydenberg R. (1992) Sound Identity Fading Out: William Burroughs' Tape Experiments
Miranda E. R. (2005) Artificial Phonology: Disembodied Humanoid Voice for Composing Music with Surreal Languages
Peer R. v., Blonk J. (2005) Sounding the Outer Limits
Rousseaux F., Bonardi A. (2004) Un exemple de médiation numérique opératique : l'opéra interactif sur CD-ROM Virtualis
Schrader B. (1982) Introduction to Electro-acoustic Music
Toop D. (2005) Sound Body: The Ghost of a Program
Twombly K. (2002) Oppositional Dialectics in Joji Yuasa's The Sea Darkens
Weinberg G. (2005) Voice Networks: The Human Voice as a Creative Medium for Musical Collaboration
Wishart T. (1988) The Composition of Vox-5
Wishart T. (1989) The Function of Text in the VOX cycle
Young J. (2002) Sju ... Who?
Zanési C., Ferrari L. (1989) Acousmathèque Luc Ferrari, 60 ans, La femme
Zanési C., Ferrari L., Caux D. (1989) Acousmathèque Luc Ferrari, 60 ans, Le machiniste
Zurbrugg N. (2000) Marinetti, Boccioni and Electroacoustic Poetry: Futurism and After