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Monsters I Love: On Multivocal Arts
Stockholm University of the Arts, University College of Opera.
2019 (English)Doctoral thesis, comprehensive summary (Other academic) [Artistic work]
Abstract [en]

Proposing a ‘multivocal practice’ in the vocal arts, this exposition (documented artistic research project) embodies an inclusive approach to four core categories for the contemporary performance voice: the singing, speaking, extended and disembodied voice. The culmination of a four-year PhD project in the Performative and mediated practices, with specializations in choreography/film and media/opera /performing arts, it documents artistic research sub-projects through the presentation of multimedia material, interweaving performance recordings with reflection and informative threads. Multivocality addresses various models of virtuosity, all of which are informed by a multi-faceted artistic knowledge, whether experimental or experiential, technical or technological, improvisational or compositional. Contemporary vocal performance practices are loaded by questions pertaining to detecting and solving technical issues that bridge the vocal terrains. Through a range of artistic practices—vocal, oral, bodily and technology-related—the research project unfolds what is conceived as a bountiful ‘vocal imaginary’. When voice and body meet technology-related practices that aim at the expansion of the vocal realm by using custom and gesture-controlled live electronics, a performance æsthetics of the in-between emerges. This is explored via the ‘strophonion’, formerly built at STEIM in Amsterdam and, during the course of the PhD, further developed by Berlin-based software programmer Sukandar Kartadinata who created an intricate configuration on the basis of the audio processing application Max/MSP. Through the formulation and performance of ‘The Manifesto for the Multivocal Voice’—a ‘discursive solo performance act’ that aims to provide insights into principles and premises, and to develop the discourse on the politics of today’s performance voice—the exposition attempts to establish a potential theoretical and philosophical grounding for multivocality. Meanwhile, its second major concern relates to the poetics of the voice, investigating the thresholds of highly individualised vocal practices by asking: what are the boundaries of and where is the performance voice today? The exposition (on Research Catalogue) comprises video and audio documentation of public live performances, lectures and artists’ talks as well as studio productions and rehearsals. The user is invited to study scores and varied texts, such as poems, extended programme notes, translations, performance instructions, comments and other reflections. But central is the collection of essays and articles guiding the user through the edifice of ideas that the artistic research project has unveiled.

Place, publisher, year, edition, pages
Stockholm: Stockholms konstnärliga högskola , 2019.
Series
X position, ISSN 2002-603X ; 3
Keywords [en]
Music, acousmatic and disembodied voice, æsthetics of uncertainty and in-between, composer-performer, contemporary vocal performance art, custom musical instrument (DIY), digital musical instrument (DMI), electronic and electroacoustic music, expanding the field of vocal performance art, extended vocal techniques, extending the voice, gesture-controlled live electronics, improvisation and real-time composition, inclusive vocal performance practises, interactive sound and music, multidirectional listening, multivocality, multivocal voice, new vocality, sampling practises for vocal and musical improvisation, schizophonic practices, sensor-based and computer-based technology, singer-composer, sound art, sound technology, STEIM, strophonion, vocal materiality and liminality, vocal personas, vocal sound dance, wireless technology
National Category
Music Performing Arts Design
Research subject
Performative and mediated practices, with specializations in choreography/film and media/opera /performing arts
Identifiers
URN: urn:nbn:se:uniarts:diva-427OAI: oai:DiVA.org:uniarts-427DiVA, id: diva2:1283884
Public defence
2019-02-27, Hugoteatern, Teknikringen 35, Stockholm, 10:00 (English)
Opponent
Supervisors
Projects
The Documented artistic research project (Doctoral thesis) consists of: 1. Concert: Moving Tongues: Playing Space, 20181213 at Reaktorhallen, KTH, Stockholm 2. Exposition: Monsters I Love : On Multivocal Arts, Research Catalogue
Note

1. Alex Nowits is a pseudonym for Alexander Georg Sedlmeier.

2. Studio for electro-instrumental music (STEIM), Amsterdam

Available from: 2019-01-30 Created: 2019-01-30 Last updated: 2019-06-12Bibliographically approved
List of papers
1. Moving Tongues: Playing Space (for Voice, Strophonion and Video)
Open this publication in new window or tab >>Moving Tongues: Playing Space (for Voice, Strophonion and Video)
2018 (English)Artistic output (Refereed)
Alternative title[en]
Moving Tongues : Playing Space: solo performance featuring voice, strophonion with four loudspeakers, and video
Abstract [en]

Proposing a ‘multivocal practice’ (German: Praxis der Vielstimmigkeit) in the vocal arts, the doctoral research project embodies an inclusive approach to the four core categories of the contemporary vocal art performance: the singing, speaking, extended and disembodied voice. Multivocality addresses various modes of virtuosity, all of which are informed by a multi-faceted artistic knowledge, whether experimental or experiential, technical or technological, improvisational or compositional. The project is driven by the investigation of the voice’s boundaries within the field of vocal performance art as of today. On the basis of the highly subjective approach to the vocal arts through the researcher’s own voice, the posed question is what the performance voice could be and sound like rather than just asking what it is or represents. Either by extending the potential ranges of the multi-register voice or by examining the in-between and the unknown of an interdisciplinary and interdependent approach to oral, vocal, bodily and technology-related practices, the performance not only uncovers that these idiosyncratic practices are informed by additional questions pertaining to technical issues to bridge the vocal terrains, but also unfolds what is conceived as a bountiful vocal imaginary.

Place, publisher, year, pages
Stockholm: Stockholms konstnärliga högskola, 2018
Keywords
contemporary vocal performance art, multivocality, inclusive approach to vocal performance art, extending the voice, extended vocal techniques, sampling as a practice for improvising musician, composer-performer and singer-composer, improvisation and real-time composition, gesture-controlled live electronics, custom-built musical instrument, sensor-based technology, computer-based technology voice-induced sound dance, æsthetics of uncertainty and unknown, æsthetics of the in-between vocalogy meets corporalogy meets technology, vocal materiality and liminality, multidirectional listening, expanding the field of vocal performance art, schizophonic practices, extended vocal arts
National Category
Performing Arts Music
Research subject
Performative and mediated practices, with specializations in choreography/film and media/opera /performing arts
Identifiers
urn:nbn:se:uniarts:diva-494 (URN)
Projects
Documented artistic research project (Doctoral Thesis) ; Monsters I Love: On Multivocal Arts
Note

Moving Tongues: Playing Space comprises also a distilled version of the Manifesto for the Multivocal Voice which depicts a ‘discursive solo performance act’ to provide insights into developing the principles, premises, politics and discourse of the contemporary performance voice.

Available from: 2018-12-13 Created: 2018-12-10 Last updated: 2019-06-14

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Documented artistic research project (doctoral thesis) in Research Catalogue
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University College of Opera
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