Human voice and instrumental voice : an investigation of voicelikeness
Pysyvä osoite
Verkkojulkaisu
Tiivistelmä
This artistic research explores the relationships between human
and instrumental voice (in the case of string instruments), seen from an
embodied and performative point of view. The question originates from my
experience of violinist and composer.
Voice is a unique mark of human identity: if this is particularly true for vocal
timbre, something similar is at play in the ‘instrumental voice’, as a unique
expression of personal and musical identity. This research aims to uncover
the importance of this vocal and instrumental relationship, acknowledging
their common embodied nature and shared origins. As utterances directed
at the ‘other’, both human and instrumental voice are deeply relational.
From 2016 to 2022, I investigated the question of the voicelikeness
between a musician’s voice and their own instrument through five multidisciplinary
art projects: in Imaginary Spaces fragments of individual and
collective voice inhabited a performative environment shared by
musicians and audience; The end of no ending focused on the relationships
between two female voices and their mutable surroundings; Between
word and life explored the multiple relationships of voice and instrument
in an electroacoustic space, de-multiplied by bringing in dance and video;
Sounding Bodies gathered human and mechanical bodies to explore an
unconventional space, inviting the audience to follow their path; Medusa
was a music theatre work putting into perspective the question of voicelikeness
by evoking Italian Early Baroque music, visual art, and dance.
This artistic research was carried out through an artistic process,
with supporting methods such as grounded theory, ethnography, and
autoethnography, creating a virtuous cycle between practice and theory,
with some interesting and unexpected changes taking place in my artistic
journey. The research outcomes consist of a written part combined with a
collection of traces, sounds, images, and video examples presented in the
Research Catalogue.
The theoretical framework for this inquiry includes recent studies
in palaeoanthropology, human development, music psychology, and
embodiment. Cavarero’s philosophy of voice, Arendt’s philosophy of the
‘in-between’, various philosophies of the ‘other’, as well as other contributions
from psychoanalysis are put in mutual dialogue with my artistic
practice.
Among the research outcomes are the re-evaluation of vocal layers
in personal and musical identity, considering music making as a relational
practice, and an exploration of the porous boundaries between the roles
of composer, performer, and listener. In this perspective, the new terms to
‘in-hear’ and to ‘co-hear’ respectively denote an attention to inner sounds,
and towards one another in a community of listeners.
ISBN
978-952-329-327-4
Aihealue
OKM-julkaisutyyppi
Emojulkaisu
Lehti
Julkaisusarja
EST-julkaisusarja|75
ISSN
2489-7981
DOI
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