🎶Experimental Music Unit 8 – Vocal Techniques: Extended & Sound Poetry

What's This All About?

• Vocal Techniques: Extended & Sound Poetry explores unconventional and experimental approaches to using the human voice in music and performance
• Expands the boundaries of traditional singing by incorporating non-musical sounds, speech, and extended techniques
• Challenges the notion of what constitutes music and pushes the limits of vocal expression
• Often interdisciplinary, incorporating elements of theater, poetry, and visual art
• Emphasizes the voice as a versatile and powerful instrument capable of producing a wide range of sounds and textures
  • Includes everything from whispers and screams to clicks, pops, and guttural noises
• Encourages performers to break free from the constraints of traditional vocal training and embrace their unique vocal qualities
• Fosters a sense of experimentation, improvisation, and creative risk-taking in vocal performance

Key Concepts and Terminology

• Extended vocal techniques encompass a wide range of non-traditional methods for producing sound with the voice
  • Includes techniques such as growling, screaming, whispering, and multiphonics
• Sound poetry focuses on the sonic qualities of language and the voice, often prioritizing sound over meaning
  • Treats words and syllables as raw material for creating musical and sonic textures
• Phonemes are the smallest units of sound in a language that distinguish one word from another
  • Sound poets often explore the musical potential of individual phonemes and their combinations
• Glossolalia, or speaking in tongues, involves the fluid vocalization of speech-like syllables without linguistic meaning
  • Used by some sound poets to create abstract vocal soundscapes
• Sprechgesang, a technique pioneered by Arnold Schoenberg, falls between speaking and singing, emphasizing the rhythmic and expressive qualities of speech
• Vocal fry, a low, creaky sound produced by the vocal cords, is often used in extended vocal techniques for its unique texture
• Overtone singing, also known as throat singing, involves emphasizing specific harmonics above a fundamental pitch, creating the illusion of multiple pitches simultaneously

Historical Context and Pioneers

• The roots of extended vocal techniques and sound poetry can be traced back to the early 20th century avant-garde movements, such as Futurism and Dadaism
  • These movements sought to break free from traditional artistic conventions and embrace new forms of expression
• The Futurist poet Filippo Tommaso Marinetti explored the use of onomatopoeia and the sonic qualities of language in his performances
• Dadaist artists, such as Hugo Ball and Tristan Tzara, experimented with abstract sound poems and nonsensical language in their performances
• In the 1950s and 60s, composers such as John Cage and Karlheinz Stockhausen began incorporating extended vocal techniques into their works
  • Cage's "Aria" (1958) features a solo vocalist performing a wide range of non-traditional sounds and vocalizations
• The sound poetry movement gained momentum in the 1960s and 70s, with artists like Henri Chopin, François Dufrêne, and Bernard Heidsieck exploring the boundaries between poetry and music
• Meredith Monk, a pioneering composer and vocalist, has been a key figure in the development of extended vocal techniques since the 1960s
  • Her works often feature intricate layering of voices and a wide range of non-verbal vocalizations
• Laurie Anderson, known for her multimedia performances, has incorporated extended vocal techniques and electronic manipulation of her voice in her work since the 1970s

Vocal Techniques Deep Dive

• Multiphonics involve singing two or more pitches simultaneously, creating a complex and dissonant sound
  • Achieved by manipulating the shape of the vocal tract and the airflow through the vocal cords
• Vocal fry, also known as creaky voice, is produced by allowing the vocal cords to vibrate at a very low frequency, resulting in a creaky or popping sound
  • Often used to create a sense of tension or unease in a performance
• Screaming and shouting can be used to convey intense emotions or to create abrasive and confrontational soundscapes
  • Requires careful technique to avoid vocal strain and damage
• Whispering and breathing sounds can be used to create intimate or ethereal atmospheres
  • Can be combined with other extended techniques to create complex textures
• Ululation, a long, wavering, high-pitched vocal sound, is used in various cultural traditions and can be incorporated into contemporary vocal performances
• Vocal percussion, or beatboxing, involves using the voice to imitate percussive sounds and rhythms
  • Can be used to create intricate rhythmic patterns and accompany other vocal techniques
• Laughter, crying, and other emotional vocalizations can be explored for their musical and expressive potential
  • Can be used to convey a wide range of human experiences and emotions

Sound Poetry Exploration

• Sound poetry emphasizes the sonic and musical qualities of language over its semantic meaning
  • Words and syllables become raw material for creating abstract soundscapes and rhythmic patterns
• Phonetic poetry focuses on the individual sounds of language, often using invented words or nonsense syllables
  • Explores the inherent musicality of phonemes and their combinations
• Concrete poetry involves the visual arrangement of words and letters on the page, creating a interplay between the visual and sonic aspects of language
  • Can be translated into vocal performances that emphasize the spatial and visual elements of the text
• Dadaist sound poetry, such as Kurt Schwitters' "Ursonate," uses abstract syllables and phonemes to create complex, non-semantic vocal compositions
• Contemporary sound poets, like Jaap Blonk and Christian Bök, continue to push the boundaries of language and vocal expression
  • Often incorporate elements of improvisation, technology, and multimedia in their performances
• Sound poetry can be performed solo or in ensemble, allowing for the creation of intricate vocal textures and dialogues
  • Collaborative performances can explore the interplay between different vocal styles and techniques

Practical Exercises and Examples

• Exploring the full range of the voice: Practice making sounds at different pitches, volumes, and timbres, from the lowest growl to the highest whistle
  • Experiment with different vocal registers (chest voice, head voice, falsetto) and the transitions between them
• Vocal improvisation: Set aside time to freely improvise with your voice, using extended techniques and non-verbal sounds
  • Record your improvisations and listen back to identify interesting moments and techniques to develop further
• Phonetic exploration: Choose a short text or poem and break it down into its individual phonemes
  • Create a vocal composition that emphasizes the sonic qualities of each phoneme, rather than the semantic meaning of the words
• Multiphonic singing: Start by singing a comfortable pitch, then gradually introduce a second pitch above or below the first
  • Experiment with different vowel shapes and mouth positions to find the most resonant and stable multiphonic sounds
• Vocal percussion: Practice imitating various percussive sounds with your voice, such as kicks, snares, and hi-hats
  • Combine these sounds to create rhythmic patterns and grooves
• Incorporating technology: Experiment with using microphones, loopers, and effects pedals to manipulate and layer your voice in real-time
  • Create live vocal soundscapes that blend extended techniques with electronic processing

Influential Works and Artists

• "Ursonate" (1922-1932) by Kurt Schwitters: A seminal work of Dadaist sound poetry, consisting of abstract phonetic sequences and vocal gestures
• "Aria" (1958) by John Cage: A solo vocal piece that incorporates a wide range of extended techniques and non-musical sounds, notated using a graphic score
• "Sequenza III" (1965) by Luciano Berio: A virtuosic work for solo voice that explores the expressive potential of extended techniques and vocal gestures
• Meredith Monk's "Our Lady of Late" (1973) and "Dolmen Music" (1979): Pioneering works that showcase Monk's unique vocal style and use of extended techniques
• "Stripsody" (1966) by Cathy Berberian: A solo vocal piece inspired by comic strip sound effects, incorporating a wide range of onomatopoeic sounds and extended techniques
• "Philomel" (1964) by Milton Babbitt: A groundbreaking work for soprano and electronic tape that explores the expressive potential of the voice in a technological context
• The works of sound poets like Henri Chopin, François Dufrêne, and Bernard Heidsieck, who explored the boundaries between poetry and music in the 1960s and 70s
• Laurie Anderson's "O Superman" (1981) and "United States Live" (1984): Multimedia performances that incorporate extended vocal techniques, electronic manipulation, and storytelling

Applications in Contemporary Music

• Contemporary classical composers continue to incorporate extended vocal techniques into their works, pushing the boundaries of the human voice
  • Examples include Georges Aperghis' "Recitations" series and Jennifer Walshe's "THIS IS WHY PEOPLE O.D. ON PILLS"
• Experimental pop and electronic artists often use extended vocal techniques and sound poetry elements to create unique and expressive vocal performances
  • Artists like Björk, Mike Patton, and Diamanda Galás are known for their innovative vocal styles and use of extended techniques
• Avant-garde jazz and improvised music often feature vocalists who incorporate extended techniques and non-idiomatic sounds into their performances
  • Vocalists like Phil Minton, Maggie Nicols, and Shelley Hirsch have pushed the boundaries of vocal expression in improvised contexts
• Hip-hop and beatbox artists have developed a wide range of vocal percussion techniques that can be considered a form of extended vocal technique
  • Artists like Rahzel and Beardyman have showcased the incredible versatility and musicality of the human voice in their performances
• Interdisciplinary artists and performers continue to explore the intersection of voice, language, and technology in their work
  • Works like Pamela Z's "Voci" and Maja S.K. Ratkje's "Crepuscular Hour" blend extended vocal techniques with electronic processing and multimedia elements
• The influence of extended vocal techniques and sound poetry can be heard in various genres and styles of contemporary music, from avant-garde composition to experimental pop and beyond
  • As artists continue to push the boundaries of vocal expression, these techniques will undoubtedly continue to shape the future of music and performance art