Voice machines the castrato, the cat piano, and other strange sounds
Prologue -- Sounds like ... : assembling the sound world. Orfobot : automated Orpheus ; the death of a cicada -- Feedback loops : entanglements of voices and instruments. Intermedio : the cat piano; Organoscope : telescoping sound; Organs and organs; Into the garden -- Roman reverb and sea changes....
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Format: | UnknownFormat |
Sprache: | eng |
Veröffentlicht: |
Chicago, IL ; London
The University of Chicago Press
2023
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Online Zugang: | Inhaltsverzeichnis |
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Zusammenfassung: | Prologue -- Sounds like ... : assembling the sound world. Orfobot : automated Orpheus ; the death of a cicada -- Feedback loops : entanglements of voices and instruments. Intermedio : the cat piano; Organoscope : telescoping sound; Organs and organs; Into the garden -- Roman reverb and sea changes. When in Rome : the castrato as a special effect; On the cusp; More than one sex -- Out of synch. Time travel/liquid ecstatics; Cyborg echoes -- Epilogue : cadential hauntings "The castrato phenomenon stretched from the late sixteenth century, when castrati first appeared in Italian courts and churches, through the eighteenth century, when they occupied a celebrity status on the operatic stage. Throughout this time, the voice of the castrato--hailed as uniquely strong, flexible and expressive--contributed to a dramatic expansion of the musical vocabulary and to finding new ways to embody the poetic text. For us today, the castrato also highlights the porous relationship of voices and instruments/machines and the inherent materiality of sound. In her revealing study, Bonnie Gordon asks what it meant that the early-modern period produced a caste of technologically altered male singers and she uses the castrato as a critical provocation for asking questions about the interrelated histories of music, technology, sound, the limits of the human body, and what counts as human"-- |
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Beschreibung: | ix, 416 Seiten Illustrationen 24 cm |
ISBN: | 9780226825144 978-0-226-82514-4 |