The Maximal–Minimal Model: A framework for evaluating and comparing experience of voice in electroacoustic music

Abstract

This article presents a framework for describing, understanding and evaluating the experience of voice in acousmatic electroacoustic music and related genres through the maximal–minimal model. This model, which is inspired by literary theory, theories of radiophonic voice as well as theories of electroacoustic music, presents maximal and minimal voice as loosely defined poles constituting end points on a continuum on which experienced voices can be localised. Here, maximal voice, which parallels the informative and clearly articulated speaking voice dominant in the radio medium, is described as the converging fulfilment of seven premises. These premises are seen as partly interconnected conditions related to particular aspects or features of the experience of voice. At the other end of the continuum, minimal voice is defined as a boundary zone between voice and non-voice, a zone which is related to the negative fulfilment of the seven premises. The two poles are presented as centre and periphery, respectively, with the seven premises constituting multiple axes spreading out from the centre. These features, it is argued, parallel Lakoff's cluster model of categorisation. Lastly, the article briefly discusses the use of the framework in analysis of electroacoustic works with voice, and it demonstrates two ways in which the evaluations according to the framework can be visualised.