Abstract

Written as a two-fold dissertation on Ph.D. studies of composition at the Faculty of Music in Belgrade, which consists of the piece and the autopoetic text, Ana Gnjatović's Phonations for voice and electronics (2016), raises, among others, questions of performance of music for voice and electronics, as well as issues of the composer's/performers voice, and the topic of (musical) memory. Focusing on these problem points, this paper deals with Ana Gnjatović's 'vocal identity, represented and performed in the layering sounds of voice and electronics, with Edward T. Cone's notion of 'composers voice in mind.

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