Vocal Aesthetics Research Articles

Beyond Words

Beyond Words

Vocal Aesthetics, AI Imaginaries

In 2019, a report commissioned by the United Nations Educational, Scientific and Cultural Organization (UNESCO) claimed that the way users interface with technology is in the midst of a paradigm shift—from text input and output to voice input and output. Indeed, voice assistants such as Amazon’s Alexa, Apple’s Siri, and Google Assistant are increasingly ever-present in domestic spaces. Against this backdrop, this paper proposes that critical thinking about Artificial Intelligence (AI) might be advanced and elaborated by simultaneously thinking critically about voice, unpacking beliefs that spoken language operates as a seamless “natural user interface,” as well as broader ideological convictions about voice’s exceptional status as a marker of unmediated self-presence. I examine the entangled conceptual roots between theories of voice and apocryphal origin stories of artificial intelligence in two eighteenth-century inventions—Wolfgang von Kempelen’s Mechanical Turk and speaking machine. The aesthetic practices surrounding these and other so-called thinking and speaking machines engender shifting relations of visibility and invisibility, obfuscating the role of human labor in creating the seeming magic of AI. I also examine two artistic projects—Holly Herndon’s electropop album PROTO (2019) and a series of collaborative works by Sofian Audry and Erin Gee titled of the soone (2018), to the sooe (2018), and Machine Unlearning (2018–19)—that, in their varied deployments of machine learning in vocal performance, challenge the ideological foundations of the sociotechnical milieu from which they emerge. These artworks tune into the frictions and glitches inherent to vocal interfaces and thereby unravel the vocal imaginary that sustains the illusion of their neutrality, self-sufficiency, or, indeed, intelligence.

Musical theatre’s omnivorous voice: Interviews with elite voice teachers in the Broadway community

This article explores how the pluralities of vocal behaviours and vocal aesthetics in present-day musical theatre are understood and manoeuvred in the context of teaching musical theatre voice. Transcribed interviews with six elite voice teachers in the Broadway community are analysed and placed into a conceptual framework of the ‘omnivorous voice’ (based on sociologist Richard Peterson’s writings on cultural omnivorousness and sociologist Antoine Hennion’s writings on tastes); the article also engages with Braun and Clarke’s reflexive thematic analysis. Four central themes are generated and discussed: (1) understanding omnivorous code-switching and shape-shifting as a fundamental potential of the voice, (2) manoeuvring vocal omnivorousness by carefully attending to sonic information, (3) searching for authenticity in an omnivorous vocal world and (4) expanding and diversifying vocal aesthetics beyond musical styles and genres. This article contributes to the fields of performing arts pedagogy and voice training in musical theatre, and aims to provide insights into how vocal technique and vocal aesthetics are influenced by, taught in, and created in dialogue with the communities and societies in which our voices exist. The last is especially explored in light of the COVID-19 pandemic.

Voices of Black Folk: The Sermons of Rev. A. W. Nix, by Terri Brinegar

Voices of Black Folk: The Sermons of Rev. A. W. Nix, by Terri Brinegar

‘Extended’ vocal techniques in the institution: The Extended Vocal Techniques Ensemble at the Center for Musical Experiment at UCSD

In the decades following the Second World War, novel sound technologies and the proliferation of ethnomusicological field recordings ignited curiosity and experimentation among many musicians; these cultural phenomena also sparked a re-examination of conventional Euro-American musical sound sources. Classically trained instrumentalists and singers – particularly those associated with the ‘experimental tradition’ – cultivated intentionally idiosyncratic musical practices and widened their range of sonic possibility; this cultural zeitgeist included a heightened interest in so-called extended vocal techniques. In this article, I examine the research and creative output of the Extended Vocal Techniques Ensemble (EVTE) of the University of California at San Diego (UCSD). Drawing from published literature, interviews and archival sources to write this account of the EVTE’s multifaceted work, I contextualize the group’s activities within UCSD’s interdisciplinary emphasis as well as in the broader social–historical discourses of ‘extended vocal techniques’. Furthermore, I address the implications of their story within the broader politics of vocal aesthetics and pedagogy in Euro-American classical music contexts. By unearthing the EVTE’s interdisciplinary vision for vocal study, I hope to not only spark interest in this ensemble’s contributions, but also to revive (and build upon) their vision of a radically reimagined vocal artistry and study in academic music and beyond.

Black Vocality as Cultural Capital

ABSTRACT This article investigates the use of the voice by five Black opera and musical theatre performers. The performers discuss the approaches that they take in the representation of music that requires integrated vocality, which amalgamates elements from Western classical vocalism and stylistic genres of traditionally Black forms like gospel, jazz, and blues. Data were collected through audio/visual analysis, interviews, and video stimulated recall. The emergent theme explored is as follows: A singer positions themself at the nexus of their cultural legacy as a learner, exemplar, advocate, and transmitter of culture. A Black singer consciously uses musical strategies when presenting and re-presenting music based in culturally affirming aesthetics. The artist becomes skilled at executing Black vocal aesthetics to encourage other artists and to perpetuate Black culture.

Vocal aesthetics—Theoretical and methodological considerations

Research on the influence of human voice on perceived attractiveness and other characteristics has a long tradition in psychology, aesthetics, and neuro-cognitive science. Here, we would like to present the perspectives, methodologies and goals of voice studies within these disciplines. Then, we will focus on the most common voice studies in psychology (i.e., evaluation of different characteristics based on the voice samples). Hundreds of studies have measured properties of the human voice to understand what vocal features tell about the speakers and how they influence their social perception. However, there is surprisingly little consensus about their methodology, specifically in terms of the verbal content and duration of voice recordings (i.e., speech stimulus types). While in some studies researchers record only vowel sounds or single words, others use sentences, longer, scripted statements or fragments of spontaneous conversations. The duration and verbal content of voice recordings could affect key nonverbal properties of speech, and therefore, in our project, we assessed the effect of speech stimulus type on voice perception in playback experiments. In our presentation, will describe the results of our previous studies and based on these we will also present our recommendations on future psychological experiments. [Work supported by NCN 2016/23/B/HS6/00771]

The perception of vocal aesthetics in digital art

The active use of new digital technologies in the art of music is becoming the basis of a new aesthetic perception. The possibilities of digital technology to transform the voices of performers make it relevant to consider the role of vocal aesthetics in digital music art. This study aims to investigate the features of vocal aesthetics perception in digital art. The perception of musical works as pleasant or unpleasant correlates with the psycho-emotional state of the listener; thus, to study the psycho-emotional impact of synthesized vocal without instrumental accompaniment, the authors used Kunin projective physiognomic test (1977), the WAM (Well-being, Activity, Mood) technique (1973), and the Wessman-Ricks self-assessment of mental state technique (2004). The study involved 182 students and teachers of Music College, Ningbo University, China. The study of the psycho-emotional state of respondents before and after listening to synthesized vocal compositions allowed the authors to indirectly evaluate the aesthetic perception of digital music art. After listening to the vocal digital fragment, which included both major and minor fragments of different tempo and rhythm, the overall mood in the group of respondents significantly improved: good mood was detected in 26.9% of cases, and very good - in 11.5%. The positive impact of listening to a vocal digital song on the well-being, activity, and mood of the respondents correlates with its positive aesthetic impact. The research confirms that aesthetic properties are directly dependent on the listener's point of view, aesthetic experience is a matter of value and emotion, and aesthetic feeling arises as a result of an unconscious process and is associated with the normalizing effect of digital vocal composition on the psycho-emotional state of the respondents.

A Differentiation of Gifted and Talented Singers

This journal purposes on the studies of correct vocal singing techniques and knowledge sharing information. The methodology used in this study was throughacquiring vocal aesthetics and improvisations in singing skills from gifted singers derived through interviewsfromsome of Malaysia’s mostgifted stars.The discovery of this study with regards to theanalysis on the differentiation of vocal characteristic aims to indicate positive and innovative results against negative and stereotype emulated singing of amateur singers.Through the findings of this research, amateur and aspiring new singers shall be able to learn to sing and perform properly. The main findings and results aretabled from the top to the least based on important tips like feel, innovative methods, techniques and creativity invarious singing performances. Practical contribution of this study will be a useful guideline not only to artistes but vocal teachers and record companies.This journal purposes on the studies of correct vocal singing techniques and knowledge sharing information. The methodology used in this study was throughacquiring vocal aesthetics and improvisations in singing skills from gifted singers derived through interviewsfromsome of Malaysia’s mostgifted stars.The discovery of this study with regards to theanalysis on the differentiation of vocal characteristic aims to indicate positive and innovative results against negative and stereotype emulated singing of amateur singers.Through the findings of this research, amateur and aspiring new singers shall be able to learn to sing and perform properly. The main findings and results aretabled from the top to the least based on important tips like feel, innovative methods, techniques and creativity invarious singing performances. Practical contribution of this study will be a useful guideline not only to artistes but vocal teachers and record companies.

A estética do sucesso vocal: discursos engendrados na construção de vozes de sucesso midiático

Este estudo visa analisar como é produzido um tipo de estética vocal, a partir de uma performatividade acerca de dizeres sobre vozes de sucesso. Acreditamos que, por conta dos discursos veiculados sobre a materialização da voz que (re)produz sujeitos e sentidos do sucesso, exista também uma discursivização complexa da estética da recepção do sucesso. Para a observação de tanto, empregaremos o aparato teórico metodológico da Análise do Discurso francesa, especialmente norteado pela noção de pré-construído, de pressuposto e subentendido, de intra e interdiscurso, bem como de deslizamentos (efeitos) metafóricos. Assim, investigaremos os funcionamentos discursivos midiáticos que tornam possível afirmar que a recepção da voz, em boa medida, engendra uma estética vocal de sucesso e, consequentemente, dá suporte à manutenção dessa determinada escuta. Em específico, analisaremos matérias da revista Rolling Stone, “Quando Michael se Tornou Michael” (SHEFFIELD, 2010), “Amy Winehouse 1983-2011” (ELISCU, 2011), e “Voz Imortal” (CAVALCANTI, 2015), publicadas nos anos de 2010, 2011 e 2015 respectivamente.

Voices That Matter: Authenticity, Identity, and Voice in the Musical Career of Lana Del Rey


 
 
 Discursive authentications of singing voices in pop music reception are often rooted in gendered expectations. Moving away from essentialist understandings of the ‘authentic voice,’ this article proffers that voices are formatively entangled in processes of subjectification. Lana Del Rey is a singer whose (vocal) career has been considered inauthentic in the discourse of journalists, particularly when she first rose to stardom in 2011 via YouTube. Del Rey is a prime example of the contemporary values of artistic personae in pop culture, as her career has been so bound to notions of authenticity and sounding authentic. Through an analysis of the vocal aesthetics of Del Rey and the discourse that surrounds her, the notion of ‘vocal ontogenesis’ is developed. This concept moves from subjectification as an ontologically complete instance to subjectification as a never-ending process. The notion of vocal ontogenesis becomes useful for comprehending the complex aggregations of which the voice is a component, and more broadly implies the need for further study of vocal materialism, setting an agenda for decentered examinations of voice, gender, and authenticity.
 
 

Book Review: Voice: Vocal Aesthetics in Digital Arts and Media

Book Review: Voice: Vocal Aesthetics in Digital Arts and Media

Perceptual Fluency and Judgments of Vocal Aesthetics and Stereotypicality

Research has shown that processing dynamics on the perceiver's end determine aesthetic pleasure. Specifically, typical objects, which are processed more fluently, are perceived as more attractive. We extend this notion of perceptual fluency to judgments of vocal aesthetics. Vocal attractiveness has traditionally been examined with respect to sexual dimorphism and the apparent size of a talker, as reconstructed from the acoustic signal, despite evidence that gender-specific speech patterns are learned social behaviors. In this study, we report on a series of three experiments using 60 voices (30 females) to compare the relationship between judgments of vocal attractiveness, stereotypicality, and gender categorization fluency. Our results indicate that attractiveness and stereotypicality are highly correlated for female and male voices. Stereotypicality and categorization fluency were also correlated for male voices, but not female voices. Crucially, stereotypicality and categorization fluency interacted to predict attractiveness, suggesting the role of perceptual fluency is present, but nuanced, in judgments of human voices.

Voice: Vocal Aesthetics in Digital Arts and Media. Edited by Norie Neumark, Ross Gibson, and Theo van Leeuwen. Cambridge, MA: MIT Press, 2010; 440 pp. $40.00 cloth, e-book available. Dramatic Theories of Voice in the Twentieth Century. By Andrew M. Kimbrough. Amherst, NY: Cambria Press, 2011; 334 pp. $114.99 cloth, e-book available

<i>Voice: Vocal Aesthetics in Digital Arts and Media.</i> Edited by Norie Neumark, Ross Gibson, and Theo van Leeuwen. Cambridge, MA: MIT Press, 2010; 440 pp. $40.00 cloth, e-book available. <i>Dramatic Theories of Voice in the Twentieth Century.</i> By Andrew M. Kimbrough. Amherst, NY: Cambria Press, 2011; 334 pp. $114.99 cloth, e-book available

The effect of accommodation on perceived vocal aesthetics

We conducted an auditory naming task (n = 20) using eight model talker voices previously rated for attractiveness and prototypicality such that the most attractive, least attractive, most typical, and least typical voice for each gender served as a model talker. Female shadowers accommodated more than males, particularly to the Most Attractive Female model. This finding led us to question if in the course of accommodation to an attractive female voice, female shadowers themselves become more vocally attractive. We then conducted an AX task where listeners judged whether shadowers’ baseline or shadowed productions were more attractive. Our results suggest that shadowers do modulate their perceived attractiveness in the course of accommodating; in particular, the more females accommodated to the Most Attractive Female model, the more attractive her own voice became. We are currently running a second study exploring whether shadowers’ voices change in perceived typicality when accommodating the Most Typical and Least Typical voices, both of which also garnered large amounts of accommodation in the original auditory naming task. In general, our results demonstrate that the process of accommodation involves the mirroring of multidimensional speech characteristics, which in turn signal vocal aesthetics to listeners.

Book review: Voice: Vocal aesthetics in digital arts and media

Book review: Voice: Vocal aesthetics in digital arts and media

On the relationship between vocal aesthetics and speech perception.

This study reports data from four experiments exploring the interplay of meta-linguistic analyzes and lower level tasks with the goal of understanding how judgments of vocal aesthetics and voice typicality affect voice and phoneme processing. In the first, speakers of west coast North American English rated the attractiveness of 60 American English voices. Results from this experiment were compared against the following ones. In the second experiment listeners were asked to rate the typicality of each voice for its sex. Ratings for both showed a strong correlation, suggesting that vocal attractiveness and voice typicality are related. In the next experiment listeners were asked to quickly classify the voices as male or female. Faster reaction times correlated with judgments of higher typicality, but not with attractiveness. Finally a group of listeners were asked to classify the vowels produced by the voices. Here a correlation was found with both rating tasks such that listeners were faster at vowel classification for both the more attractive voices and the more typical ones. Moreover, a correlation was found between both online tasks such that voices that listeners classified quickly by sex were also classified quickly by vowel.

Voice: vocal aesthetics in digital arts and media

Voice: vocal aesthetics in digital arts and media

Singing and the imagination of devotion. Vocal aesthetics in early English Protestant culture. By Susan Tara Brown. (Studies in Christian History and Thought.) Pp. x+150. Milton Keynes: Paternoster, 2008. £19.99 (paper). 978 1 84227 407 1

Singing and the imagination of devotion. Vocal aesthetics in early English Protestant culture. By Susan Tara Brown. (Studies in Christian History and Thought.) Pp. x+150. Milton Keynes: Paternoster, 2008. £19.99 (paper). 978 1 84227 407 1