- The Oxford Handbook of Computer Music
- Introduction: The Many Futures of Computer Music
- A Historical View of Computer Music Technology
- Early Hardware and Early Ideas in Computer Music: Their Development and Their Current Forms
- Sound Synthesis Using Computers
- Computational Approaches to Composition of Notated Instrumental Music: Xenakis and the Other Pioneers
- Envisaging Improvisation in Future Computer Music
- Computer Music: Some Reflections
- Some Notes on My Electronic Improvisation Practice
- Combining the Acoustic and the Digital: Music for Instruments and Computers or Prerecorded Sound
- Dancing the Music: Interactive Dance and Music
- Gesture and Morphology in Laptop Music Performance
- Sensor-Based Musical Instruments and Interactive Music
- Spatialization and Computer Music
- The Voice in Computer Music and Its Relationship to Place, Identity, and Community
- Algorithmic Synesthesia
- An Introduction to Data Sonification
- Generative Algorithms for Making Music: Emergence, Evolution, and Ecosystems
- Computational Modeling of Music Cognition and Musical Creativity
- Soundspotting: A New Kind of Process?
- Interactivity and Improvisation
- From Outside the Window: Electronic Sound Performance
- Empirical Studies of Computer Sound
- Toward the Gender Ideal
- Sound-Based Music 4 All
- Framing Learning Perspectives in Computer Music Education
- Appendix: A Chronology of Computer Music and Related Events
Abstract and Keywords
In computer music, the voice has been used to explore and problematize concepts of place, identity, and community. While the exploration of subjective and social experience through verbal content is often not as intensive in computer music as it is in song-setting or poetry, the transformation and contextualization of the voice is much more radical and multidimensional. This article is concerned with the spoken voice rather than singing, and its emphasis is cultural, interpretative, and highly selective rather than technical, taxonomic, comprehensive, or historical. It considers place, identity, and community separately, but inevitably these are all interwoven and interdependent. Electroacoustic sounds often function as multiple metaphors: a piece that can seem to be about nature, for example, but also be interpretable as a psychological landscape. In addition, many of the works function on a meta-level.
Hazel Smith, University of Western Sydney
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