Electrified Voices (eBook)

Dr. Dmitri Zakharine promovierte 1995 an der Lomonossow-Universität Moskau in der Sprach- und Literaturwissenschaft und habilitierte sich 2005 an der Universität Konstanz. Er besitzt die Lehrberechtigung für Kultursoziologie und Neuere Geschichte und ist als Privatdozent an der Universität Konstanz tätig.

Title Page 3
Copyright 4
Table of Contents 5
Body 9
Dmitri Zakharine: Preface: Electrified Voices. Medial, Socio-Historical and Cultural Aspects of Voice Transfer 11
Subject `E-voices' 11
E-voice Recording 12
E-voice Reproduction 12
E-voice Transmission 13
E-voice Reception 13
E-voice Montage 14
E-voice Synthesis 15
Approaches 16
The Content of the Volume 17
Introduction 17
E-voices: From Soundscape to Sound-Design 17
Gendered E-voices and Listening Community 18
E-voice Synthesis and E-voice Montage. Techniques and Social Meaning 21
1920s: The Roaring Twenties 21
1930–1940s: The Shouting Thirties 22
1950s: The Icy Fifties 24
1960s: The Storming Sixties 25
1970–1980s: The Metallic Seventies 26
1990s-2000s The Calculating Late Modernity 27
Human Voice Cultures That Resisted Electrification 28
Walter Sendlmeier: Introduction: Voice—Emotion—Personality 31
1 Introduction 31
2 Gender-Specific Effects 32
3 Age and Voice 36
4 Emotional Expression by Voice Quality and Speaking Style 38
5 Voice and Personality 40
6 Synchronic Voices 42
7 Visual Images of Radio Presenters 43
8 Conclusion 45
References 46
E-Voices: From Soundscape to Sound-Design 49
David Sonnenschein: Sound Spheres and the Human Voice 51
Genesis of Sound Spheres 51
Established Models of Psychoacoustic Space and Auditory Cognition 53
Sound Spheres Model 54
I Think 54
I Am 55
I Touch 56
I See 57
I Know 57
I Don't Know 58
Multi-Sphere 59
Conclusion 60
References 60
Further Readings 60
Barry Truax: Voices in the Soundscape: From Cellphones to Soundscape Composition 61
1 Introduction 61
2 Models of Acoustic and Electroacoustic Communication 63
2.1 The Energy Transfer Model 63
2.2 The Soundscape Model and Neo-Orality 66
2.3 An Information-Based Communication Model 70
3 The Alternative Voice 72
4 Conclusion 77
References 77
Friederike Wissmann: About the Generation of Affects in Serial Music: On Luciano Berio's Composition “Thema. Omaggio a Joyce” (1958) 81
References 89
Gendered E-Voices and Listening Community 91
Philip Brophy: Evaporate Music 1: Revoicing & Gendered Vocalization
Introduction: Theoretical considerations in the production of the video Evaporated Music 1 (2000 + 2004) 93
Development 94
Evaporation 96
Ingrained Vocality 97
Re-Voicing 99
Cinesonic Voices 100
Musical Voices 101
Audio-Visual Vocalisation 102
Gendered Vocalisation 103
Conclusion 105
References 105
Nicola Dibben: The Intimate Singing Voice: Auditory Spatial Perception and Emotion in Pop Recordings 107
Introduction 107
1 Song Recordings as Expressive Performances 109
2 Sound Spatialisation as the Creation of a Virtual Environment 112
3 The Impact of Spatialisation on Perceptions of Interpersonal Distance and Emotion in Recordings 114
4 Consequences of the Sonic Construction of Author-Image 116
5 Subverting the Author-Image: Alternative Approaches to the Voice in Recorded Space 117
References 119
Discography 122
Kate Lacey: Speaking Up and Listening Out: Media Technologies and the Re-Sounding of the Public Sphere 123
Speaking Up 124
Listening Out 130
References 134
Jason Loviglio: U.S. Public Radio, Social Change, and the Gendered Voice 137
1 Introduction 137
2 Gender and Voice 141
3 Minority Culture and the NPR Habitus 142
References 145
E-Voice Synthesis and E-Voice Montage. Techniques and Social Meaning 147
Liubov Pchelkina: The Biomechanics of Voice and Movement in the Solomon Nikritin's Projection Theatre (1920s) 149
References 161
Andrey Smirnov: Synthesized Voices of the Revolutionary Utopia: Early Attempts to Synthesize Speaking and Singing Voice in Post-Revolutionary Russia (1920s) 163
Speaking Machines 164
Synthetic Acoustics 168
Audio Computing and the Rules-based Synthesis in the 1930s 169
The Vibroexponator 172
Syntone Database 173
Timeline 184
Acknowledgments 184
References 184
Lydia Kavina: Thereminvox 187
References 199
Further Readings 199
Discography 200
Dmitri Zakharine: Voice—E-Voice-Design—E-Voice-Community: Early Public Debates about the Emotional Quality of Radio and TV Announcers' Voices in Germany, the Soviet Union and the USA (1920–1940) 201
Structural Change and Technological Change 201
E-Voices in Narrative Film 205
E-Voices in Documentary Film 208
The United States 210
Great Britain 213
Germany 215
Soviet Russia 221
“Cannon Voice” Announcers and the Bass Fetishism of the 1930s 227
Conclusions 228
References 229
Folke Müller: Die Tonhöhe historischer Filmstimmen als soziolinguistische Variable 233
1 Die Untersuchung historischer Tondokumente im Rahmen der Soziolinguistik 233
2 Die Tonhöhe und ihre soziolinguistische Wirkung 235
3 Analysebeispiel: Annelie (1941) 240
4 Fazit und Ausblick 244
Literaturverzeichnis 245
Filme 247
Software 247
Natascha Drubek: The Exploited Recordings: Czech and German Voices in the Film “Theresienstadt: Ein Dokumentarfilm aus dem jüdischen Siedlungsgebiet” (1944–5) 249
Memories and Histories of the Camp and Its Media 250
Messages from the Camp: Postcards and “Kassibers” 251
The Unique Case of Recorded Voices from a Concentration Camp 253
Strategies of Deception 1943–45: Theresienstadt as the Friendly Camp in the Heart of Europe 254
About the Production of the Film and its Intended Audience 257
Authorship in the Film and Two Layers of Sound Recordings 260
The Chronologically Last Layer: Lampl, the Reticent Narrator 260
The Chronologically Earliest Layer 262
Music Recordings for the Film in 1944 and 1945 266
Diegetical Elements in the Sound-Mix 267
Voices and Sounds of the Subaltern 268
Messages of the Recorded Voices 269
References 270
Konstantin Kaminskij: The Voices of the Cosmos. Electronic Synthesis of Special Sound Effects in Soviet vs. American Science Fiction Movies from Sputnik 1 to Apollo 8 273
Sound For Sputnik 275
Voices Of Venus 281
References 289
Hans-Ulrich Wagner: Sounds like the Sixties: Approaches to Analyze Radio Aesthetic in the Past 291
1 Radio Times: Voices on Air 291
2 Why Analyzing Mediated Voices in the Past? 293
3 Why Analyzing the Sixties? 295
4 “Radio Analysis? Sure! But How?” 296
5 Conclusion 298
References 299
Susan Smith: `The shock of each moment, of still being alive'. Vocal Sensations in Boom! (Losey, 1968) 301
References 310
Nils Meise: “Seven-six-two millimeter. Full, metal, jacket”. Voice and Sound in Popular Late 20th Century War Movies 311
I 313
II 314
III 317
IV 318
V 319
References 321
Filmography 323
Golo Föllmer: Theoretical-methodical Approaches to Radio Aesthetics: Qualitative Characteristics of Channel-Identity 325
1 Introduction 325
2 The Problems of Classic Program Research 327
3 Alternative Perspectives 329
4 The Approach of the Radio Practitioner 330
5 The Theoretical Approach 331
6 Subject Matter and Methodical Approach 333
7 Hypotheses 334
8 Results to Date 335
9 Summary 339
References 340
Further Readings 341
Philip Preuß and Steffen Lepa: Alien Voices: The Sonic Construction of Foreignness in Science Fiction 343
Introduction: Science Fiction and the Voco-Acoustical Construction of Alterity 343
1 An Englishman in Washington D.C.: The Day The Earth Stood Still (USA 1951, 92 min) 346
2 Goats, Racoons and an Old Lady with a Smoker's Lung: E.T.—The Extra-Terrestrial (USA 1982, 115 min) 349
3 Electric Beehives and Swarming Marine Mammals: District 9 (USA, NZ, CA, SA 2009, 112 min) 352
Conclusion: Alterity and Familiarness— The Sonic Construction of Foreignness in SciFi 355
References 356
Christofer Jost: Computer-Based Analysis of Audiovisual Material 359
Einleitung 359
Das Musikvideo als audiovisuelle Gattung 361
Transkription – Analyse – Interpretation. Zu den grundlegenden methodologischen Anforderungen an kulturelle Artefakte 364
„trAVis”. Auf dem Weg zu einer computergestützten Analyse von musikbasierten Medienprodukt.(ion).en 366
Fazit und Ausblick 371
Literaturverzeichnis 373
Human Voice Cultures, which Resisted Electrification 377
Bernd Brabec de Mori: A Medium of Magical Power: How to do Things with Voices in the Western Amazon 379
Introduction: Electrified Voices do not Work 379
Understanding Amazonian Magic 381
The Spirits' Language 383
How to do Things with Voices 387
Electrification without Electricity 395
Conclusion: Why Electrified Voices do not Work 397
References 399
Tanja Zimmermann: The Voice of Gusle and its Resistance Against Electrification 403
References 410
Authors 411