http://creativitymachine.net/2005/05/17/archaelogy-of-the-voice/ A personal research blog about vernacular creativity and technology by Jean Burgess. Fri, 25 Jul 2008 19:09:40 +0000 http://wordpress.org/?v=2.3.3 http://creativitymachine.net/2005/05/17/archaelogy-of-the-voice/#comment-376 Jean Sun, 22 May 2005 21:03:16 +0000 http://creativitymachine.net/2005/05/17/archaelogy-of-the-voice/#comment-376 Thanks, Justine. That's interesting, becuse in flute playing the same years and years are spent trying to merge body and machine, so that the flute sound emerges (as naturally, as organically) *as* the voice of the flautist. But I have had the experience of an opera singer complaining about air con on the tour bus on the grounds: "it's not because it bothers me, it's The Voice" Thanks, Justine. That’s interesting, becuse in flute playing the same years and years are spent trying to merge body and machine, so that the flute sound emerges (as naturally, as organically) *as* the voice of the flautist. But I have had the experience of an opera singer complaining about air con on the tour bus on the grounds: “it’s not because it bothers me, it’s The Voice”

]]> http://creativitymachine.net/2005/05/17/archaelogy-of-the-voice/#comment-375 Justine Humphry Sun, 22 May 2005 09:45:53 +0000 http://creativitymachine.net/2005/05/17/archaelogy-of-the-voice/#comment-375 The training of opera singers is a good example of the social production of the voice. I attended a really interesting talk about this recently by an opera singer. She described how the voice, in opera training, is disembodied. Training is the process of making it a thing unto itself. One takes care of the voice, as a product, to be preserved and moulded over time. Alot of time. She was saying that opera training typically involves a minimum of 10 years before the voice can be considered 'professional'. The training of opera singers is a good example of the social production of the voice. I attended a really interesting talk about this recently by an opera singer. She described how the voice, in opera training, is disembodied. Training is the process of making it a thing unto itself. One takes care of the voice, as a product, to be preserved and moulded over time. Alot of time. She was saying that opera training typically involves a minimum of 10 years before the voice can be considered ‘professional’.

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