Anemone Anomaly
  • me.
    • bio.
    • vitae.
  • news.
  • sounds.
    • soundscapes. >
      • => 'One Single Sheep Bell' (2022).
      • => 'The Hights' (2021).
      • => in 'Future Cities Project' (2020).
      • => 'Yoshiwara Soundwalk' (2016).
      • => 'Summer in Snow Country' (2014).
      • => 'Finding as Making // Singing No Songs' (2014).
    • electrovocal. >
      • => 'renatured' (2022).
      • => 'Mirror Morrow' (2020).
      • => w/ Akaihirume (2019).
      • => w/ Rich Rath (2018).
      • => 'touching barad' (2015).
    • for dance. >
      • => Nina Haft's 'Precarious Pod' (2019).
      • => Peiling Kao's 'Integral Bodies' (2019).
      • => Christy Funsch's 'MSDM' (2018).
      • => 'Des-Echoes' (2015).
    • for film. >
      • => 'Free Chol Soo Lee' (2022).
      • 'Midnight Traveler' (2019). >
        • => on sound-making in Hassan Fazili's Midnight Traveler (2019).
      • => Karen Day's 'Bamboo and Barbed Wire' (2019).
      • => Em Mahdavian's 'Intangible Body' (2016).
      • => film music samples.
  • albums.
    • => 'Thirsty Afternoon' (2022).
    • => 'On Cypress Ridge' (2021).
    • => 'music for going nowhere' (2020).
    • => 'hirakito' (2019). >
      • => review.
    • => glou glou 'fey flight founders' (2016).
    • => glou glou 'hymn her hum' (2014).
    • => 'songspaces' (2013).
  • objects.
    • visual scores. >
      • 'Song Cycle for Symbionts' (2020).
      • postcard musics. >
        • Canessa Gallery (2015).
        • 'Post-Score' (2023).
      • 'Paris Blancheur' (2011).
      • => 'Tree_Score' (2010).
    • instructional scores. >
      • 'For Voices in Distant Landscapes' (2022).
      • 'Body / Tech / Overflow' (2021).
      • 10'15"x (2017).
      • I Clean the Stage (2009). >
        • => video.
      • 'News Piece' (2006).
    • sound art & poetry. >
      • => in Orion Magazine (2019).
      • 'As Distinct From Humming' (2007).
      • Stein Phase (2006–2009).
    • artist books. >
      • => 'Sonic Meditation for Immersive Ecological Entanglement' (2018).
      • 「古」
      • "Paris Arthaud" & "ou ou".
      • "an e and a me".
      • "Michel Foucault's 'Minor Perverts...'"
    • instruments. >
      • => photo-koto at NIME13, Seoul (2013).
      • => photo-koto on Maddow (2010).
  • others.
    • => JuDai (2019–2022). >
      • => live & distant on People, Places, Things (2020).
    • => electroViolet (2016–2021). >
      • => body electric 5.2 (Island Circuit 2021).
      • => body electric 3.1 (Oahu Fringe 2019).
      • => body electric 2.0 (Honolulu 2018).
      • => body electric 1.3 (Berlin 2017).
    • => Eat The Sun (2013–2018). >
      • => March 2018.
      • => November 2015.
      • => April 2014.
      • => March 2014.
      • => October 2013.
      • => July 2013.
    • => Gestaltish (2011–2014). >
      • => more w/ Gestaltish.
    • => Candy Acid (2009–2013). >
      • => in conversation.
      • => on Susu Ultrarock Records.
    • w/ Ted Apel & breccia (2006– ) >
      • => Black Friday 2015.

As Distinct From Humming  A Found Poem for Live Voice & Audio Media  (2007).

Picture
click to listen.
Performance note:
    Extend or repeat specified phonemes for several seconds
    without changing the natural spoken pitch or rhythm of the voice.  



An interest in female voices and in the castrato becomes evident in the 16th
century: improvised florid singing.
High voices were favored and the upper limits of the range much extended.

Vocal virtuosity of a high order, the exact nature of which is no longer entirely clear
because of the loss
of authentic performance traditions.
                
                (a     highly         developed     singing     style)

It is also likely.

A sensitive nuance to the vocal line
                               the main source of expressiveness.

            The voice: the most complex of all musical instruments.

Opera, cantata, oratorio: an affective declamation of the text,
                               rethinking the relation between
                                        words and vocal style.

The basis of the art was vocal flexibility.
        (the singer's function, progressively circumscribed)

The singer having been at times also priest, healer, actor, poet, and much else,

Preferences in timbre, register, and tessitura described by Benigne de Bacilly and Jean-Antoine Berard:
a sweeter and less rich quality of tone may have been favored.  

        Adumbrated electronic sound amplification:
            (to shape their voices to its requirements)

Since ignorance of the vocal mechanism long prevented
the formation of precise terminology necessary for detailed investigations.

            (the long popularity of the falsettist and castrato)

Embodied in the dramatic soprano, singers were reduced
to interpreters of the composer's intentions.  
                                   The first half of the 19th century marks the transition.

(voices have remained free)

The role of singing as determiner of musical style diminished.

                         (to develop the individual qualities of voices
                                         and musical temperaments)



                                                                            All phrases found in The Harvard Dictionary of Music by D. M. Randel


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