Reconfiguring Voice in The End: Virtuosity, Technological Affordance and the Reversibility of Hatsune Miku in the Intermundane

IF 0.3 2区艺术学 0 MUSIC

Cambridge Opera Journal Pub Date : 2022-11-01 DOI:10.1017/S0954586722000301

Jessica Tsun Lem Hui

引用次数: 0

Abstract

Abstract This article explores the technological affordances of vocal production software in performance through a case study of Shibuya Keīchirō's The End (2012). In the performance of this ‘humanless opera’, desires for pliability and fantasies of control are realised through the affordances of a singing voice synthesis software known as Vocaloid. By reflecting on The End's thematic focus on death and existentialism and on notions of vocal virtuosity, and by exploring the socio-technical processes by which the protagonist, virtual pop star Hatsune Miku, was constructed, the article provides an alternative narrative to vocal production and intermundane collaboration as it relates to the fluid and reversible configurations between voices, bodies and technologies in performance.

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最终重构声音：美德、技术的可承受性与羽生结弦中三谷的可逆性

摘要本文以涩谷克奇奇的《the End》(2012)为例，探讨声乐制作软件在表演中的技术优势。在这场“无人歌剧”的表演中，通过名为Vocaloid的歌唱语音合成软件的支持，实现了对柔韧性和控制幻想的渴望。通过反思《The End》对死亡和存在主义的主题关注以及声乐技巧的概念，并通过探索主人公——虚拟流行歌星初音未来的社会技术过程，本文提供了一种关于声乐制作和世俗合作的替代叙事，因为它涉及到表演中声音、身体和技术之间的流动和可逆配置。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Cambridge Opera Journal MUSIC-

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0.20

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期刊介绍： Containing lively and provocative essays, Cambridge Opera Journal has a well-established reputation for publishing first-rate scholarship on opera in all its manifestations. The Journal not only contains material on all aspects of the European canon, it has now widened its scope to publish high-quality essays on American opera and musical theatre, on non-Western music theatres, and on contemporary works. Carefully researched and often illustrated with music examples and pictures, articles adopt a wide spectrum of critical approaches. As well as major articles, each issue generally includes reviews on recent publications of importance in the field.