What does the Humming Avatar Remember? Composer's Voice and Memory in Ana Gnjatović's Phonations
Abstract
Written as a twofold dissertation on Ph.D. studies of composition at the Faculty of Music in Belgrade, which consists of the piece and the autopoetic text, Ana Gnjatović's Phonations for voice and electronics (2016), raises, among others, questions of performance of music for voice and electronics, as well as issues of the composer's/performers voice, and the topic of (musical) memory. Focusing on these problem points, this paper deals with Ana Gnjatovićs 'vocal identity', represented and performed in the layering sounds of voice and electronics, with Edward T. Cone's notion of 'composers voice' in mind.
Keywords:
Phonations / Ana Gnjatović / composer's voice / electrovocal music / performanceSource:
New Sound International Journal of Music, 2018, I, 51, 133-143Publisher:
- Belgrade : Department of Musicology, Faculty of Music
Note:
- This paper originated from one written under the mentorship of Prof. Dr. Vesna Mikić, as the final paper for the Electroacoustic Music Course (2016/2017) on Ph. D studies of musicology at the Faculty of Music in Belgrade.
URI
http://www.newsound.org.rs/pdf/en/ns51/08_Radovanovic.pdfhttps://dais.sanu.ac.rs/123456789/3499
Institution/Community
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Radovanović, Bojana PY - 2018 UR - http://www.newsound.org.rs/pdf/en/ns51/08_Radovanovic.pdf UR - https://dais.sanu.ac.rs/123456789/3499 AB - Written as a twofold dissertation on Ph.D. studies of composition at the Faculty of Music in Belgrade, which consists of the piece and the autopoetic text, Ana Gnjatović's Phonations for voice and electronics (2016), raises, among others, questions of performance of music for voice and electronics, as well as issues of the composer's/performers voice, and the topic of (musical) memory. Focusing on these problem points, this paper deals with Ana Gnjatovićs 'vocal identity', represented and performed in the layering sounds of voice and electronics, with Edward T. Cone's notion of 'composers voice' in mind. PB - Belgrade : Department of Musicology, Faculty of Music T2 - New Sound International Journal of Music T1 - What does the Humming Avatar Remember? Composer's Voice and Memory in Ana Gnjatović's Phonations SP - 133 EP - 143 VL - I IS - 51 UR - https://hdl.handle.net/21.15107/rcub_dais_3499 ER -
@article{ author = "Radovanović, Bojana", year = "2018", abstract = "Written as a twofold dissertation on Ph.D. studies of composition at the Faculty of Music in Belgrade, which consists of the piece and the autopoetic text, Ana Gnjatović's Phonations for voice and electronics (2016), raises, among others, questions of performance of music for voice and electronics, as well as issues of the composer's/performers voice, and the topic of (musical) memory. Focusing on these problem points, this paper deals with Ana Gnjatovićs 'vocal identity', represented and performed in the layering sounds of voice and electronics, with Edward T. Cone's notion of 'composers voice' in mind.", publisher = "Belgrade : Department of Musicology, Faculty of Music", journal = "New Sound International Journal of Music", title = "What does the Humming Avatar Remember? Composer's Voice and Memory in Ana Gnjatović's Phonations", pages = "133-143", volume = "I", number = "51", url = "https://hdl.handle.net/21.15107/rcub_dais_3499" }
Radovanović, B.. (2018). What does the Humming Avatar Remember? Composer's Voice and Memory in Ana Gnjatović's Phonations. in New Sound International Journal of Music Belgrade : Department of Musicology, Faculty of Music., I(51), 133-143. https://hdl.handle.net/21.15107/rcub_dais_3499
Radovanović B. What does the Humming Avatar Remember? Composer's Voice and Memory in Ana Gnjatović's Phonations. in New Sound International Journal of Music. 2018;I(51):133-143. https://hdl.handle.net/21.15107/rcub_dais_3499 .
Radovanović, Bojana, "What does the Humming Avatar Remember? Composer's Voice and Memory in Ana Gnjatović's Phonations" in New Sound International Journal of Music, I, no. 51 (2018):133-143, https://hdl.handle.net/21.15107/rcub_dais_3499 .