Meaning doped with sound: Poetry as music

2020 ◽  
pp. 328-352
Author(s):  
Giedrius Alkauskas
Keyword(s):  
Sound Poetry

Performance: Listening Bodies

2020 ◽  
pp. 134-158
Author(s):  
Zoë Skoulding
Keyword(s):  
Human Body ◽  
The Body ◽  
Sound Poetry ◽  
The Senses ◽  
The 1960S

Discussion of Deaf percussionist Evelyn Glennie and artist Christine Sun Kim draws attention to the embodiment of sound performance, which is considered in this chapter in relation to technology, race, gender, bilingualism and, though the parallel performances of humans and birds, ecology. The work of poets such as Bob Cobbing and Henri Chopin offers examples of how sound poetry of the 1960s explored a liberated listening through recording. Yet such a listening, enabled by machines, draws attention back to the capacities of the human body. Serres’ simultaneous emphasis on the centrality of the senses and the space of codes and messages in which the body moves frames a discussion of various boundaries between language, sound and noise in the work of Emma Bennett, Jonathan Skinner, Holly Pester, Tracie Morris, Hannah Silva and Rhys Trimble.

scholarly journals Voices from the Past: compositional approaches to using recorded speech

2006 ◽  
Vol 11 (1) ◽  
pp. 3-11 ◽  
Author(s):  
CATHY LANE
Keyword(s):  
Oral History ◽  
Spoken Word ◽  
Specific Reference ◽  
Compositional Techniques ◽  
Sound Poetry ◽  
The Past ◽  
And Performance ◽  
Compositional Approaches

This paper investigates some of the ways in which composers and sound artists have used recordings of speech, especially in works mediated by technology. It will consider this within a wider context of spoken word, text composition and performance-based genres such as sound poetry. It will attempt to categorise some of the compositional techniques that may be used to work with speech, make specific reference to archive and oral history material and attempt to draw some conclusions.

The Spatial Expansion of Language in Sound Poetry of Western and Eastern Europe

2016 ◽  
Author(s):  
Endre Szkárosi
Keyword(s):  
Twentieth Century ◽  
Comparative Study ◽  
Eastern Europe ◽  
Pop Music ◽  
Spatial Expansion ◽  
Avant Garde ◽  
Sound Poetry ◽  
The 1960S ◽  
The Given

This chapter offers an analysis of the process in which Hungarian poetry “takes back” (recuperates) the vocal and sonic dimensions of language in the second half of the twentieth century. Together with its actional parallels and consequences, this progress implicates a powerful functionalization of the performativity in poetry, which, for various reasons, was neglected in historical avant-garde poetry in Hungary. New avant-garde and experimental waves in art and influences of radical pop music were much more productive in this sense from the 1960s on, and several inspirations of Western cultural trends helped to form a particular underground scene, mainly in the 1980s. Contextualizing these phenomena, the author makes a comparative study of the main tendencies of the given period on such a field in Euro-American sound poetry experimentations (Futurism, Dada, Fluxus), while highlighting some outstanding works of Hungarian poets and groups, such as Tibor Papp, Katalin Ladik, and Konnektor.

Da-da: “Articulatory Gestures” and the Emergence of Sound Poetry

MLN ◽  
2013 ◽  
Vol 128 (3) ◽  
pp. 639-668
Author(s):  
Tobias Wilke
Keyword(s):  
Sound Poetry

Counter-voicing in the avant-garde and experimental music: Selected cases

Maska ◽  
2021 ◽  
Vol 36 (203-204) ◽  
pp. 106-116
Author(s):  
Luka T. Zagoričnik
Keyword(s):  
Present Article ◽  
Experimental Music ◽  
Avant Garde ◽  
Sound Poetry ◽  
The Voice

The present article is a reworking of a lecture that was performed live and with visual and sound examples at the CoFestival. In selected examples, the author tries to articulate various vocal practices through contemporary and experimental music, performative practices and sound poetry, in which the voice escapes gender, meaning, turns into noise, and emerges through the utterances of silence.

Concrete Poetry

2018 ◽  
Author(s):  
Odile Cisneros
Keyword(s):  
Concrete Poetry ◽  
Sound Poetry ◽  
Visual Elements ◽  
Literary Composition ◽  
Semantic Values

In general, ‘concrete poetry’ refers to a type of literary composition where the material aspects of a text (layout, typography, sound, etc.) are foregrounded and reinforce its symbolic or semantic values, rendering form and meaning highly interdependent. Concrete poetry is often associated with visual and sound poetry, making these categories sometimes interchangeable. However, going beyond mere imitation, in concrete poetry, sound and visual elements effectively become both the structures and content of the text.

Abstract Concrete

Border Blurs ◽  
2019 ◽  
pp. 203-248
Author(s):  
Greg Thomas
Keyword(s):  
Twentieth Century ◽  
Direct Influence ◽  
Cultural Belief ◽  
Concrete Poetry ◽  
Sound Poetry ◽  
Early Production ◽  
Definition Of

In the work of the London-based poet Bob Cobbing, we can sense the culmination of a global shift in the definition of concrete poetry. For Cobbing, concrete poetry became a means of transcending or evading language in order to access a space of objective communication. His work responded to a whole gamut of twentieth-century and historical forms, from ritual chant-based practices to Dada performance, to the contemporaneous sound poetry of French ‘Ultralettrists’ such as Henri Chopin, William Burroughs’s cut-ups, and auto-destructive art. The example of classical concrete poetry served more as a stylistic counterpoint than a direct influence. Cobbing’s practice was also centrally motivated by a counter-cultural belief that artistic forms which broke down boundaries between media could have more broadly, socially disruptive and revolutionary effects. The development of these sentiments is traced from Cobbing’s early production of duplicator prints during the 1940-50s to his non-semantic, performance-oriented concrete practice of the early 1970s, in which single visual poems become the basis for endless improvisatory reworking. At the close of the chapter, the non-linguistic quality of Cobbing’s work is considered as a manifestation of, and response to, broader tensions within the concrete style.

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