Abstract
"Extended voice" is a vocal-electronic practice integrating compositional and performative, especially improvisational, methodologies. In extended voice, the same single practitioner does both vocal and technological work. This document is structured in three parts: (1) technical discussion of my hardware, software, and vocal work; (2) analysis of works by seven other extended voice practitioners (Antye Greie-Ripatti (AGF), Marie Guilleray, Stine Janvin Motland, Maja S. K. Ratkje, Andrea Pensado, Ami Yoshida, and Pamela Z); (3) and critical discussion of extended voice. Extended voice encompasses a wide variety of sounds, but crucial themes are the desire for complex, novel interaction between voice and electronics, and, toward this end, the dovetailing of ‘recorded’ and ‘live’ methodologies. Practitioners undertake "self-listening" to manage the vocal-electronic whole, which is a cyborg of sorts, and thus evince "presence," or curation of one’s own vocal-electronic sound. Research futures for extended voice center on its use of creative methodologies to subvert the notion of normative body, and its demonstrated ability to encourage more diverse participation than that which currently typifies electronic music as a whole.
