Sammendrag
This paper presents the maximal-minimal model, one part of a larger framework for understanding and evaluating the experience of voices in electroacoustic music. This model presented maximal and minimal voice as loosely defined
poles constituting end points on a continuum on which experienced voices could be localized. Here, the maximal voice, which paralleled the informative and clearly articulated speaking voice dominant in the radio medium, was described as the converging fulfillment of seven premises.
These premises were seen as partly interconnected conditions related to particular aspects or features of the experience of voice. At the other end of the continuum, minimal voice was defined as a boundary zone between voice and non-voice, a zone which was related to the negative fulfilment of the seven premises.
Vis fullstendig beskrivelse