Voice Theory

This article is a twofold exploration of the voice in relation to the documentation of artistic practice, whilst also focusing on the nuance and agency of the voice, its capture and presentation. Particularly in connection to the museum, this article posits the potential of approaching contemporary artworks displayed in a museum in an expanded and polyphonic manner. Drawing from a lineage of artistic example, it considers the possibilities and limitations of working with the voice and how to record and represent the interstitial, intimate or informal spaces of artistic production. The role of the museum as safeguard and mediator of artwork has been evolving apace to also accommodate the transparency of process, thus allowing for the revealing of institutional and artistic processes. With this reveal comes an enhanced understanding of the context in which an artwork was created and subsequently how it came to find itself within a particular collection.

The female voice in cinema has been discussed throughout film sound theory as persistently de-acousmatised, denied the power of narrative creation and relegated to onscreen, visual space. This paper will contrast this visual containment of female vocalisations with that of the female-hosted podcast, in which nothing is or can be seen. The podcast offers alternative routes of resistance for the female acousmetre, allowing her to maintain her disembodied status. This is poignantly evident in the popular true crime podcast, My Favorite Murder, in which the acousmatic female hosts counter crime film and television's reliance on images of violated female bodies with purely aural recountings. Through their anti-ocularcentric reliance on the aurally evocative, rather than the visually manifested, these female voices transform themselves and the victims of their discussions into haunting spectres that force listeners to imaginatively reconstruct scenes of female-directed violence, while acknowledging the ethics of their complicity in the propagation and popularisation of these narratives. Thus, the true crime podcast is one potential site of doubled resistance against the de-acousmatisation of female voices and the visualisation of mutilated female bodies; this resistance leads to an ethics of the spectral, a Derridean mourning without end. Seeing/not-seeing "To see or not to see the sound's source: it all begins here", Michel Chion writes in the prologue to his canonical work of film sound theory, The Voice in Cinema (1999, 4). This play of visuality, the oscillation between seeing and not-seeing, which corresponds to the ocular-centric binary of knowing and not-knowing, has come to dominate subsequent discussions of film sound. This beginning, the seeing or not-seeing, builds to Chion's cornerstone concept of the acousmetre, "a kind of talking and acting shadow" to which we cannot attribute a body (1999, 21). The acousmetre has power over the listener-viewer, the power of its own self-knowledge , control over its own revelation. In Chion's words, the acousmetre is "an invitation to the loss of the self, to desire and fascination". It is omniscient, panoptic, ubiquitous and omnipotent (24). Thus, in cinema, the acousmetre as a disembodied voice both frustrates and titillates the viewer. It comes as no surprise, then, that the act of de-acousmatisation,

A remarkable feature of the way in which Bourdieu's work has been adopted in studies of language in society is the emphasis on Bourdieu as a macro-sociologist providing insights into the larger processes of structuration in tightly integrated First-

Susanne Ronner Larsson has written the chapter “Postmodernism and Identity. John Cage’s Europeras 1&2 in Zurich 1991 – when a staged anarchy creates anarchy among the participants”. In June 1991 John Cage’s Europeras 1&2 was performed at the opera house in Zurich. During the performances, some of the participants developed an anarchistic approach to this postmodern deconstructed opera, which culminated with a ‘tonal protest’ from the brass group, which during a performance suddenly started to play a march. Shortly thereafter John Cage wrote an open letter to the orchestra in which he accused them of deliberately misrepresenting his work. Larsson (who was singing in Europeras I) describes and attempts to explain the strong reaction to which the Zurich Opera singers and orchestra were triggered by participating in Europeras, and to put this in relation to John Cage’s intentions in particular and postmodern ideas in general. In these efforts she employs theoretical approaches from the reflections on postmodernism; that is, the thoughts of Barthes, Jameson and Lyotard, as well as theories of identity, such as the thinking of Foucault, Frith and Hall. In Chapter 6, the author also brings in a significant part of the musicological and music critical reception of John Cage’s work in relation to the performance of Europeras 1&2. She concludes with some statements to the perception of Europeras 1&2 from 2012 – the year of celebrating Cage’s 100th anniversary – in which this work was premiered at the Triennale in Bochum.

TECHNIKA HLASU I.:Učebnica pre stredné a vysoké školy umelecké.
Z OBSAHU:
ĽUDSKÝ HLAS /VÝVOJ ĽUDSKÉHO HLASU V PROCESE EVOLÚCIE / VÝVIN HLASU/ ZÁKLADNÉ DELENIE ĽUDSKÉHO HLASU / HLASOVÝ PREJAV /TECHNIKA HLASU /
DYCH – RESPIRÁCIA/Javy súvisiace s dýchaním / Dych a hlas / Dychová opora / Bránica / Bránicové dýchanie / Dýchanie – pohyb bránice / TVORBA HLASU – FONÁCIA/ Hlasivky / REZONANCIA /REČ – ARTIKULÁCIA /VLASTNOSTI HLASU/
ZÁKLADNÉ (fyzikálne) VLASTNOSTI ĽUDSKÉHO HLASU /FUNKČNÉ (fyziologické) VLASTNOSTI HLASU /PORUCHY HLASU/ZÁKLADNÉ SYMPTÓMY SPOJENÉ S OCHORENÍM HLASU/ KLASIFIKÁCIA HLASOVÝCH PORÚCH / HLASOVÁ HYGIENA/ PROSTREDIE/ ŽIVOTOSPRÁVA / ZLOZVYKY, DOBROZVYKY /HLASOVÝ POKOJ / A ĎALŠIE

Dátum vydania: 2018.
Vydavateľ: Akadémia umení v Banskej Bystrici, Kollárova 22, 974 01 Banská Bystrica.  ISBN 9788089555918

In 2004, Icelandic singer-songwriter Björk (b. 1965) released her fifth solo album Medúlla, made almost exclusively with human voices. After outlining what I have termed ‘the elastic self’, which recognises both personal and external agency, this dissertation first examines how Björk uses technologies of the studio, using Actor Network Theory. Often mechanical manipulation is an attempt to depict powerlessness, whilst her employment of beatboxers’ interplay with technology is to express the body. . I will explore how Björk conceptualised and conceived Medúlla (2004), an album made almost entirely from human voicesI then perform an organicist motivic analysis of the album, studying motives used in different songs and links made across the musical foreground and background and the resulting unity. Through the concept of the rhizome and Actor Network Theory, I expand my analysis of motivic unity outside of the album, suggesting that the album can also be read as a network or as ‘elastic’. This study will attempt to understand how Björk’s idea of the self and body were transferred to the musical work.

*Queer Voices* sets out both to queer the musicological and to make queer audible, arguing that the voice, particularly the singing voice, opens up a richly queer space. Using case studies from different repertoires, the book demonstrates how queer emerges particularly audibly when the voice is heard to engage with various technologies: the external technologies of music performances and recordings, technologies of power, or the internal technologies of vocal production itself.

Shane Butler takes us back to an age, long before Edison, when writing itself was still relatively new. He meticulously reconstructs a series of Greek and Roman soundscapes ranging from Aristotle to Augustine.

Here the real voices of tragic actors, ambitious orators, and singing emperors blend with the imagined voices of lovesick nymphs, tormented heroes, and angry gods. The resonant world we encounter in ancient sources is at first unfamiliar, populated by texts that speak and sing, often with no clear difference between the two. But Butler discovers a commonality that invites a deeper understanding of why voices mattered then, and why they have mattered since.

With later examples that range from Petrarch to Puccini, Mozart to Jimi Hendrix, Butler offers an ambitious attempt to rethink the voice — as an anatomical presence, a conceptual category, and a source of pleasure and wonder. He carefully and critically assesses the strengths and limits of recent theoretical approaches to the voice by Adriana Cavarero and Mladen Dolar and makes a rich and provocative range of ancient material available for the first time to students and scholars in voice studies, sound studies, and media theory. The Ancient Phonograph will appeal not only to classicists but to anyone interested in the verbal arts — literature, oratory, song — and the nature of aesthetic experience.

Drawing from theorists on voice and sound aesthetics, I consider the material value of the voice in art throughout the last century. I discuss the work of Filippo Marinetti, Hugo Ball, Vito Acconci, Laurie Anderson, Kristin Oppenheim and Janet Cardiff.  I focus on the voice as an embodied emission and vibration, the voice as the self's invocation of the other, the voice as a  technologised ventriloquy and what I term a vocalic-body-space - a space of vocalic resonance that precedes symbolic meaning, but forms the ground from which it is generated.

Wlodzimierz Staniewski, director of the Polish Centre for Theatre Practices Gardzienice, considers directing as a praxis pertaining to the field of musical composition. His pieces have been theorised as either “ethno-oratoria” or “village operas,” while the pedagogy developed by the group is a territory for the exploration of the tensions between the physical and the vocal. Building on my recent fieldwork with the company, this chapter problematizes the separation of vocality and choreographic/movement practices in performer training and uses Gardzienice’s example as a case study in physiovocality. Meanwhile, the core principles of Staniewski’s work, namely mutuality, musicality and chorality, are analyzed as points of departure from music theaters towards a theater of musicality.

Billie Holiday's rhythm is a riddle. In the floating, chanting quality of her declamation, which seems somehow suspended in time, is an elusive something: a contradictory mix of directness and subtlety which fasci­ nates the chroniclers of her art. What are the relationships here between "explicit time", "the implied un­ derlying beat," and "their own intended beat"? Is the "intended beat something other than the "implied underlying beat"? With respect to which of these implicit beats is "explicit time"  warped?

In recent years, the rallying cry to 'decolonise art history' has become a mainstay of critical debates in the academy, public institutions, and on social media; calling attention to the need to acknowledge unspoken biases rooted in the legacies of imperialism, interrogate the discipline's exclusionary mechanisms of power, and to give voice to previously marginalised or even silenced subjectivities-to finally hear 'the subaltern speak' and for such speech to transform our existing apparatuses of knowledge production and dissemination. 1 Although these issues have been articulated by scholars, artists, and curators (usually hailing from the 'Global South') for decades, the strident vocalisation and amplification of these concerns at this present moment is telling. The ongoing saga of the UK Brexit referendum, the Trump administration, fears of mass migration and cross-border movements, and most recently, the Covid-19 global pandemic, has fomented a chorus of xenophobic, nationalistic, and jingoistic invectives that have dominated public discourses across the world. Yet, the coterminous proliferation of grassroots movements like #MeToo, #IamNotaVirus, #BlackLivesMatter and #ICantBreathe have emphasized the urgent need to call out systemic forms of discrimination and social injustice, and to speak out against the myriad, pervasive, and suffocating forms of racial, sexual, gendered, and environmental violence that have gone unseen and unheard for much too long. In this clamour of often violently opposing perspectives, art historical or otherwise, it is striking how questions of identity, representation, and power accrete in the metaphor of voice. Given the ocular-centricity of the field, it is not surprising that considerations of visibility and opacity-the disciplinary operations of the gaze and its refusal-have dominated efforts towards decentring and decolonizing the scope of art historical inquiry thus far. However, there remains much to be said about the critical potential of 'sound's invisible formlessness' to disrupt the 'surface of the visible world.' 2 While visuality, as numerous critics have noted, is generally directed, focused and linear, sound is immersive and multi-directional. 3 We might be able look away or askance from the gaze, return it, or even turn a 'blind eye' to its operations of power, but sound is altogether more diffuse and intersubjective-passing through seemingly impenetrable boundaries and barriers; reverberating across space and time. Yet, of all the sounds in the world, it is only the voice that remains so intimately bound to questions of agency, subjectivity, and authority. Voice as Form parses the interpretative registers through which we can better theorise the agentic and material dimensions of voice in artistic practice. The artists whose work is discussed and presented in this special issue speak from contexts of exclusionary identitarian structures, the intimate experiences of migration and diaspora, and challenge the pervasive logic of coloniality that still shapes our contemporary postcolonial and postnational moment. But to confine our understandings of these works to forms of communication alone only reinforces the reduction of voice to metaphor, a potentially disempowering

The actor's preparation for theatre implies in a constant commitment in the research mechanisms to enable their bodies and voices for the performance moment. The aim of this article is to describe and think about a body and voice working proposal for actors, based on voice therapy concepts and specific acting techniques. With these discussions, I bring reflexions that I believe to be necessary to think about work alternatives for actors. However, I consider that actors also need some working pedagogies related to the specificity of
their stage work. What I have shown here is a unique pedagogical approach to the learning and technical training
for actors in theatre. The methodology exposed here serves as an example for pedagogical approaches that theatre schools can include in their curricula in order to provide a different perspective to actor's technical preparation.

'People call me a director, but I really think of myself as a soundman ' (qtd. in Chion, "David Lynch" 169). Every admirer of David Lynch's work is perfectly aware of what he means when he calls himself a 'soundman': He is famous for his frequent use of sound-effects that he himself creates by using imaginative items, and for the use of music and lyrics that elevate the plot. Even his sound-effects alone have repeatedly been considered 'musical' due to their melodiousness and because of the way they interact with actual music and dialogue. In the words of Michel Chion, 'Lynch's cinema is transformed by the central role allotted to the ear, to the passage through the ear. Even if he made silent films, his films would still be auditory' ("David Lynch" 169). This is precisely the case with The Grandmother (1970) which is his third film and a short one. This essay, after a brief description of the plot, will review Lynch's style and aesthetics that make him recognisable and have permeated his work from the very beginning. After that, it will examine how sound, voice and speech work in films in general, how loyal Lynch has been to those devices and how he uses them in The Grandmother. Through the elaborate combination of his aesthetics and sounds, Lynch's work has always been criticised and praised for the fluidity of his plot which is often made deliberately bleary and confusing. The techniques used in order to achieve that effect, create the feeling of an imagined mental world and of reality blended with the dream-world. Therefore another essential aim of this essay will be to bring forward the blurry boundaries and the surfaces/spaces that are forced into both fusions and penetrations in the film, through the use of sonic and visual cues.

À travers cette journée d’étude, nous souhaitons ouvrir un espace de réflexion sur les liens entre voix et genre dans les pratiques médiatiques contemporaines. Nous nous intéressons prioritairement à la matérialité des voix, aux dispositifs médiatiques qui les diffusent aussi bien qu’aux enjeux épistémologiques et aux outils méthodologiques permettant de les analyser.

In trains and nightclubs, village squares and Zoom meetings, we find vocal action (public singing and speaking, chatting and harmonizing with others, vocal uproar, protest, negotiation) that is undertaken in relation to others and unfolds over time. Yet we are also surrounded by theoretical figurations of voice that construe vocalization as _one_ (as an expression of a unified, sovereign subject) and _now_ (as immediately present, in contrast to the spatial distance and temporal delay of writing or reflection.) These theoretical abstractions are not only far removed from actual vocal life; they also foreclose vocal possibilities for contestation, rebuttal and change, locking "The Voice" into what Adriana Cavarero calls "the metaphysical box." This essay traces the philosophical construal of pristine subjective oneness and atemporal objective presence through Husserlian semiotics and the Derridean critique of the "metaphysics of presence" long associated with the voice.

It also addresses the political implications of figuring the voice as _one_ and _now_. The irrelational individual-expressivist figuration provides the metaphysical scaffolding for groupist-expressivist figurations of voice, in which homogenous collectivities are understood to speak in unison, cut off from interlocutors, response, or counter point (cut off, that is, from actual sociality.) What political and ethical possibilities might open up by turning from irrelational soliloquy to relational colloquy, among others, in time?

While it is Derrida's late work on the 'animal question' that brought his insistence on limitrophy between species to wider attention, it is also named as the general condition of the limits in the much earlier text, 'Tympan'. There, in dislocating the tympanum, the margins of philosophy are eaten. Equally, given the rhythmic address of the tympanum, we might say that the margins of philosophy are beaten.

BECUMEÞ ‗becomes' and WEAXEÞ ‗waxes, grows'. Finally, chapter 7 formulates four claims or hypotheses that constitute the essence of this study, and briefly discusses their importance for constructionist and evolutionary theories of language change. I n t r o d u c t i o n | 7 To conclude this introductory chapter, I wish the reader may have a good read, and hope that they will not need to make, because of too many incomprehensible constructions along the way, my own text into the object of linguistic study, rather than its contents. 29 This does not hold for a subtype of the Existential Construction called the Absolute Existential Construction, and in which the Subject is addressee-old (e.g. God is). 30 Note that poc could in principle also refer to 'the ulster', as there is no grammaticalized system of

Voice is the unique sound of the human self, made audible. The sound of the voice is contingent upon the complex structure of each individual human body for the nature and quality of the sound emanating from it, as well as being subject to the state of health of the individual, both mental and physical, which contributes to the constantly, if subtly varying physicality of the individual. It is indeed a truism that the voice is unique, inasmuch as no two humans are identical, and therefore no two voices are identical. I propose a phenomenological discussion of the performing voice, in order to reveal the voice in its material and substantial thingliness as the sound of the unique individual who is the actor, containing within its fluctuations and its nuances the character who emerges from the actor’s engagement with the text.
There are at least three inter-connected challenges disrupting perception of the uniqueness of the voice and defying attempts at its representation. The first challenge arises out of the constraints of a culture that has traditionally valued the written word as the means of interpretation and analysis of performance. This privileging of the written word both informs, and is informed by the second challenge, which is the commonly held notion of the voice as a mere carrier of text, whereby the voice itself is assumed to be “synonymous with speech” (Titze xviii). Such a misconception regarding the difference between voice and speech is bound up with the third challenge, which is the nature of perception itself and how it is generally discussed.

Being in ShakeSPSPeare'S MoMent flloyd kennedy UniverSity of QUeenSland The analyst's task is to account for [the] "lived" quality. .. to show how actors deal with this alliance between the rational and the pulsional. .. for it always says more than the intentional signs of the character (Pavis 2003, 136). Performers of text, even those working with short pieces of script at a time (as is the way with filmed performance) repeat memorised words many times, often with the objective to sound each time as if the words just happened to come to them in that instant, in response to the need to express a specific thought. I propose that when this is successfully achieved, particularly in the erformance of Shakespearean text without losing the heightened, poetic nature of the text, the illusion of 'natural' speech which is described as 'being in the moment' owes its existence to a particular meta-performative quality adhering in the voice.

In contrast to phonographical recording, storage, and reproduction of the voice, most media theories, especially prominent media theories of the human voice, neglected the aspect of synthesizing human-like voices by non-human means. This paper takes this lacuna as a starting point for an inquiry into the media theory of (non)human voices under the premise that the epistemological difference between techn(olog)ical voice production and its mere re-production is illuminated by the mythological motifs of the Sirens and Echo, respectively. Interestingly, the interconnection between terror and tempting nonhuman voices, which is implemented in the cultural imaginary through the Sirens’ song, can be identified in the media history of speech synthesis, which challenges the idea(l) of the human voice as an anthropological constant.

the mechanism for generating the human voice can be subdivided into three parts:
1-The lungs (the pump): must produce adequate airflow and air pressure to vibrate vocal folds
(this air pressure is the fuel of the voice).
2- The vocal folds (vocal cords): with in the larynx are a vibrating valve that chops up the airflow from the lungs into audible pulses that form the laryngeal sound source.

The authors investigate the processes underlying Billie Holiday's oft-remarked “speech-like” singing. They identify sliding, or “kinetic,” pitch as a definitive characteristic of speech intonation, and discuss the relationship between kinetic pitch and the communication of emotion in spoken English. They also adduce a connection between certain spoken consonants and the pitches of the vowels which follow them. They analyze five Holiday recordings in terms of kinetic pitch and consonant/vowel “pull-down”: three versions of “Yesterdays” (J. Kern), one version of “All of Me” (G. Marks and S. Simons) and one recitation of the lyrics of “Yesterdays.” The authors' pitch transcriptions of all five performances, including the recitation, demonstrate a high incidence of kinetic pitch and of consonant/vowel pull-down. Parallels between the one recited and three sung versions of “Yesterdays” are heightened when kinetic pitches are specified and included in the analysis.

With One Voice: Disambiguating Sung and Spoken Voices Through a Composer’s Experience.

Mary Midgley has pointed out how our drive towards specialisation has led us to value the differences between things over their connections. The voice is largely dislodged from educational development and has been divided by isolationist practices in and within music and speech. Technology has allowed microscopic details of the voice to become public property whilst the athletic, full-voiced singer moves ever closer to Lucie Manén’s  “…one timbre, according to their own psychological make-up.” I will discuss my experience of these issues in my work with singers of all styles, actors and the synthetic voice. . In relation to the title of this paper, I propose the disambiguation of spoken and sung words requires re-synthesis.

Dehydration may alter vocal fold viscoelastic properties, thereby hampering phonation. The effects of water loss induced by an osmotic pressure potential on vocal fold tissue viscoelastic properties were investigated. Porcine vocal folds were dehydrated by immersion in a hypertonic solution, and quasi-static and low-frequency dynamic traction tests were performed for elongations of up to 50%. Digital image correlation was used to determine local strains from surface deformations. The elastic modulus and the loss factor were then determined for normal and dehydrated tissues. An eight-chain hyperelastic model was used to describe the observed nonlinear stress-stretch behavior. Contrary to the expectations, the mass history indicated that the tissue absorbed water during cyclic extension when submerged in a hypertonic solution. During loading history, the elastic modulus was increased for dehydrated tissues as a function of strain. The response of dehydrated tissues was much less affected when the load was released. This observation suggests that hydration should be considered in micromechanical models of the vocal folds. The internal hysteresis, which is often linked to phonation effort, increased significantly with water loss. The effects of dehydration on the viscoelastic properties of vocal fold tissue were quantified in a systematic way. A better understanding of the role of hydration on the mechanical properties of vocal fold tissue may help to establish objective dehydration and phonotrauma criteria.

How do we think, do and disseminate voice? In unpacking the implications of such a question from the perspective of UK Higher Education, Thomaidis draws on case studies of recent doctoral projects in order to examine practice into, for and through research. This chapter revisits Cavarero’s critique of logocentrism and extends it in relation to the two axes of logos-as-reason and logos-as-language in vocal knowledge and dissemination. In deconstructing the epistemologies of voice in training and research programmes, the chapter argues for a praxical understanding of voice that allows for multiple and contingent engagements with its phonic element within the academy.
This is a reworked and expanded version of an earlier article, serving as Chapter 1 in the volume Voice Studies: Critical Approaches to Process, Performance and Experience (Routledge, 2015)

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Voice Studies brings together leading international scholars and practitioners, to re-examine what voice is, what voice does, and what we mean by "voice studies" in the process and experience of performance. This dynamic and interdisciplinary publication draws on a broad range of approaches, from composing and voice teaching through to psychoanalysis and philosophy, including:

-voice training from the Alexander Technique to practice-as-research;

-operatic and extended voices in early baroque and contemporary underwater singing;

-voices across cultures, from site-specific choral performance in Kentish mines and Australian sound art, to the laments of Kraho Indians, Korean pansori and Javanese wayang;

-voice, embodiment and gender in Robertson’s 1798 production of Phantasmagoria, Cathy Berberian radio show, and Romeo Castellucci’s theatre;

-perceiving voice as a composer, listener, or as eavesdropper;

-voice, technology and mobile apps.

With contributions spanning six continents, the volume considers the processes of teaching or writing for voice, the performance of voice in theatre, live art, music, and on recordings, and the experience of voice in acoustic perception and research. It concludes with a multifaceted series of short provocations that simply revisit the core question of the whole volume: what is voice studies?

Coetzee's 'writerly text' The Childhood of Jesus: On the silent 'voice' between the lines. By Andre Vantino (alterities.com) J.M. Coetzee's Childhood of Jesus allows the reader to write into the text a richn ess that would not be as rich if it were offered fully by the text itself.

The dubbed voice is ubiquitous on Spanish television and screens. Yet despite their overwhelming presence in Spanish everyday life, dubbing actors have received very little scholarly attention to date. While there have been several valuable historical accounts of Spain’s established dubbing market from an industrial perspective, as well as a range of important studies on the linguistic issues that arise from film translation in both dubbing and subtitling, there has been strikingly little work which considers the practice of dubbing as a cultural phenomenon in its own right. If, as Mladen Dolar evocatively writes, the human voice is ‘the intimate kernel of subjectivity’ (2006: 14), how might a viewer begin to identify with a star persona that is clearly incomplete – especially given that, as Richard Dyer reminds us, the star image is not just made of visual signs, but also verbal and aural ones (1998: 34). In light of this question, this article explores the cultural location of the dubbed voice Spain by way of two approaches: film form and film culture. First, through investigating the styles and material textures of vocal performance and sound design, it explores the elusive spatiality of the dubbed voice within the textual form of film itself. Second, it considers Spanish dubbing artists as cultural phenomena in their own right, unpicking the complex relationship between the dubbed voice and the star image on the one hand, while examining the multiple ways in which they interact with Spanish popular culture and audiences on the other. In particular, this paper will explore these questions through the voice of Constantino Romero, one of Spain’s most famous dubbing actors, who has regularly provided the Spanish voice of Clint Eastwood, among other Hollywood stars. Known affectionately in the Spanish media as ‘la voz’, Romero’s voice illuminates the ubiquitous but elusive location of dubbing in Spain.

El objetivo del siguiente trabajo es empezar a delimitar y evaluar el campo en donde se constituye la metafísica de la presencia como un fonologocentrismo. Ello implica reconocer el lugar otorgado a la voz, intentando mostrar las vías de montaje y desmontaje que inscriben su primacía. nos interesa reparar en dicha primacía, sobre todo cuando ella se plantea como auto-afección silente, tal como intentaremos bosquejar en algunos aspectos del texto heideggeriano. Este trabajo constituye un primer desarrollo en la problematización de las relaciones entre auto-afección, presencia y música que intentaremos describir en la continuación de este artículo