Technologies of Singing: Research into the Dispositif Singing - Body - Media in the Early Years of Recording

歌唱技术：录音早期歌唱-身体-媒介的处理性研究摘要无论是本项目关注的20世纪世纪的前几十年，还是其他时代，将身体和媒介结合起来的歌唱史都还没有被写出来。本研究从以往歌唱史的研究出发，集中于录音的媒介性。我们不把录音作为声乐实践的文献，而是把它们解释为一种美学的来源，这种美学是由其媒介条件塑造的，与声乐实践和身体的历史有着千丝万缕的联系。歌唱技术一词指的是本项目的两个主题支柱：歌唱技术和媒体技术。它意味着话语和主格分析的扩展：媒介和具身的知识不仅渗透到通过语言协商的东西，而且还渗透到歌唱和媒体技术的实践中。新的录音媒介引发了对身体的重新思考，这与在机械化的身体概念背景下歌唱实践的变化有关：歌唱越来越被理解为一种具身的技术，这不仅从歌唱理论中很清楚，而且从歌唱的变化中也很清楚，例如关于站姿，呼吸，颤音和不同音域的使用。这一办法体现在四个相互交织的项目部分。第一，歌手的职业生涯作为媒体职业生涯，调查录音和复制媒体在歌唱活动中的影响，假设在录音的早期，这种新媒体已经塑造了歌手的职业生涯。为了评估历史录音设备对歌唱声音的影响，在第二个工作包中，声乐录音的技术和美学方法采用音乐声学来研究录音的完整声音传输路径，并模拟录音设备对声乐信号的特性影响。在这样做的过程中，本节为分析作为这一时代声乐实践来源的声乐录音奠定了基础。医学和美学假设位于第3节，关于声乐录音美学的来源和文件。第四节运用声乐教学文献，建立了身体与媒体话语中的声乐技巧。该项目的重点是整个dispositif通过集中在话语以及实践承诺为音乐学和声学研究领域的新见解，并提供连接到身体和媒体的历史。

Technologies of Singing: Research into the Dispositif Singing - Body - Media in the Early Years of Recording Summary A history of singing that incorporates the body and media has yet to be written, both for the first decades of the twentieth century, on which this project focuses, as well as for other epochs. This project departs from previous research on the history of singing by concentrating on the mediality of the recording. Instead of using recordings as documents of vocal practice, we interpret them as sources of an aesthetic that has been shaped by its medial conditions and that is inextricably linked with vocal practice and the history of the body. The term technologies of singing refers to the two thematic pillars of this project: the technique of singing and the technique of the media. It implies an expansion of the analysis of discourse and dispositif: medial and embodied knowledge not only pervades what is negotiated through language, but also by practices of singing and media techniques. The new medium of recording provoked a rethinking of the body, that is related to changes in singing practice against the backdrop of a mechanized concept of the body: that singing has been increasingly understood as an embodied technique is not only clear from theories of singing, but also from changes in singing, for instance with respect to stance, breathing, vibrato, and the use of different registers. This approach is reflected in the four intertwined project sections. The first, The careers of singers as media careers, investigates the impact of recording and reproducing media in singing activity, under the assumption, that already in the early years of recording this new medium moulded the careers of singers. In order to assess the impact of historical recording devices on the singing voice, in the second work package Technique and aesthetics of vocal recordings methods of Music Acoustics are employed to investigate the complete sound transmission path of voice recordings and to model the characteristic influence of recording equipment on vocal signals. In doing so this section creates the basis for the analysis of vocal recordings as sources for vocal practice of this epoch. The medial and aesthetical assumptions are located in section 3, Sources and documents concerning the aesthetics of vocal recording. Using pedagogical literature on singing section 4 establishes vocal technique in body and media discourse. The focus of the project on the entire dispositif by concentrating both on discourses as well as practices promises new insights for musicological and acoustical research areas, and offers connections to histories of the body and the media.