The human voice in electroacoustic music and in extended vocal practices

TOR | Resources | Bibliographies | University of Calgary

Bibliography of the human voice in electroacoustic music and in extended vocal practices

GANT Project, Winter 2021
by Melike Ceylan
Supervised by Dr. Laurie Radford

This bibliography consists of a collection of works as an introduction to the research field concerning the human voice in electroacoustic music and the extended vocal practices. The document is divided into two parts. The first part includes selected sources that discuss the use of human voices in electroacoustic music from a wide range of perspectives, including processing techniques, language and semantics, sonic meanings, gender issues, radiophonic voices, embodiment and disembodiment, and performer-composer-listener relationships. Similarly, the second part concerns the extended vocal techniques employed in various ways by twentieth-century composers and performers through historical, conceptual, philosophical, and technical discussions. The practices presented in the written and audio material in this bibliography often intersect. Therefore, the two sections should not be considered isolated from each other.

Contents

• Part A

  • Books and Book Chapters

  • Articles: Techniques, Narratives, Cultural and Philosophical Issues

  • Articles: Interviews with Artists, Analyses of Works or Artist Repertoire

  • Dissertations and Theses

  • Example Works

• Part B

  • Books

  • Articles, Interviews, and Broadcasts

  • Dissertations

  • Example Works

Part A: The Human Voice in Electroacoustic Music

Books and Book Chapters

Bossis, Bruno. La Voix et la Machine: La Vocalité Artificielle dans la Musique Contemporaine. Presses Universitaires de Rennes, 2005.

This book focuses the concept of artificial vocality, as stated in the description of the author’s article, “Reflections on the Analysis of Artificial Vocality.”

Dyson, Frances. “The Genealogy of the Radio Voice.” Radio Rethink: Art, Sound and Transmission, edited by Daina Augaitis and Dan Lander, Walter Phillips Gallery, 1994, pp. 167-86.

This often-cited essay by Dyson examines electronically transmitted voices within the context of radio broadcasting. It offers detailed discussions regarding the issues such as differences between female and male voices, technological influences on the transmission and perception of voices, and disembodiment from technical, philosophical, and political perspectives.

---. Sounding New Media: Immersion and Embodiment in the Arts and Culture. University of California Press, 2009.

Although this book does not specifically focus on the human voice in electroacoustic music, the philosophical and historical discussions encompass multiple disciplines, including new media arts and electroacoustic music. The voice appears as one of the key concepts in the examination of topics such as immersion, language, body, embodiment, and media technologies.

Emmerson, Simon, editor. The Language of Electroacoustic Music. Macmillan Press, 1986.

Although this book does not specifically focus on the human voice in electroacoustic music, it offers various discussions on the voice’s characteristics, recognizability, uses as musical materials, and its uses with computer synthesis and audio processing. Two relevant highlights are the essays written by composers Jonathan Harvey and Trevor Wishart.

Ihde, Don. Listening and Voice: Phenomenologies of Sound. 2nd ed., State University of New York Press, 2007.

This book, despite its title, does not focus on the human voice. A highlight of this book is Ihde’s often-cited phrase, that “... all sounds are in a broad sense ‘voices,’ the voices of things, of others, of the gods, and of myself” (147). The word voice is used as a broader notion and as a metaphor throughout the book that examines topics such as sound, listening, and language from a philosophical perspective.

Kahn, Douglas. Noise, Water, Meat: A History of Sound in the Arts. MIT Press, 2001.

Kahn’s landmark book examines sound in a wide range of practices in avant-garde art from the late nineteenth century to the second half of the twentieth century. The final section of the book, Meat Voices, in particular, offers discussions regarding the voice, language, and body through the works by artists such as Antonin Artaud and Michael McLure.

Landy, Leigh. Understanding the Art of Sound Organization. MIT Press, 2007.

Although this book does not specifically focus on the human voice, it offers essential definitions and frameworks for understanding and analyzing sound-based compositions. A highlight from the first chapter is that Landy draws attention to the voice as a recognizable, familiar sound source and the treatment of the voice material as one way of approaching to electroacoustic works.

Neumark, Norie, et al., editors. Voice: Vocal Aesthetics in Digital Arts and Media. MIT Press, 2010.

This book is a collection of writings that examine the human voice in various media. The themes include, but are not limited to, the recording, synthesis, and transmission technologies, performance arts, sound poetry, voice in popular media such as film and computer games, and disembodiment.

Norman, Katherine. Sounding Art: Eight Literary Excursions through Electronic Music. Ashgate, 2004.

This book comprises of eight chapters that discuss notable electroacoustic music pieces and relevant topics. The fifth chapter, specifically, focuses on the voice in the context of radio broadcasting and presents works by artists Cathy Lane and Pamela Z. The book is constructed in an unconventional way; Norman expresses personal thoughts, implements excerpts, and provides examples for comprehensive listening experiences.

Rodgers, Tara. Pink Noises: Women on Electronic Music and Sound. Duke University Press, 2010.

This landmark book consists of interviews by Rodgers with prominent electronic music composers and performers who offer insights into their careers and creative processes. As a highlight, the fifth section of the book, Language, Machines, Embodiment, includes conversations regarding electronic transformations of the voice, language, and body.

Schaub, Mirjam, editor. Janet Cardiff: The Walk Book. Thyssen-Bornemisza Art Contemporary in Collaboration with Public Art Fund, 2005.

Sound and media artist Janet Cardiff discusses her creative processes, and the concepts and technical details behind her distinctive audio walks. One of the highlights of audio walks is the use, characteristics, functions, and the presentation of Cardiff’s voice.

Westerkamp, Hildegard. “An Imaginary Meeting: The Making of MotherVoiceTalk (2008).” The Art of Immersive Soundscapes, edited by Pauline Minevich and Ellen Waterman, University of Regina Press, 2013, pp. 142-54.

Celebrated composer Hildegard Westerkamp discusses her work MotherVoiceTalk, in which the vocal recordings play a central role. The concepts presented in the essay include the relationships between the artist and materials, voices and sound environments, as well as the language and meaning.

Articles: Techniques, Narratives, Cultural and Philosophical Issues

Andean, James. “Narrative Modes in Acousmatic Music.” Organised Sound, vol. 21, no. 3, 2016, pp. 192-203.

Andean proposes a list of narrative modes to listen, examine, and understand acousmatic music. One of these modes, “textual narrative,” draws attention to the significance of human voice and textual content in the experience of acousmatic music listening.

Bergsland, Andreas. “The Maximal-Minimal Model: A Framework for Evaluating and Comparing Experience of Voice in Electroacoustic Music.” Organised Sound, vol. 18, no. 2, 2013, pp. 218-28.

The article presents Bergsland’s study on the continuum of the experience of the human voice from the perspectives of radio and electroacoustic music with a variety of examples and relevant theoretical discussions. The continuum is within the maximal, describing the informative quality of the voice, and minimal, describing the abstract quality of the voice.

Böhme-Mehner, Tatjana. “Language as Material – Language as Communication: ‘Words’ and ‘Texts’ in Electroacoustic Music.” Electroacoustic Music Studies Network Conference: The “Languages” of Electroacoustic Music, 2007.

The article discusses language in the context of musical communication. One of the highlights of this article is the different levels of listener recognition of language, from the significance of words to pure sound.

Bosma, Hannah. “Bodies of Evidence, Singing Cyborgs and Other Gender Issues in Electrovocal Music.” Organised Sound, vol. 8, no. 1, 2003, pp. 5-17.

This paper is an example of Bosma’s study of the gender issues in electroacoustic music with the focus on the use of human voices. The paper approaches these topics examining published electroacoustic music CDs with discussions regarding vocal narratives, female and male voices, and composer-performer relationships.

Bossis, Bruno. “Reflections on the Analysis of Artificial Vocality: Representations, Tools and Prospective.” Organised Sound, vol. 9, no. 1, 2004, pp. 91-98.

This article offers musicological and methodological discussions regarding the analysis of artificial vocality, the concept described as “any sound phenomenon roughly resembling the voice and transformed or simulated by mechanical devices” (91). Rather than discussing the human voice as a material itself, Bossis uses the term vocality as a broader quality in sounds.

Lane, Cathy. “Voices from the Past: Compositional Approaches to Using Recorded Speech.” Organised Sound, vol. 11, no. 1, 2006, pp. 3-11.

This article provides an elaborate and methodological examination of the techniques used in works by sound artists and electroacoustic composers that use recordings of the human voice. Lane organizes such works under three categories and discusses nineteen techniques, from the treatment of semantic meaning to speech synthesis, with examples from notable works.

Norman, Katherine. “Real-World Music as Composed Listening.” Contemporary Music Review, vol. 15, no. 1, 1996, pp. 1-27.

This article explores the use of real-world sounds as musical materials. A highlight is the discussion of the voice and speech in I am Sitting in a Room by Alvin Lucier and Presque Rien avec Filles by Luc Ferrari.

Smalley, Denis. “Spectromorphology: Explaining Sound-Shapes.” Organised Sound, vol. 2, no. 2, 1997, pp. 107-26.

Smalley’s often-cited article provides an extensive vocabulary and set of parameters for analyzing electroacoustic music. Spectromorphology refers to the transformation of sonic spectra over time. Although the article does not focus on the voice specifically, its use in electroacoustic music as a material can be examined through this framework.

Woloshyn, Alexa. “Electroacoustic Voices: Sounds Queer, and Why It Matters.” Tempo, vol. 71, no. 280, 2017, pp. 68-79.

Drawing upon the queer studies, this article examines the human voice in electroacoustic music from a political and critical perspective. Woloshyn provides examples from the works by Robert Normandeau, Christian Calon, Hildegard Westerkamp, Luciano Berio, and Cathy Berberian, among others.

Young, Miriama. “Latent Body—Plastic, Malleable, Inscribed: The Human Voice, the Body and the Sound of Its Transformation through Technology.” Contemporary Music Review, vol. 25, no. 1-2, 2006, pp. 81-92.

This article discusses the relationships between the voice and recording technologies from early inventions to the digital era. The characteristics of the recorded voice are discussed within the context of popular culture.

Articles: Interviews with Artists, Analyses of Works or Artist Repertoire

Eldridge, William. “His Computer’s Voice.” Technology Review, vol. 93, no. 5, 1990, pp. 75-76.

This short paper analyzes two significant pieces in the electroacoustic music repertoire that employ human voice: Trevor Wishart’s Vox-5 (1986) and Paul Lansky’s Idle Chatter (1985). The review focuses on the technological influences and computer-based synthesis methods used in the given pieces.

Hanssen, Tina Rigby. “The Whispering Voice: Materiality, Aural Qualities and the Reconstruction of Memories in the Works of Janet Cardiff and George Bures Miller.” Music, Sound, and the Moving Image, vol. 4, no. 1, 2010, pp. 39-54.

This article focuses on various aspects of the human voice used in the works by sound and media artists Janet Cardiff and George Bures Miller. Drawing upon the film theories by prominent scholars such as Michel Chion, Hanssen examines the performance, recording, and production of the voice and the voice’s perception and impact on the experience of the works.

Hinkle-Turner, Elizabeth. “Hear Me Now: The Implication and Significance of the Female Composer’s Voice as Sound Source in Her Electroacoustic Music.” EContact!, vol. 8, no. 2, 2005.

Hinkle-Turner discusses various aspects of the human voice in electroacoustic music, from its empowering significance to the technical details in vocal composition, through the examination of the works by four female composers, Elizabeth Hinkle-Turner, Alice Shields, Christine Baczewska, and Pamela Z.

Li, Yueh-Tuan, and Wen-Shu Lai. “Voice, Object and Listening in the Sound Installations of Laurie Anderson.” International Journal of Performance Arts and Digital Media, vol. 9, no. 2, 2013, pp. 347-61.

This article explores the installation works by pioneering media artist, performer, and experimentalist, Laurie Anderson. One of the fields Anderson is known for is her unique incorporations of the voice and technology. Li and Lai examine the voice in relation to the body, disembodiment and acousmatics, installation objects, and audience engagement.

Metzer, David Joel. “The Paths from and to Abstraction in Stockhausen’s Gesang der Jünglinge.” Modernism/Modernity, vol. 11, no. 4, 2004, pp. 695-721.

This article is an in-depth analysis of Karlheinz Stockhausen’s celebrated composition Gesang der Jünglinge (1955-56). Metzer includes in the discussion the relationships between the human voice and electronics, meanings of the text, compositional techniques, sound and speech, and conceptual and sonic characteristics within the piece.

Stone-Davis, Férdia J. “Vocalising Home: An Interview with Trevor Wishart.” Contemporary Music Review, vol. 34, no. 1, 2015, pp. 5-21.

In this interview, celebrated composer Trevor Wishart elaborates on his interest in and techniques for using the human voice in his works. The article also includes discussions about technology, identity, the concept of home, space, and community, and soundscapes.

Weinberg, Gil. “Voice Networks: The Human Voice as a Creative Medium for Musical Collaboration.” Leonardo Music Journal, vol. 15, 2005, pp. 23-26.

This article presents Voice Networks installation that involve two applications, Voice Patterns and Silent Pool. Weinberg explains the role of the participants’ voices as a means for interaction in the music-making activity. The project design is thoroughly discussed with technical and social considerations.

Wishart, Trevor. “Globally Speaking.” Organised Sound, vol. 13, no. 2, 2008, pp. 137-40.

This article explains the creative processes in Wishart’s Globalalia (2004) among others. The piece consists of speeches in twenty-six different languages. Wishart discusses the source materials and the collection process; he also comments on the considerations regarding the local and global aspects of the pieces.

---. “Encounters in the Republic of Heaven.” EContact!, vol. 15, no. 2, 2012.

Wishart provides an in-depth analysis of his eight-channel, four-part composition, Encounters in the Republic of Heaven, including the historical overview of his works, the sonic and linguistic characteristics of the materials, and compositional considerations with relevant excerpts from the piece.

Young, Andrea. “The Voice-Index and Digital Voice Interface.” Leonardo Music Journal, vol. 24, 2014, pp. 3-5.

This article discusses the technical details and conceptual ideas behind Young’s voice- controlled performance system. Young outlines the parameters of the voice and gives examples from the works that utilize the system.

Young, John. “Figures of Speech: Oral History as an Agent of Form in Electroacoustic Music.” Leonardo Music Journal, vol. 28, 2018, pp. 88-94.

Young discusses the use of the recorded voice as an artistic material and the influence of archival recordings on the creation of the three pieces analyzed in the article. The analyses include the formal structures of the works, historical significance of the materials, and personal reflections.

Dissertations and Theses

Torré, Salvador. Emergence de la Voix dans la Musique electroacoustique depuis 1945. 2009. MA Thesis.

This thesis discusses the voice in electroacoustic music, providing a historical survey from mid-twentieth century with well-known examples from composers such as Karlheinz Stockhausen, Luciano Berio, and Trevor Wishart.

Woloshyn, Alexa Lauren. The Recorded Voice and the Mediated Body in Contemporary Canadian Electroacoustic Music. 2012. PhD dissertation. ProQuest Dissertations and Theses.

This thesis examines contemporary electroacoustic works by Canadian composers, including Robert Normandeau, Barry Truax, Tanya Tagaq, Christian Calon, and Hildegard Westerkamp under various themes related to the voice and Canadian electroacoustic music.

Zorn, Jonathan Richard. Voices in the Electronic Furnace: Towards an Analysis of Electroacoustic Vocal Music. 2012. PhD dissertation. ProQuest Dissertations and Theses.

This thesis studies the voice in electroacoustic music within three themes dealing with language and sound, noise and music, and presence and absence of the voice performer. The thesis includes the examination of notable electroacoustic pieces and Zorn’s own composition.

Part A: Example Workds

• Ashley, Robert. Automatic Writing. Lovely Music, 1996.

• Bertley, Wende. “Rising Tides of Generations Lost.” Claire-voie, empreintes DIGITALes, 1994.

• Dhomont, Francis. Forêt Profonde. empreintes DIGITALes, 1996.

• Dumas, Chantal. 86400 Seconds – Time Zones. OHM / Avatar, 2019, avatarquebec.org/dialoguesavecchantaldumas.

• Harvey, Jonathan. “Mortuos Plango, Vivos Voco.” Computer Music Currents 5, Wergo, 1990. Lansky, Paul. More Than Idle Chatter. Bridge Records, 1994.

• Lucier, Alvin. “I am Sitting in a Room.” UbuWeb, 1969, ubu.com/sound/lucier.html.

• Norman, Katherine. “Voice and Text.” Katherine Norman, novamara.com/voice-and-text. Normandeau, Robert. “Éclats de Voix.” Tangram, empreintes DIGITALes, 1999.

• Radigue, Eliane. Songs of Milarepa. Lovely Music, 2001.

• Reich, Steve. “It’s Gonna Rain.” Early Works, Elektra Nonesuch, 1987.

• ---. “Come Out.” Early Works, Elektra Nonesuch, 1987.

• Risset, Jean-Claude. “Inharmonique.” Mutations, Ina-GRM, 1978.

• Sonami, Laetitia. “What Happened.” Imaginary Landscapes: New Electronic Music, Nonesuch, 1992.

• Stockhausen, Karlheinz. “Gesang der Jünglinge.” Stockhausen: Elektronische Musik: 1952– 1960, Stockhausen–Verlag, 2001.

• Westerkamp, Hildegard. MotherVoiceTalk. Hildegard Westerkamp, 2008, hildegardwesterkamp.ca/sound/comp/1/mother.

• ---. “Für Dich – For You.” trans_canada, empreintes DIGITALes, 2009.

• Wishart, Trevor. Red Bird (A Political Prisoner’s Dream). York Electronic Studios, 1978. ---. Vox. Virgin Classics, 1990.
  ---. “Globalalia.” Globalalia / Imago, Orpheus The Pantomime, 2014.
  ---. Red Bird / Anticredos / Voiceprints. ICR Distribution, 2019.

• Xenakis, Iannis. “Pour la Paix.” Musique Électro-Acoustique, Fractal Records, 2001.

Part B: Extended Vocal Techniques

Books

Anhalt, Istvan. Alternative Voices: Essays on Contemporary Vocal and Choral Composition. University of Toronto Press, 1984.

Anhalt provides a thorough examination of contemporary compositions that employ non- traditional forms of human voice from multiple perspectives. The topics range from the in-depth analyses of prominent compositions such as Luciano Berio’s Sequenza III, exploration of singing, speaking, and language, to conceptual discussions regarding vocal compositions.

Karantonis, Pamela, et al., editors. Cathy Berberian: Pioneer of Contemporary Vocality. Ashgate, 2014.

This book consists of writings about highly celebrated vocalist Cathy Berberian. The collection of the essays provides an in-depth exploration of Berberian’s career, works, and influence from historical, philosophical, technical, and cultural perspectives.

Mabry, Sharon. Exploring Twentieth-Century Vocal Music: A Practical Guide to Innovations in Performance and Repertoire. Oxford University Press, 2002.

Mabry discusses the characteristics of twentieth-century vocal music, explains non- traditional notation methods, and offers practical models for training the voice and learning the relevant repertoire. This book is a guide to teachers and performers of voice who are interested in expanding their knowledge and skills with the extended techniques and modern repertoire.

Migone, Christof. Christof Migone: Sound Voice Perform. Errant Bodies Press, 2005. Critical Ear Series 2.

This book provides a documentation for the works by sound artist and performer Christof Migone. A highlight of the book is the essay written by Brandon La Belle, explaining various aspects of Migone’s uses of the voice, mouth, body, and language as an essential part of his performances.

Articles, Interviews, and Broadcasts

ARTICLES, INTERVIEWS, AND BROADCASTS

Battle, Laura. “Meredith Monk, Originator of the ‘Extended Vocal Technique.’” Financial

Times, 2013, ft.com/content/12800b64-29ef-11e3-bbb8-00144feab7de.

This short article introduces Meredith Monk to the readers as a pioneering extended vocal artist and performer and briefly outlines Monk’s inspirations in her creative works.

Boutin, Aimée. “Roland Barthes’ Grain of the Voice: From Mélodie to Media.” Romance Studies, vol. 34, no. 3-4, 2016, pp. 163-73.

This paper examines Roland Barthes’ influential concept of the “grain of the voice” and the relationships between the voice and body with a variety of examples. Boutin emphasizes the prevalence of this concept in the fields of sound and media studies.

Kavasch, Deborah. “An Introduction to Extended Vocal Techniques: Some Compositional Aspects and Performance Problems.” Ex-Tempore: A Journal of Compositional and Theoretical Research in Music, vol. 3, no. 1, 1985, ex-tempore.org/kavash/kavash.htm.

In this paper, Kavasch discusses five extended vocal techniques, including reinforced harmonics, ululation, vocal fry, chant, and complex multiphonics. Kavasch emphasizes that, although the paper focuses on the vocabulary of the Extended Vocal Techniques Ensemble composers and vocal performers are encouraged to explore these techniques.

La Barbara, Joan. “Voice Is the Original Instrument.” Contemporary Music Review, vol. 21, no. 1, 2002, pp. 35-48.

Joan La Barbara is a pioneering vocal artist, composer, and performer who contributed greatly to the experimental music repertoire through her experimentations with the capacity of human voice, extended vocal techniques, and technology. In this paper, La Barbara reflects on her career in music from the late 1960s and collaborations with composers such as John Cage, Morton Feldman, Alvin Lucier, and Morton Subotnick.

“Meredith Monk.” Contemporary Music Review, vol. 25, no. 5-6, 2006, pp. 525-30.

This short paper includes a conversation with composer and singer Meredith Monk about vocal performance, improvisation, notation, and creative processes in the recording studio.

“Probes #10”. Probes, curated by Chris Cutler, Radio Web MACBA, 15 Dec. 2014, rwm.macba.cat/en/research/probes-10.

“Probes #11”. Probes, curated by Chris Cutler, Radio Web MACBA, 11 Mar. 2015, rwm.macba.cat/en/research/probes-11.

The two episodes, as well as the additional segments Probes #10.2 and #11.2, of Cutler’s Probes program focus on the artistic exploration and expansion of the human voice. The topics and concepts discussed in the episodes include the practices of sound poetry in the early twentieth-century, influences of recording technologies on singing, vocal expression, and composing techniques, blurring boundaries between the disciplines of performance, theatre, and poetry, among others. A wide range of excerpts support the discussions throughout the programs.

Szántó, Ted. “Extended Vocal Techniques.” Interface, vol. 6, no. 3-4, 1977, pp. 113-15.

This short article overviews the history and development of extended vocal techniques, giving examples from various ensembles and groups focusing on this field.

Weber-Lucks, Theda. “Electroacoustic Voices in Vocal Performance Art – a Gender Issue?” Organised Sound, vol. 8, no. 1, 2003, pp. 61-69.

This article discusses the emergence of vocal performance arts in the 1970s and the influence of technologies in electroacoustic music on the vocal performance practices. The article also provides an in-depth discussion on the gender issues in this field through the examination of relevant works.

Wishart, Trevor. “The Composer’s View: Extended Vocal Technique.” The Musical Times, vol. 121, no. 1647, 1980, pp. 313-14.

Wishart catalogues and discusses terms related to the sonic possibilities that can be explored through extended vocal techniques. This short article is derived from Wishart’s book, The Book of Lost Voices (1979).

Dissertations

Noble, Charissa. Extended from What?: Tracing the Construction, Flexible Meaning, and Cultural Discourses of “Extended Vocal Techniques.” 2019. PhD dissertation. ProQuest Dissertations and Theses.

Starting by questioning the meaning of the term, this dissertation examines the history and development of extended vocal techniques. Noble reviews, catalogues, and compares various studies in the field and explores the works by prominent artists such as Cathy Berberian, Joan La Barbara, Meredith Monk, Trevor Wishart, and Laurie Anderson.

Vágnerová, Lucie. Sirens/Cyborgs: Sound Technologies and the Musical Body. 2016. PhD dissertation. ProQuest Dissertations and Theses.

Drawing upon the sound studies, feminist theory, critical theory, and studies of technology, this dissertation highlights the voice to examine the body and technology in the works by prominent composers of electronic music, including Joan La Barbara, Laurie Anderson, Wendy Carlos, Laetitia Sonami, and Pamela Z.

Part B: Example Workds

• Anderson, Laurie. Big Science. Warner Bros., 1982.

• Berberian, Cathy. Stripsody. Edition Peters, 1966.

• Berio, Luciano. Thema (Omaggio a Joyce). Edizioni Suvini Zerboni, 1958.

  • ---. Sequenza III. Universal Edition, 1965.

• Cage, John. “Solos for Voice II.” Extended Voices, CBS, 1968.

• Kavasch, Deborah. The Owl and the Pussycat. BMI, 1974. ---. Sweet Talk. BMI, 1976.

• La Barbara, Joan. Morton Feldman: Three Voices for Joan La Barbara. New Albion, 1994. ---. Voice is the Original Instrument. Wizard Records, 1976.

• Levin, Golan and Zachary Liebermann, creators. Messa di Voce, performance by Jaap Blonk and Joan La Barbara, 2003, tmema.org/messa/messa.html.

• Monk, Meredith. Atlas – An Opera in Three Parts. ECM, 1993. ---. On Behalf of Nature. ECM, 2016.

• Oliveros, Pauline. “Sound Patterns.” Extended Voices, CBS, 1968. Z, Pamela. A Delay Is Better. Starkland, 2004.