A study on the use of vocal samples and vocal transformation techniques in the music of Paul Lansky and Trevor Wishart

Abstract

For most, the spoken word holds no more, and no less, an interest other than the implied meaning of the word, while for others, the interest lies in the inherent wealth of sonic substance in that sound. This study is focused on the composers Paul Lansky and Trevor Wishart, their compositions and the compositional processes whereby which they utilise the wealth of sonic possibilities inherent in the human voice in general and in particular the sound of the spoken word in everyday speech and conversations. Focusing in particular on Lansky’s Smalltalk (1988) and Wishart’s Vox 5 (1986), the majority of the content is concentrated on exploring issues of inspiration and origin, contexts of use and compositional aims, and the technology, procedures and techniques related to the electroacoustic compositions of Lansky and Wishart, as well as on the technological developments directly and indirectly brought about by both composers in their efforts to achieve the results that they desired.