The study of affect in music psychology – broadly construed as emotional responses communicated to, or induced in, the listener – increasingly concludes that voice processing can provide a powerful vector for emotional communication in the music production chain. The audio engineer has the ability to create a “definitive article” in the studio that gives listeners an opportunity to engage with the recorded voice in a manner that is quite distinct from everyday speech or the effect that might be achieved in a typical live performance. This paper examines the affective potential of the voice in a number of examples from popular music where the production chain has been exploited to provide a technological mediation to the listener’s emotional response.
Click to purchase paper as a non-member or you can login as an AES member to see more options.
No AES members have commented on this paper yet.
To be notified of new comments on this paper you can
subscribe to this RSS feed.
Forum users should login to see additional options.
If you are not yet an AES member and have something important to say about this paper then we urge you to join the AES today and make your voice heard. You can join online today by clicking here.
