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In musical environments, the human voice is entangled in a number of structural, conceptual and cultural frameworks that enable it to convey a multiplicity of meanings. In the discussion of musical globalisation, vocal music takes a particularly important role, since this versatility allows for both cultural rapprochement or hybridity as well as the reinforcement of local, regional, and national identities. This article introduces a first approach to an analytical framework for an intercultural history and analytical methodology of vocal music based on comparative studies of both traditional and contemporary works and genres and their construction of musical meaning. The articulation of the voice, conceived here as a multifarious passage between speech and song, is discussed in three major sections: »mapping«, »fragmentation and montage«, and »aesthetics of presence«. First, the plausibility and limitations of classification systems for spoken/ sung vocal styles (as developed by George List and Kenji Hirano, among others) and their application as tools for a comparison of culturally and historically diverse »voices« are examined. A closer analysis of the vocal style gidayū-bushi reveals a highly »fragmented« vocal microstructure based on a minute theoretical conception of delivery techniques, held together by the unique timbre of the recitor. Connections between Chinese jingju (Peking Opera) and Tan Dun’s »vocal calligraphy« as well as the controversial discussions on the vocal part in Schoenberg’s Pierrot Lunaire are reviewed to imply that these vocal styles, too, can be conceived of as multiply fragmented, as microstructural »montages« that (intentionally or not) place much responsibility on the agency of the vocal performer. A comparable influence of the performer can be observed in recent Japanese vocal music that evokes the archaic power of single words or phonems (Hifumi Shimoyama, Y şji Takahashi). The high degree of articulatory differentiation closely connected to unique features of the Japanese language (including specific regional forms) found in these works is finally connected to the theory of recitative around 1600 based on a similar conception of the Italian language (Jacopo Peri, Giulio Caccini) and to its reception in Salvatore Sciarrino’s unique form of vocal writing that the composer has termed »sillabazione scivolata« [gliding syllable articulation]. These diverse case studies suggest that intercultural history and analysis of vocal music must take into account the major role of the vocal performer and its complex interaction with musical texts and aural traditions in both contemporary and traditional contexts. It can be further argued that vocal music generally tends to represent Roland Barthes’ concept of »genosong«, a kind of singing that originates from the »materiality of language«. A comprehensive theory of vocal music, finally, can neither be reduced to the discussion of its encoding by notation, nor to its performative act, but rather has to consider cultural memory and reception processes as key contexts of a cultural »codification« that produces meaning. Such a broad perspective has to consider prominently intercultural passages such as those introduced in this essay.

Este trabalho tem por finalidade apontar determinados aspectos que nortearam algumas das principais especulações realizadas no campo da nova vocalidade na música escrita no despontar do século XX. A prática da voz inserida no mundo moderno se desenvolve com as bruscas mudanças que alteram os parâmetros da produção musical e da compreensão dos elementos de musicalidade que surgem nas primeiras décadas do século passado. Sucintamente, aborda o espectro de percepções estéticas e cognitivas que um ouvinte carrega em seu intelecto e o ambiente histórico de uma obra que são fundamentos para a contemplação, reflexão e que permitem entender a voz. Essa prática que se foi acrescendo paulatinamente de \"novos\" recursos tomados \"emprestados\" da prática da emissão vocal na fala e no canto cotidiano traz nova oralidade e vocalidade, fazendo surgir uma \"nova\" sonoridade que futuramente se intensificará em múltiplas tendências, principalmente a partir do final dos anos 50 e início dos 60 do século XX. O seu florescimento estende-se até os dias atuais teve como ponto de partida muitas das reflexões e pesquisas que a Segunda Escola de Viena trouxe para a música. Para embasar este estudo foi levantado um conjunto de obras vocais de Arnold Schoenberg, Anton Webern, Alban Berg e Edward Steuermann, que tem como ferramenta de análise a Teoria dos Conjuntos de Joseph Straus. / This paper aims at pointing out specific aspects that guided some of the main theories made in the field of new vocality in writing music that happened in the beginning of the 20th century. At that period the practice of speech inserted in the modern world was also developed by the sudden changes that altered the parameters of music production and the understanding of the elements of musicality. Shortly, this paper also discusses the spectrum of aesthetic and cognitive perceptions that a listener carries in his/her intellect and the historic setting which are grounds for contemplation and reflection for they allow the listener to understand the voice, and even extend the appreciation and understanding of the sound. Such practice gradually added to itself new features taken from vocal speech and everyday singing bringing new orality and voicing. This activity generated a \"new\" sound that would appear in multiple trends, mainly in the late 50s and early 60s of the 20th century. It is there up to the present days and it had as a starting point reflections and researches that the Second Viennese School brought to the music. To support this study a number of vocal works of Arnold Schoenberg, Anton Webern, Alban Berg and Edward Steuermann, were taken into consideration, which use Joseph Straus\' Theory of Groups as tool for analysis

Este trabalho tem por finalidade apontar determinados aspectos que nortearam algumas das principais especulações realizadas no campo da nova vocalidade na música escrita no despontar do século XX. A prática da voz inserida no mundo moderno se desenvolve com as bruscas mudanças que alteram os parâmetros da produção musical e da compreensão dos elementos de musicalidade que surgem nas primeiras décadas do século passado. Sucintamente, aborda o espectro de percepções estéticas e cognitivas que um ouvinte carrega em seu intelecto e o ambiente histórico de uma obra que são fundamentos para a contemplação, reflexão e que permitem entender a voz. Essa prática que se foi acrescendo paulatinamente de \"novos\" recursos tomados \"emprestados\" da prática da emissão vocal na fala e no canto cotidiano traz nova oralidade e vocalidade, fazendo surgir uma \"nova\" sonoridade que futuramente se intensificará em múltiplas tendências, principalmente a partir do final dos anos 50 e início dos 60 do século XX. O seu florescimento estende-se até os dias atuais teve como ponto de partida muitas das reflexões e pesquisas que a Segunda Escola de Viena trouxe para a música. Para embasar este estudo foi levantado um conjunto de obras vocais de Arnold Schoenberg, Anton Webern, Alban Berg e Edward Steuermann, que tem como ferramenta de análise a Teoria dos Conjuntos de Joseph Straus. / This paper aims at pointing out specific aspects that guided some of the main theories made in the field of new vocality in writing music that happened in the beginning of the 20th century. At that period the practice of speech inserted in the modern world was also developed by the sudden changes that altered the parameters of music production and the understanding of the elements of musicality. Shortly, this paper also discusses the spectrum of aesthetic and cognitive perceptions that a listener carries in his/her intellect and the historic setting which are grounds for contemplation and reflection for they allow the listener to understand the voice, and even extend the appreciation and understanding of the sound. Such practice gradually added to itself new features taken from vocal speech and everyday singing bringing new orality and voicing. This activity generated a \"new\" sound that would appear in multiple trends, mainly in the late 50s and early 60s of the 20th century. It is there up to the present days and it had as a starting point reflections and researches that the Second Viennese School brought to the music. To support this study a number of vocal works of Arnold Schoenberg, Anton Webern, Alban Berg and Edward Steuermann, were taken into consideration, which use Joseph Straus\' Theory of Groups as tool for analysis

Composed for soprano, tenor, and baritone voices, woodwind, percussion, and string instruments, Three Voices is a polyglotic work that includes German, Chinese, and Spanish texts. The texts are chosen from Brecht Bertolt's Das Schiff, Po Chu I's Lang T'ao Sha, and Frederico Garcia Lorcá's Mar. Significant features of the piece are 1) application of Chinese operatic singing methods to vocal material in the sections that use Chinese text, 2) use of western instruments to emulate the sound of certain Chinese instruments, and 3) employment of Sprechstimme and dramatically inflected speech to create theatrical effects and highlight the sections that use German and Spanish texts.