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By Eduardo Reck Miranda


Frontispiece. (a) The first 0.2 seconds of the synthesized open vowel sound. (b) The excitation pressure at the bottom region of the trachea section of the model. (c) The behavior of the vocal folds of the model as a function of the width of the glottis during vibration. ( © Eduardo Reck Miranda) Artificial Phonology: Disembodied Humanoid Voice for Composing Music with Surreal Languages The main motivation for the composition of Sacra Conversazione was to explore the possibility of composing with the sounds of a surreal pseudo-language, in a primarily linguistic sense rather than a musical sense. The piece is entirely sung with “words ” that do not exist in any language that I am aware of, forming what I refer to as the utterances of a surreal pseudo-language. The creation of these artificial utterances was informed by studies of the phonetics of various languages [1] and experiments in combining recorded syllable

Topics: from these languages, Amharic, Catalan, Cantonese, Croatian, Dutch, Galician, German, Hebrew, Hindi, Irish, Persian, Swedish, Thai and Turkish. The lyrics (Fig. 1) were almost entirely
Year: 2010
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