Specifics of work with voice in music-theatrical compositions by Meredit Monk
The article is devoted to some sound formation’s principles in pieces of significant American composer, performer, choreographer Meredith Monk. The selected musical material refers to the 1970s - 1990s and characterizes the period of the formation of M. Monk’s creative personality. A characteristic feature of her creative method was the original vocal technique, based on a specific work with voice and body: the composer expands the expressive possibilities of the voice, creating music “bodily”. The composer includes in the process of sound formation the original movements, actions. Most of her early works are distinguished by experimentation in the field of phonetics, timbre, сharacterof sound. The author focuses on the problem of distinguishing the timbre of the voice and the meaning of the spoken words and the related issues of creating certain sound effects. Their spectrum in the works of M. Monk is wide, includes a variety of methods of working with voice - from recitation to a vocalized whisper. The voices of the performers are pronounced both clearly intonated sounds and noises that do not have exact pitch. Particular attention is paid to the interpretation of the word. In particular, attention is focused on the phonetics of words and syllables in M. Monk’s speeches, specific characteristics of their vocal pronunciation are characterized. The author examines the creative method of M. Monk from the standpoint of translating the traditions of musical experimentalism, presented in the first half of the 20th century by the names of the largest American composers, including J. Cage, H. Partch, H. Cowell.
musical theater of the late XX century, M. Monk’s creative method, sound formation issues.