Sound poetry

Sound poetry is a genre of modern poetry, which dispenses with linguistic meaning completely or to a considerable extent. Analog to abstract painting tries to sound poetry, to use the language not in imaging or content and more significant function but purely formal as sound material. The lyric approaches by consistently - to the extent that disappears in the semantics and the sound comes to the fore - strongly with the music.

History

Precursor of sound poetry can be found already in the literature of ancient Rome, the Middle Ages and then especially the Baroque. All of these precursors is however common that they exploit the linguistic sound against the still recognizable sense of the word either ( so as to create a parody or purely comic effects), or that they are isolated exercises in style ( particularly in the literature of the late Middle Ages ), in which a poet presents the basis of a largely meaningless pattern piece as a virtuoso he has mastered the formal register of sealing.

Were more radical end of the 19th century, these precursors by the symbolism, the poet, said, playfully and aiming at harmony, often in her poems still left a ahnbaren sense of the word, but this was often the hermetic or even banal that the mannerist form and phonetic value came to the fore.

The transition to the actual sound poetry found in German literature held by Christian Morgenstern - in poems such as The Great Lalula, Lunovis ( The Moon sheep) or The Raven Ralf (with Morgenstern with fish night singing at the same time also been one of the first examples of concrete poetry written ). This was followed by the poets of Dada, for example, Hugo Ball with caravan, or Johannes Theodor Baargeld with Bimmelresonnanz II The most important sound poems of this period are of Raoul Hausmann and Kurt Schwitters, especially the Ursonata that over several blocks of a single word, but only is made up of syllables.

In the late 1950s German -language writers of the second avant-garde began to rediscover such stylistic devices. Among the most important representatives of the sound poetry of this period were Franz Mon, Gerhard Ruhm, Oskar Pastior and Ernst Jandl.

Outside the German-speaking world was formed in 1958 an international scene of experimental sound poet who wanted to become increasingly detached from the textualization of vocal sounds. From 1964, the French poet Henri Chopin issued the record magazine " Revue OU ," which was mainly devoted to the innovators of electronic sound poetry. Besides Chopin's radical tape pieces were poets such as François Dufrêne, Bernard Heidsieck, Bob Cobbing, William S. Burroughs, Paul de Vree, Charles Amirkhanian and Raoul Hausmann for publication.

Three years later the Swedish artist association Fylkingen began with the organization of the so-called text - sound - festival. As Text - Sound Composition Bengt Emil Johnson, Lars- Gunnar Bodin, Sten Hanson, Åke Hodell and Öyvind designated a continuum between language and literature on the one side and music on the other. The catalyst between these two poles often made ​​whereby the use of electro-acoustic equipment or special recording techniques. Again, the detachment was sought from the text, as the medium acted the record or the tape.

More recently, the sound poetry plays a minor role in the slam poetry and rap scene, which, as rap derives among other things from the scat tradition of jazz, is obvious, and a fusion of avant-garde currents of the high culture of classical modernism and has led the popular traditions of sound poetry.

End of the 20th and beginning of the 21st century, sound poet of the creative possibilities of digital technologies began to operate. Performers like the French sound artist Joachim Montessuis, the sound poet and composer Jaap Blonk from The Netherlands, the Norwegian musician Maja Ratkje and Jörg Piringer from Austria and the German Dirk Hülstrunk and Michael Lentz use in their live performances computers, electronic effects and samplers to the to expand expressive possibilities of the human voice.

Examples

Johann Klaj

The kekke Lachengekk koaxet / krekkt / and quakkt / In Krippels Krückenstockk krokkt / grakkelt / Humpt and zakkt / In Gukkuks Gukken defies the frog and the Krükke. What knikkt and knakkt more? kurtz my Reimgeflikke here.

Johann Klaj: continued The Pegnitz Schäferey, Nuremberg 1645

Christian Morgenstern

The large Lalula

Kroklokwafzi? Semememi! Seiokrontro - prafriplo: Bifzi, bafzi; hulalemi: quasti basti bo ... Lalu lalu lalu lalu la!

Hontraruru miro elements zasku indices rue rue? Entepente leiolente, klekwapufzi lü? Lalu lalu lalu lalu la!

Simarar cost malzipempu silzuzankunkrei (;)! Marjomar dos: Quempu Lempu Siri Suri Let [ ]! Lalu lalu lalu lalu la!

Christian Morgenstern: Galgenlieder, Berlin 1905

Hugo Ball

Brulba dori daula dalla sula lori wauga malla lori damma fusmalu

Dasche mame came rilla Schur saga minor Vasvilla suri pauge fuzmalu

Mula dampe villa dori everything virds schavi drestilla official lima dozapau pozadau