- Gestart in
- Type musicus
- Vocalist, componist, sound artist
- Leiden University
- Persoonlijke website
Marie Guilleray (1978) is a French vocalist, composer and sound artist based in The Netherlands. She works mainly in the context of experimental, electro-acoustic, improvised music and sound poetry. As a performer, she focuses on contemporary music, free improvisation and sound poetry. As a composer and sound artist, she operates in various configurations such as fixed media pieces, live electronics pieces, field recordings and soundwalks.
Marie holds a Bachelor and Master degree in Law and Political Science from the University of Paris I Panthéon-Sorbonne. After her Law studies, Marie studied Singing at the Conservatory Nadia and Lili Boulanger in Paris and at the Royal Conservatory of The Hague where she obtained her Bachelor degree in Singing in June 2010. Her research into the extended possibilities of the voice led her to continue her studies with a Master at the Institute of Sonology in The Hague where she researched about the combination of voice and electronics under the supervision of Richard Barrett, Kees Tazelaar, and Paul Berg.
Marie is currently a research associate at the Institute of Sonology in The Hague. Her research interests include the confrontations between voice and electronics, music in words and languages, sound poetry, the (dis)embodiment of the voice.
The principal aim of this research is to explore the confrontation between voice and electronics. This confrontation will fundamentally examine emergent relationships between voice and electronics, especially pertaining to constituting the voice’s identity in music, the use of extended vocal techniques, augmenting the voice with electronics, and relating concepts of embodiment and disembodiment within this context. Additionally, this approach to artistic research will aim at examining how confrontations between voice and electronics can create new perspectives for both of the voice and contemporary practices utilizing electronics.
May 22-23, 2019
This conference explores musician’s long relationship with their instruments and instrumentalities, questioning issues of autonomy and agency in the apparent dichotomy between tools and musical expression. From the mechane of Greek theatres from which gods were suspended, to Mozart’s description of the Stein fortepiano’s knee-lever as “Die Maschine”, to the epoch-defining technologies of recording, sound synthesis, and algorithmic composition of more recent times, performers and composers have relied on mechanical means to create magic in their art.