ABSTRACT
Roland Barthes wanted the residues of a singer's bodily life to penetrate the vocal delivery. Barthes placed the pheno-song in the faultless delivery of classical performers such as Fischer-Dieskau with their mastery of correct breathing and tone. In Barthes' discourse, the formulaic classical singing voice is also levelled down to the measure of the long-playing record. Both Barthes' and Neubauten's criticisms contribute to the previously mentioned developments in vocalization beyond good singing' which can also grapple with the unspeakable and point to those artists whose environmental and social realities shaped their unusual, corporeal, acoustic voices and non-phonemic delivery. Simon Shepherd found a related corporeal quality in melodrama, which he called syllabification'. Neubauten have, through their work, helped to de-emphasize the language's associated aggression and harshness. During their first years, Neubauten's use of the voice was as one of the environmental strands of noise.
