This article explores the phenomenon of spoken music in the field of contemporary Spanish experimental music. Spoken music is a hybrid form of artistic expression which draws on several disciplines such as sound poetry, performance art and experimental music relating to the development of the spoken voice. In Spain, spoken music does not appear in the field of avant-garde music—as it is still anchored in the expressionist tradition of the spoken voice—nor in the field of poetry, which is more concerned with the visual than the sonic, but rather in interdisciplinary spaces close to the thinking of John Cage and the artistic universe of Fluxus. In 1966, in the setting of the group Zaj, Ramón Barce (1928–2008) created one of the paradigmatic pieces of spoken music: Coral hablado (‘Spoken choral’). Subsequently, various groups emerged, dedicated to creating and performing works of this nature. Flatus Vocis Trio is especially noteworthy among these groups as it is probably the most important group in the area of spoken music in Spain. Using the work of this group, this study reflects on various aspects of its artistic essence, such as the aesthetic and communicative dimension of the spoken voice, its difficult relationship with the semantic function and its distance from the principal trends in sound poetry, among others.

中文翻译：

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西班牙实验音乐领域的口语音乐

本文探讨了当代西班牙实验音乐领域的口语音乐现象。口语音乐是一种艺术表达的混合形式，它借鉴了与口语发展相关的声音诗歌、表演艺术和实验音乐等多个学科。在西班牙，口语音乐没有出现在前卫音乐领域——因为它仍然植根于口语的表现主义传统——也没有出现在更关注视觉而不是声音的诗歌领域，但是而是在接近约翰凯奇思想和激浪派艺术世界的跨学科空间中。1966 年，在 Zaj 乐队的背景下，Ramón Barce（1928-2008）创作了口语音乐的典范作品之一：Coral hablado（“口语合唱”）。随后，出现了各种群体，致力于创作和表演这种性质的作品。Flatus Vocis Trio 在这些团体中尤其值得注意，因为它可能是西班牙口语音乐领域最重要的团体。本研究利用该小组的作品，对其艺术本质的各个方面进行了反思，例如口语的审美和交际维度、与语义功能的困难关系以及与有声诗歌的主要趋势的距离等。 .