Van Morrison's live version of his song ‘Cyprus Avenue’ on the 1974 albumIt's Too Late to Stop Nowprovides an example of the authority of the singer's voice and of how it leads and demands submission from musicians, songs, and audience. Morrison's voice constantly suggests that it is reflecting important experience and can be understood both as an attempt to capture something and as a post-hoc witnessing or testimony. Through the example of Morrison's work, and ofIt's Too Late to Stop Nowin particular, this article explores the location of the voice in terms of the body and of particular places and histories. It then proceeds to a reflection on the relationship between the performing voice as producer of sound, noise, and music and the poetic voice that provides the words and visions upon which the performing voice goes to work. It concludes by focusing on a moment within ‘Cyprus Avenue’ where Morrison performs the act of being tongue-tied, discussing this as an example of ‘aesthetic stutter’. Throughout, attention is also paid to how other voices (particularly those of rock critics) connect to Morrison's voice by attempting to describe it, re-perform it, or explain it.

中文翻译：

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“我的舌头变得 ttt-”：范莫里森的文字、感觉和声音存在现在停止为时已晚

范莫里森在 1974 年专辑中的歌曲“塞浦路斯大道”的现场版现在停止为时已晚提供了歌手声音的权威性以及它如何引导和要求音乐家、歌曲和观众服从的一个例子。莫里森的声音不断暗示它反映了重要的经历，既可以理解为试图捕捉某些东西，也可以理解为事后的见证或证词。通过莫里森工作的例子，以及现在停止为时已晚特别是，本文探讨了声音在身体和特定地点和历史方面的位置。然后，它继续反思作为声音、噪音和音乐的生产者的表演声音与提供表演声音发挥作用的词语和愿景的诗意声音之间的关系。最后，聚焦于“塞浦路斯大道”内的一个时刻，莫里森在该时刻表现出结结巴巴的行为，并将其作为“审美口吃”的一个例子进行讨论。在整个过程中，还关注其他声音（尤其是摇滚评论家的声音）如何通过试图描述、重新表演或解释它来连接莫里森的声音。