Extended voice is a vocal-electronic practice integrating compositional and performative, especially improvisational, methodologies. In extended voice, the same single practitioner does both vocal and technological work. This document is structured in three parts: (1) technical discussion of my hardware, software, and vocal work; (2) analysis of works by seven other extended voice practitioners (Antye Greie-Ripatti (AGF), Marie Guilleray, Stine Janvin Motland, Maja S. K. Ratkje, Andrea Pensado,

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... Ami Yoshida, and Pamela Z); (3) and critical discussion of extended voice. Extended voice encompasses a wide variety of sounds, but crucial themes are the desire for complex, novel interaction between voice and electronics, and, toward this end, the dovetailing of 'recorded' and 'live' methodologies. Practitioners undertake self-listening to manage the vocal-electronic whole, which is a cyborg of sorts, and thus evince presence, or curation of one's own vocal-electronic sound. Research futures for extended voice center on its use of creative methodologies to subvert the notion of normative body, and its demonstrated ability to encourage more diverse participation than that which currently typifies electronic music as a whole. keywords: extended voice presence self-listening agency interaction cyborg technology digital MaxMSP granulation Arduino Bela Pd analog AGF Guilleray Motland Ratkje Pensado Yoshida Z recorded live disability normative inner voice body iii CONTENTS ACKNOWLEDGEMENTS v LIST OF FIGURES AND TABLES vi iv V. CONCLUSION 81 BIBLIOGRAPHY 84 DISCOGRAPHY 91 APPENDICES 92 A. Voice-electronics performances 92 B. Spring 2016 patch: Composed control routine 95 C. Vox6 patch: Rhythmic granulation parameters 96 D. Vox6 patch: Transposition-delay unit 97 E. Vox6 patch 99 v ACKNOWLEDGEMENTS