Ursonate

Sound poetry is a vocal and performance-centered art in which the sonic qualities of language—phonemes, rhythm, timbre, breath, and noise—take precedence over conventional meaning. It treats the voice as an instrument, privileging articulation, texture, and extended vocal techniques (glossolalia, onomatopoeia, sputters, clicks, growls) rather than syntactic sense. Historically linked to the Futurist and Dada avant-gardes, it later embraced microphones, tape, and studio manipulation, blurring boundaries between poetry, music, theatre, and sound art. In performance, sound poetry ranges from minimal breath pieces to dense, rhythmically propelled vocal works, from solo utterance to ensemble structures and electroacoustic collages.

Non-music is an umbrella category for recorded audio whose primary purpose is not musical performance. It encompasses spoken word, speeches, interviews, poetry readings, comedy, audio documentaries, instructional recordings, field recordings, sound effects, and other forms of organized sound meant to inform, narrate, document, or entertain without relying on melody or conventional song structure. Rather than emphasizing harmony, rhythm, and instrumentation, non-music foregrounds voice, text, ambient sound, narrative flow, informational content, and sonic texture. Its aesthetics range from raw, unedited actuality to highly produced studio works, and its scope spans archival preservation, education, performance art, and mass entertainment.