All sounds in Die zerschlagene Stimme originate from the human voice and percussion instruments, which were then transformed using customized computer programs. Both sound groups undergo six stages of transformation: percussion sounds adopt vocal articulations, while vocal characteristics are directly transposed onto percussion sounds, resulting in speaking percussion and a beating voice. Several intermediate stages emerge through the mutual influence of both groups, ranging from complete fusion to distinct distortion.

Originally composed for four channels, an essential aspect of this piece is the composition of space. I sought to translate emotional space into physical acoustic space: feelings of fear and distress are positioned closer, while those expressing hope and dreams are placed at a distance. The movement of sounds within the hall is directly linked to their transformation processes.