By integrating theoretical approaches to the female voice with the musicological investigation of female singers’ practices, the contributors to this volume offer fresh viewpoints on the material, symbolic and cultural aspects of the female voice in the twentieth century. Various styles and genres are covered, including Western art music, experimental composition, popular music, urban folk and jazz. The volume offers a substantial and innovative appraisal of the role of the female voice from the perspective of twentieth-century performance practices, the centrality of female singers’ experimentations and extended vocal techniques along with the process of the ‘subjectivisation’ of the voice.

part Part 1|80 pages

The ‘voice’ and the voices: definitions, iconologies, myths and practices

chapter 1|8 pages

Vocalising honey

ByAdriana Cavarero

chapter 2|19 pages

Writing the female voice from Debussy to Boulez

ByJulian Johnson

chapter 3|13 pages

Eurydice’s voice in contemporary opera

ByMichal Grover-Friedlander

chapter 4|18 pages

Maria Callas and the achievement of an operatic vocal subjectivity

ByMarco Beghelli

chapter 5|20 pages

How female is the voice?

Conceptualisations and practices
ByMichela Garda

part Part 2|112 pages

The grain of the voices, experimentation and technology

chapter 6|19 pages

Love, race and resistance

The fugitive voice of Nina Simone1
ByMartha Feldman

chapter 7|15 pages

Black sonic refusal

ByJayna Brown

chapter 8|19 pages

The voice that gives voice

Female folk revival singers around 1968
BySerena Facci

chapter 9|20 pages

Women’s voices in Cairo, Egypt, at the turn of the twentieth century1

ByVirginia Danielson

chapter 10|16 pages

‘Hear what I Feel’

Joan La Barbara, the 1970s and the ‘extended voice’
ByVeniero Rizzardi

chapter 11|21 pages

Remediating the female voice in extremis(m)

The Human Voice (1966)
ByPamela Karantonis