Serena Facci is Associate Professor of Ethnomusicology and Popular Music Studies at the University of Rome 'Tor Vergata'. Her fieldwork and research projects include traditional and popular music in Italy and in Central-East Africa, and intercultural music making in educational and religious contexts.Michela Garda has a philosophical and musicological background. She teaches Musical Aesthetics and Sociology of Music at the Department of Musicology and Cultural Heritage, University of Pavia.

• Part 1 The ‘Voice’ and the Voices: Definitions, Iconologies, Myths and Practices 1. Vocalising honeyAdriana Cavarero2. Writing the female voice from Debussy to BoulezJulian Johnson 3. Eurydice’s Voice in Contemporary Opera Michal Grover-Friedlander 4. Maria Callas and the Achievement of an Operatic Vocal SubjectivityMarco Beghelli 5. How Female is the Voice? Conceptualisations and PracticesMichela Garda Part 2 The grain of the voices, Experimentation and Technology 6. Love, Race and Resistance: The Fugitive Voice of Nina Simone Martha Feldman 7. Black Sonic RefusalJayna Brown8. The Voice that Gives Voice: Female Folk Revival Singers around 1968 Serena Facci9. Women’s Voices in Cairo, Egypt, at the Turn of the Twentieth CenturyVirginia Danielson10. ‘Hear what I Feel’: Joan La Barbara, the 1970s and the ‘Extended Voice’Veniero Rizzardi11. Remediating the Female Voice in Extremis(m): The Human Voice (1966)Pamela Karantonis

Select Guide Rating

Serena Facci is Associate Professor of Ethnomusicology and Popular Music Studies at the University of Rome 'Tor Vergata'. Her fieldwork and research projects include traditional and popular music in Italy and in Central-East Africa, and intercultural music making in educational and religious contexts.Michela Garda has a philosophical and musicological background. She teaches Musical Aesthetics and Sociology of Music at the Department of Musicology and Cultural Heritage, University of Pavia.

• Part 1 The ‘Voice’ and the Voices: Definitions, Iconologies, Myths and Practices 1. Vocalising honeyAdriana Cavarero2. Writing the female voice from Debussy to BoulezJulian Johnson 3. Eurydice’s Voice in Contemporary Opera Michal Grover-Friedlander 4. Maria Callas and the Achievement of an Operatic Vocal SubjectivityMarco Beghelli 5. How Female is the Voice? Conceptualisations and PracticesMichela Garda Part 2 The grain of the voices, Experimentation and Technology 6. Love, Race and Resistance: The Fugitive Voice of Nina Simone Martha Feldman 7. Black Sonic RefusalJayna Brown8. The Voice that Gives Voice: Female Folk Revival Singers around 1968 Serena Facci9. Women’s Voices in Cairo, Egypt, at the Turn of the Twentieth CenturyVirginia Danielson10. ‘Hear what I Feel’: Joan La Barbara, the 1970s and the ‘Extended Voice’Veniero Rizzardi11. Remediating the Female Voice in Extremis(m): The Human Voice (1966)Pamela Karantonis

Select Guide Rating

Serena Facci is Associate Professor of Ethnomusicology and Popular Music Studies at the University of Rome 'Tor Vergata'. Her fieldwork and research projects include traditional and popular music in Italy and in Central-East Africa, and intercultural music making in educational and religious contexts.Michela Garda has a philosophical and musicological background. She teaches Musical Aesthetics and Sociology of Music at the Department of Musicology and Cultural Heritage, University of Pavia.

• Part 1 The ‘Voice’ and the Voices: Definitions, Iconologies, Myths and Practices 1. Vocalising honeyAdriana Cavarero2. Writing the female voice from Debussy to BoulezJulian Johnson 3. Eurydice’s Voice in Contemporary Opera Michal Grover-Friedlander 4. Maria Callas and the Achievement of an Operatic Vocal SubjectivityMarco Beghelli 5. How Female is the Voice? Conceptualisations and PracticesMichela Garda Part 2 The grain of the voices, Experimentation and Technology 6. Love, Race and Resistance: The Fugitive Voice of Nina Simone Martha Feldman 7. Black Sonic RefusalJayna Brown8. The Voice that Gives Voice: Female Folk Revival Singers around 1968 Serena Facci9. Women’s Voices in Cairo, Egypt, at the Turn of the Twentieth CenturyVirginia Danielson10. ‘Hear what I Feel’: Joan La Barbara, the 1970s and the ‘Extended Voice’Veniero Rizzardi11. Remediating the Female Voice in Extremis(m): The Human Voice (1966)Pamela Karantonis

Select Guide Rating