Routledge Companion to Voice and Identity

Amy Skjerseth is Assistant Professor of Popular Music at the University of California, Riverside. Her scholarship focuses on intersections of music, media, material culture, and technology. Freya Jarman is a Reader in Music at the University of Liverpool. Freya’s publications include work on the musical workings of camp, a monograph on Queer Voices (2011), and a chapter on lip-syncing scenes in films. Naomi André is the David G. Frey Distinguished Professor in the Department of Music at the University of North Carolina at Chapel Hill. She is Professor Emerita at the University of Michigan.

• "Preface: On Language, Place, and the Time in Which this Volume was Compiled""Introduction"AUTHENTICITIES AND ARCHETYPES 2. "Fashioned Voice: Playing with Identity in the Radiant Field" 3. "The Lure of Authenticity: Vocal Performance in the Star-at-Home Interview" 4. "Doing Voice My Way: Renegotiating Male Vocal Identity at Adolescence" 5. "An Opera Singer's Voice Transition Journal"QUEERING VOICING 6. "Falsetto and Faggy: Countertenor Singing as Gender Transgressive" 7. "'The Woman's Voice that is a Part of Me': Vocal Performativity and the Joys of Queer Listening (from 'Below')" 8. "'The Lowest Female Singing Voice': Trans Phonotechnics in Sarah Hennies's Contralto" 9. "Performing Racialized Voices and Vocal Minstrelsy on RuPaul's Drag Race"TECHNOVOCALITIES 10. "Echo-locations: Karaoke Performance and Oceanic Voice" 11. "Visualizing the Voice from Mouth to Microphone to Spectrogram" 12. "Mundane AI: Marked Deadness, Labor, and Gender in AI's Collapsed Present" 13. "Noise-Cancelling Headphones: The Quieted Voices of Neoliberalism"(DIS)LOCATIONS 14. "ASMR-ing the World: ASMR Aesthetics, Soundwalking Soundwork, and Voicing Sonic Environments" 15. "Original Dub: First-Nation Voice and Language Revitalization" 16. "Voice Beyond the Geographies of Film and Land: The New Multi-Language Platforms of Indian Cinema" 17. "The Cadences of The Cool World" 18. "John Braham, Sacred Tenor: Opera, Jewishness, and British National Identity"VOICING CITIZENSHIP 19. "Sounding 'Out of Place': Towards a Geopolitics of Racialized Operatic Vocality" 20. "Meaning, Modernity, and the Limits of Metaphor: Kurdish Perspectives on Voice" 21. "Sounding Citizenship in the Carceral State: On Voice, Hip Hop, and Power in Prison" 22. "'You're Doing It Wrong': Decolonizing and Liberating My Voice"CONTAINING, CONFINING, AND CURATING VOICES 23. "When You Are on Death Row You Aren't Supposed to Have a Voice" 24. "A Clear Voice: Timbre and Technique in the English Choral Tradition" 25. "Navigating Identity, Timbre, and Tradition: A Conversation About the HBCU Choral Experience" 26. "Dear Diary, Have I Told You How Much I Love Creating Opera? (And Also, Here's a Syllabus on Creating Micro-Operas)"LANGUAGE, ABILITY, AND HEARING CODES / HEARING VOICE 27. "Ghostly Voices: Lip-Syncing, Memory, and AIDS in Dickie Beau's Re-Member Me" 28. "Vocality and Plurality in Sign Language Cover Songs" 29. "Voicing Deaf Characters in Contemporary Hollywood" 30. "Perspective: Identity and Voice from a Critical Disability Lens"

The Handbook of Voice and Identity explores the interstices between the normativity of singing conventions, showing that they are more extensive and composite than expected. It extends the field of voice studies, opening to the voices that still “feel out of place” and are struggling to be heard and recognized, with a broad focus on the transitional processes of becoming. The chapters offer a kaleidoscopic array of positional research, primarily rooted in personal experience, reaching from traditional forms of vocality such as contratenors to trans-nonbinary singers questioning the link between identity and voice and opening spaces of negotiation in questions of gender and race. Additionally, the Handbook broadens its scope beyond singing voices to include aspects such as geographical dislocation in film voice, various expressions of citizenship, and perspectives on disability. The multifarious perspectives articulated in the Handbook substantially contribute to redefining, broadening, and mobilizing what we take for granted in matters of voice.- Michaela Garda, Professor for Music Aesthetics and Sociology at the University of Pavia, Department of Musicology and Cultural Heritage in Cremona