Catherine Haworth is Course Leader for Music and Music Technology at the University of Huddersfield. Her research focuses on musical practices of representation and identity across various media, with a particular interest in film and television music. Catherine has published on topics including the female detective in 1940s Hollywood; music, gender and medical discourse; women and music in James Bond; and celebrity culture in the film musical. She edited a special edition of Music, Sound and the Moving Image on gender and sexuality, and co-edited the collection Gender, Age and Musical Creativity. Beth Carroll is a Lecturer in Film at the University of Southampton. Her research focuses on matters relating to audiovisual media, including space, place and the body. Beth is particularly interested in sound and the impact it has on issues of immersion and phenomenology in film, videogames, and VR. She is the author of Feeling Film: A Spatial Approach and co-editor of Contemporary Musical Film.

• List of IllustrationsNotes on ContributorsIntroductionBeth Carroll and Catherine HaworthPart I. Stardom and The Singing Body1. Bearer of All Things: Black Women’s Voices in 20th Century American Popular MusicAbigail Lindo2. A Voice Too Much: Performance, Authenticity and Nostalgia in Biographical Television Drama Hannah Andrews and Leanne Weston3. Super-Natural: Television Singing, the Special Guest Star and Stevie Nicks in American Horror Story (2011-)Catherine HaworthPart II. Voices, Commerce and Consumption4. Singalong Advertising: Imagined Communities of ConsumptionMalcolm Cook5. Auto-tuning Hannah Montana: Miley Cyrus’s Child Voice and the Technological Subversion of GirlhoodLiam Maloy6. Where Voice and Body Meet Again: Punjabi Rappers in Bollywood Music VideosJulia SzivakPart III. The Singing Voice as Transformation7. On Screen, on Stage, in Live Performance: Songs and Singing in Sister Act Ian Sapiro8. Kinshasa’s Music, Dreams and Shared Cinematic Realities: Listening to Vocal Performance in Félicité (2017)Chris Letcher9. ‘But the right words, never come’: Transformative Identities, Female Agency and Performance in Sayonara Wild HeartsJennifer SmithPart IV. Singing, Technology and Mediation10. ‘We don’t have that’: Representation of Hindustani Classical Vocal Performance in YouTube Reaction VideosIrina Mironova11. ‘I see Marina, but feel Maria’: Marina Abramović’s Mediation of Callas’s VoiceLea Luka Sikau12. The World is Mine: Queer Affective Horizons in the Vocaloid Pop of Hatsune MikuShelina BrownReferencesIndex

From the first page, this collection sings! Carroll and Haworth have expertly edited a collection that is a necessary addition to numerous academic discourses, such as the musical, sound and voice studies, and one of the few sustained studies into singing in audio-visual media. Singing Out offers fascinating explorations about the body, stardom, technology and liveness through a range of perspectives on singing in reactions videos, biographical television dramas, performance art, video games and advertisements. Each chapter is unique in focus, but all share a rigorous approach to singing as worthy object of study, becoming a chorus of voices that hit all the right notes.