Routledge Voice Studies book series

As part of Routledge’s end-of-year sale, all Routledge Voice Studies titles can currently be purchased at 20% off (single-title purchase) or 25% off (2 or more titles).

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Current titles include:

Voice Studies: Critical Approaches to Process, Performance and Experience (by Konstantinos Thomaidis and Ben Macpherson):

Composing for Voice: Exploring Voice, Language and Music (by Paul Barker and Maria Huesca):

Training Actors’ Voices: Towards an Intercultural/Interdisciplinary Approach (by Tara McAllister-Viel):


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We are delighted to share that the latest issue of the Journal of Interdisciplinary Voice Studies is out.

3.2 is a special issue on ‘Voice, Identity, Contact,’ guest edited by Yvon Bonenfant and with contributions by Jennifer Lynn Stoever, Justin Adams Burton, Alexis Deighton MacIntyre, Sara Clethero and Eda Ercin.

Full details:

To subscribe:,id=248/view,page=1/

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Routledge Voice Studies, New Title: Training Actors’ Voices by Tara McAllister-Viel

We are delighted to announce the publication of the latest addition to Routledge Voice Studies, Tara McAllister-Viel’s Training Actors’ Voices: Towards an Intercultural/Interdisciplinary Approach.


Book Description:

Contemporary actor training in the US and UK has become increasingly multicultural and multilinguistic. Border-crossing, cross-cultural exchange in contemporary theatre practices, and the rise of the intercultural actor has meant that actor training today has been shaped by multiple modes of training and differing worldviews. How might mainstream Anglo-American voice training for actors address the needs of students who bring multiple worldviews into the training studio? When several vocal training traditions are learned simultaneously, how does this shift the way actors think, talk, and perform? How does this change the way actors understand what a voice is? What it can/should do? How it can/should do it?

Using adaptations of a traditional Korean vocal art, p’ansori, with adaptations of the “natural” or “free” voice approach, Tara McAllister-Viel offers an alternative approach to training actors’ voices by (re)considering the materials of training: breath, sound, “presence,” and text. This work contributes to ongoing discussions about the future of voice pedagogy in theatre, for those practitioners and scholars interested in performance studies, ethnomusicology, voice studies, and intercultural theories and practices.


Tara McAllister-Viel is Head of Voice and Speech at East 15 Acting School, UK.


Previous titles in the series include:

Voice Studies: Critical Approaches to Process, Performance and Experience (Konstantinos Thomaidis and Ben Macpherson, 2015):

Composing for Voice: Exploring Voice, Language and Music (Paul Alan Barker and Maria Huesca, 2018, 2nd Edition):

CfP: Metaphoric Stammers and Embodied Speakers / Expanding the Borders of Dysfluency Studies (on behalf of University College Dublin)

Metaphoric Stammers and Embodied Speakers: Expanding the Borders of Dysfluency Studies (Humanities Institute, University College Dublin, 12 October, 2018)


Keynote speaker: Chris Eagle, Emory University, Centre for the Study of Human Health (Dysfluencies: On Speech Disorders in Modern Literature, 2014; Talking Normal: Literature, Speech Disorders, and Disability, ed. 2013)


The conference will explore the embodied experience and cultural construction of stammering from the collaborative perspectives of literary/cultural analysis, speech therapy and neurological research. The aim of the conference is to develop an interface between literary, cultural and clinical practice in the area of speech ‘disorders’, generating new forms of communication and exchange across these fields.

Despite the centrality of literary/cultural studies to the emergence of Dysfluency Studies (Marc Shell, Stutter 2005; Chris Eagle Dysfluencies 2014), the 2017 Oxford Dysfluency Conference had no humanities-based papers. This conference addresses this imbalance, bringing cultural analysis into genuine exchange with scientific and therapeutic practice, and necessarily negotiating the tension between a medically-inflected model of ‘recovery’ and an emergent challenge to cultural constructions of ‘normal’ speech. Dysfluency is explored less as a ‘disorder’ to be treated, than a form of communication that highlights the intricate relationship between speaking and being heard, vocal agency and cultural reception.

Literary culture has provided a rich and complex store of information about how stammering has been represented and interpreted at different historical junctures, within diverse cultural contexts and in relation to the variables of gender, class and ethnicity. The stammer has also been harnessed as a metaphor for how literary language works, how it operates at the limits of its expressive resources, occupying a territory that circles the paradoxical power of the ineffable. Recent work in the humanities, however, has signalled the need to balance such metaphorical readings with a sense of the corporeal experience of dysfluency, what Jay Dolmage has called ‘the embodied struggle for expression’ (Disability Rhetoric 2014). This renewed focus on embodiment invites diverse, interdisciplinary approaches that serve to accentuate the embodied experience of stammering in its neurological, therapeutic and cultural forms.

This conference is generously supported by the Humanities Institute, UCD College of Arts and Humanities, and UCD Seed Funding Scheme.


Proposals are welcomed for twenty-minute papers in (but not limited to) the following areas:

Normative Speech and Varieties of Expression: literary/cultural constructions of ‘normal’ speech and the representation of ‘counter voices’ of dysfluency.

Rethinking ‘Recovery’: innovations in therapeutic practice (e.g., Narrative Therapy, Non-Avoidance Therapy, Covert/Interiorised Stammering Therapy).

Mapping the Brain: neurological perspectives, auditory feedback, and ‘circuits’ of communication.

Gender and Dysfluency: gendered experience and its reception/representation.


Guide for submissions:

All submissions should include name and email address, a 250-word abstract, a short biography (with academic/professional affiliation, if applicable). Proposals for individual papers or panels of 3 papers are welcomed. Panels that include presenters with a range of affiliations, career experiences and disciplinary homes are encouraged.

All proposals should be submitted as Word document.

Extended deadline for submissions: 30 July 2018.

Organiser: Dr Maria Stuart, School of English, Drama, Film and Creative Writing, UCD.

For submission of proposals and general enquiries, please contact:






We are delighted to share that the latest issue of the Journal of Interdisciplinary Voice Studies is out, including an interview with noted philosopher Adriana Cavarero.


Articles include:

Spiel, patter or sound effect: tracking the residual voice on the travelling fun fair, by Ian Trowell,

Accelerations and speed limits: an essay on the vocal limits of semiocapitalism, by Tristam Vivian Adams,

Can childhood trauma impact the adult voice through the brain? by Elisa Monti and Diana Van Lancker Sidtis, 

The singer’s GPD: rethinking traditional pitch instruction methods for straight-tone singing in commercial teaching, by Mindy Damon,



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CfP: Special Issue ‘What is New in Voice Training?’, Theatre, Dance and Performance Training Journal (Routledge), Guest Editor: Konstantinos Thomaidis

Special issue entitled What is New in Voice Training? To be published in TDPT Vol 10.3 (September 2019)

Call for contributions, ideas, proposals and dialogue with the editor

Guest edited by Konstantinos Thomaidis, University of Exeter (


Background and context

This will be the 11th Special Issue of Theatre, Dance and Performance Training (TDPT) following issues on a range of topics including sport, politics, Feldenkrais, writing training, interculturalism and digital training. TDPT is an international journal devoted to all aspects of ‘training’ (broadly defined) within the performing arts. The journal was founded in 2010 and launched its own blog in 2015. Our target readership is both academic and the many varieties of professional performers, makers, choreographers, directors, dramaturgs and composers working in theatre, dance and live art who have an interest in and curiosity for reflecting on their practices and their training. TDPT’s co-editors are Jonathan Pitches (University of Leeds) and Libby Worth (Royal Holloway, University of London).

Call Outline: What is New in Voice Training?

Voice has returned to academic discourse with renewed force. 20th-century philosophical and critical debates may have generated important questions around speech, vocality and listening (particularly through the works of Lacan, Derrida, Merleau-Ponty, Ihde, Barthes and Kristeva), but the first two decades of the 21st century have witnessed an unprecedented proliferation of publications taking voice as their main area of enquiry (see Connor, Cavarero, Dolar, Neumark, among others). In the same period, a similar plurality marked the way voice is practised in performance, particularly in its entanglement with new media, new scenic and everyday architectures as well as new hybrid genres and aesthetics. The emergent field of voice studies situates itself at the juncture of these practical and theoretical advances and advocates for research in and through voice that is markedly praxical, international and interdisciplinary in scope.

In bringing the concerns of this new inter-discipline to bear on performance studies, this issue of Theatre, Dance and Performance Training proposes a timely re-examination of voice in performer training. The literature on voice and the pedagogy of performance is, of course, vast. In the case of singing, it is largely dominated by paradigms appropriate for operatic and musical theatre performance. In the case of speech training, areas that have been systematically explored include the pedagogies developed by an influential generation of mid-twentieth-century, UK- and US-based speech trainers—and, to a lesser extent, the voice practices pertaining to (post)Grotowskian lineages or integrating first-wave somatics into voice work. While drawing impetus from these significant insights, the purpose of this special issue is to lend an attentive ear to emergent or less widely circulated training methodologies and to chart the rapidly shifting landscape of voice training.

 In other words, it wishes to ask: What is new in voice training?

The term ‘new’ is not taken here as an exclusively present-orientated delineation; rather, it is intended as a generative provocation. In this light, potential contributors are invited to engage with topics and questions such as:


  • New practices: What are the new approaches to voice, speech and singing training currently in the making? How do they depart from or extend current conceptualisations of voicing? Which performance contexts are they designed for? How are they taught, recorded, written about and transmitted?
  • New documents: Which practices of voice training have not been systematically documented and disseminated? Which non-Anglophone practices have received less critical attention and how can new translations or archives engage us in dialogue with them? What is the place of the ‘document’ in practice-as-research approaches to voice pedagogy?
  • The new voice coach: Which are the new exigencies placed on coaches today? What challenges do they face? Which methodologies have been developed in response? How is voice training conducted beyond the studio, through Skype lessons, MOOCs and other interactive platforms? What is the impact of neoliberal economics on the way voice training is currently conducted?
  • New contexts: How is voice training taking into consideration gender, class and ethnic diversity? How is the pedagogy of speech and song responding to neurodiverse trainees? How are interdisciplinary performers, such as speaking dancers or intermedia artists, trained in voice work? How is training originally developed for artistic performance adapted in contemporary oratory, advertising, sport, teaching, community or health work?
  • New criticalities: Which emergent critical methodologies can we deploy to critique voice training or to generate new approaches? How can voice training embrace ecocritical or new materialist strategies? What is the place of the expanding corpus of vocal philosophy in the studio?
  • New histories, new lineages: What does new archival research reveal about the lineages and historic practices of voice training? How is the history of voice training rewritten? How are premodern forms of voice training revitalised in contemporary performer training?
  • Re-newing voice training: How are existing systems, exercises and practices reconfigured in new settings? How can we re-evaluate the foundational premises of voice training through recent discoveries in physiology and advances in critical theory? In what ways are such methods hybridised, repurposed, recycled, rethought?

To signal your interest and intention to make a contribution to this special issue please contact Konstantinos Thomaidis for an initial exchange of ideas/thoughts or email an abstract or proposal (max 300 words) at Please consider the range of possibilities available within TDPT: Essays and Sources up to 6500 words; photo essays; shorter, more speculative, essaisup to 3000 words and postcards (up to 200 words). All contributors could extend their work through links to blog materials (including, for example, film footage or interviews). Questions about purely digital propositions can be sent directly to James McLaughlin at jimmyacademy@gmail.comalong with ideas for the blog. Firm proposals across all areas must be received by Konstantinos Thomaidis by 30 January 2018 at the latest.


The issue schedule is as follows:

 Autumn 2017: Call for papers published

30 January 2018: abstracts and proposals sent to Konstantinos Thomaidis

May 2018: Response from editor and, if successful, invitation to submit contribution

June to End October 2018: writing/preparation period for writers, artists etc.

Start November to end January 2019: peer review period

January 2019 – end May 2019: author revisions post peer review

End June 2019: All articles into production with Routledge

July-August 2019: typesetting, proofing, revises, editorial etc.

September 2019: publication as Issue 10.3.

JIVS Special Issue: Music, Voice, and Disability (eds. Nina S. Eidsheim and Jessica A. Holmes)

 Call for Papers 

Journal of Interdisciplinary Voice Studies 

Special Issue: Music, Voice, and Disability

Co-editors: Dr. Nina S. Eidsheim and Dr. Jessica A. Holmes 

In disability activism and studies, the power ascribed to the voice and its manifold rhetorical and symbolic iterations cannot be overstated: activists and scholars have long fought to be heard. They use both speech and written text to raise awareness for the systemic oppression of disabled people with the aim of improving their social condition. Paradoxically, however, “disability rights movements and disability studies have been slow to recognize the ways in which hearing and speaking confer privilege,” as Susan Burch and Alison Kafer explain (Burch and Kafer 2010).

Indeed, the struggles of those without access to normative voice often go unheard relative to the vocally fluent disabled mainstream, both because of the presumption of communicative normalcy, and the visual orientation of much existing scholarship outside of Deaf studies. More generally, Christopher Eagle notes that, “every incarnation of identity politics has depended at one point in its history on a largely unexamined notion of fluency,” such that, “access to normal speech, is hardly ever raised in discussions of political marginalization” (Eagle 2013). At the same time, those with so-called “speech disorders” (e.g. stuttering, lisping, aphasia, etc.) who speak in ways that seemingly disrupt the expected flow of speech, as well as members of the neurodivergent and Deaf communities who communicate using visual-spatial language as opposed to speech are often subject to an intense scrutiny that mirrors the visual stigmatization of disability. This marginalization is all the more potent given the pathologization of speech disorders in medical discourse, and the precondition of voice in Western metaphysical conceptions of subjecthood. Thus, not only in relation to existing able-bodied norms, but also vis-à-vis the disability community, those with dysfluent voices occupy a liminal space on account of the visually ambiguous terms of their disabilities: they are often “expected to perform on the same terms as the able-bodied” (St. Pierre 2012). The vocally dysfluent potentially expose and unsettle the constructed dimensions of vocal normalcy alongside the ocularcentric bias in existing disability theory by virtue of their sonic non-compliance.

Music, as a sonic medium, offers new ways of approaching questions of disability as an envoiced phenomenon. Indeed, music scholars have recently begun exploring the intersections of disability and vocal production, with notable emphasis on the damaged, dysfluent (singing) voice in relationship to notions of bodily authenticity, trauma, and specific generic conventions, including valuable work by Caitlin Marshall, George McKay, Jessica Schwartz, and Laurie Stras. Similarly, new scholarship on music and deafness has approached vocality through the musical endeavours of members of Deaf culture, and the inherent musicality of sign language as a silent, visual-spatial form of vocality (Jones 2015; Maler 2015; Holmes 2016; 2017; Meizel 2018).

In an effort to build on this new branch of music scholarship while confronting the ways in which vocal disabilities are rendered liminal in both scholarship and praxis, this special journal issue considers notions of music, voice, and disability. We seek articles, position papers, and “voicings” such as practitioners’ reflections, vocal scores, excerpts of performances, and audio transcripts that interrogate the role of the voice, broadly construed, in the construction of disability in a variety of performative contexts. We invite submissions dealing with disability and voice in all genres of music and performance practices from all historical periods, that engage an interdisciplinary framework, and that attend to questions of intersectionality.

Possible considerations include, but are not limited to:

● How does disability transform existing conceptions of musical voice, vocal ability/prowess, vocal beauty, etc.?

● How does music sound out the precarious and arbitrary terms of disability in relationship to the voice? More specifically, how might genre, vocal affect, and vocal style shape our perception of disability, and determine its contextual relevance?

● How does disability relate to discourse concerning the relationship between “proper” singing technique and vocal health? How might the stigma associated with the damaged voice in certain musical genres be understood as analogous to the stigma associated with visible disability, and how might it differ? How does the damaged singing voice throw into sharp relief the conceptual slippage between disability and chronic injury?

● How might singing inform the relationship between disability and other positions of marginality and categories of identity?

● How does disability enrich the sensory contours of the singing voice, drawing attention to what Nina Eidsheim has called the “internal corporeal choreography” of voice as well as its external, non-aural manifestations (Eidsheim 2015)?

● How does disability reinforce and/or unsettle the dualism of body/voice that has long pervaded high-art discourse on classical singing?

● How have music and singing served disability activism? How does music envoice the struggles, anxieties, and desires of the disability community?

Submission Procedures 

Abstracts of no more than 500 words should be emailed by March 15, 2018 to Successful authors will be invited to submit 6-8,000 word drafts of their contributions to the editors by May 1, 2018. Please visit,id=248/ for more information on the Journal of Interdisciplinary Voice Studies, and, for Notes for Contributors,

Co-editor bios: 

Jessica Holmes is a Postdoctoral Fellow in Musicology at the UCLA Herb Alpert School of Music. Her book project, Music at the Margins of Sense, engages the misconceptions associated with music and deafness through the first-hand accounts of d/Deaf musicians and listeners to pluralize existing conceptions of musical experience. She completed her PhD in Musicology at McGill where she won the 2017 Schulich School of Music’s Outstanding Teaching Award. Her work on music and deafness appears in consecutive volumes of the Journal of the American Musicological Society (JAMS), and she has presented her research at the annual meetings of the American Musicological Society (AMS), the Society for American Music, and the Society for Disability Studies. She has also reviewed articles for JAMS and written reviews for Ethnomusicology Review and Sound Studies. She is the chair of the AMS Music and Disability interest group, and serves as an appointed member of the AMS committee on cultural diversity.

Nina Eidsheim is Professor of Musicology and Special Assistant to the Dean at the UCLA Herb Alpert School of Music. As a scholar and singer, she investigates the multi-sensory and performative aspects of the production, perception and reception of vocal timbre in twentieth and twenty-first century music. Current monograph projects include Sensing Sound: Singing and Listening as Vibrational Practice (Duke University Press, 2015), and Measuring Race: the Micropolitics of Listening to Vocal Timbre and Vocality in African-American Popular Music (forthcoming, Duke UP). She is also co-editing the Oxford Handbook of Voice Studies (Oxford UP) and a special issue on voice and materiality for the journal, Postmodern Culture. In addition, she is the principal investigator for the UC-wide, transdisciplinary research project entitled Keys to Voice Studies: Terminology, Methodology, and Questions Across Disciplines.

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We are pleased to announce the publication of issue 2.2 of the Journal of Interdisciplinary Voice Studies, a special issue on the topic of ‘Voicing Belonging: Traditional Singing in a Globalized World’ co-edited by Konstantinos Thomaidis (University of Exeter, UK) and Virginie Magnat (University of British Columbia, Canada).




Voicing belonging: Traditional singing in a globalized world

by Konstantinos Thomaidis and Virginie Magnat



Constructing the singing voice: Vocal style, aesthetics and the body in Okinawan music

by Matt Gillan

South Indian singing, digital dissemination and belonging in London’s Tamil diaspora

by Jasmine Hornabrook

Singing the nation: Contemporary Greek rebetiko performance as carnivalesque

by Yona Stamatis

The transmission of voicing in traditional Gwoka: Between identity and memory

by Marie Tahon and Pierre-Eugène Sitchet



Maud’s Song and Heraclitus’s Logos: Journal fragments

by Maria Gaitanidi

Songs of tradition as training in higher education?

by Ditte Berkeley-Schultz and Electa Behrens



VoicEncounters, Wrocław, the Grotowski Institute, 14–24 April 2016, reviewed by Konstantinos Thomaidis

The 21st-Century Voice: Contemporary and Traditional Extra-Normal Voice, 2nd ed., Michael Edward Edgerton (2015) Lanham, MD: Rowman & Littlefield, reviewed by Robert O. Beahrs

Vocal Music and Contemporary Identities: Unlimited Voices in East Asia and the West, Christian Utz and Frederick Lau (eds) (2013) New York and London: Routledge, reviewed by Huyn Kyong Hannah Chang

Korean Musical Drama: P’ansori and the Making of Tradition in Modernity, Haekyung Um (2013) Farnham: Ashgate, reviewed by Tara McAllister-Viel

The Voice in the Drum: Music, Language, and Emotion in Islamicate South Asia, Richard K. Wolf (2014) Urbana, IL: University of Illinois Press, reviewed by Daniel Akira Stadnicki
Aurality: Listening and Knowledge in Nineteenth-Century Colombia, Ana María Ochoa Gautier (2014) Durham, NC: Duke University Press, reviewed by Jessica A. Schwartz


For further information on the journal, please visit:,id=248/



Publication Announcement: Theatre & Voice

Theatre & Voice by Konstantinos Thomaidis is now available on paperback and ebook formats. Part of Palgrave’s Theatre & book series, edited by Dan Rebellato and Jen Harvie, the book explores voice across genres, media and cultures, inviting the reader to reassess established ways of analysing, enjoying and listening to voice. Using a wide range of case studies integrated with critical and philosophical frameworks, it makes audible the multiple ways in which voice contributes to how we perform identities. From opera and musical theatre to live art and immersive audio walks, Konstantinos Thomaidis presents voice as plural, elusive and ripe for reinvention.


Call for Papers: JIVS Special Issue ‘Voice, Identity, Contact’ (ed. Yvon Bonenfant)



GUEST EDITOR: YVON BONENFANT, Professor of Artistic Process, Voice and Extended Practices, University of Winchester


The Journal of Interdisciplinary Voice Studies invites submissions from scholars in a wide array of fields that intersect with, and/or move beyond, voice studies: such as: theatre and performance studies, musicology, sound studies, cultural studies, materiality studies, philosophical discourses, clinical voice studies, speech studies and voice and speech science to consider, and respond to, the questions in our below call.


We are interested in exploring emerging and exciting approaches to how we might synthesise knowledge from across the voice and sound studies field to address the below questions in interesting ways.



  1. Interested in the theme? Read the below context statement and questions, and consider sending us a draft article for peer review.
  2. We seek articles approximately 5000 words in length. However, we are open to articles longer or shorter – we will be making a final selection of articles using editorial-curatorial principles.
  3. The ‘Voicings’ section of JIVS allows for discourses that are more narrative, report-like, poetic, or experimental in nature. You can consider sending us alternative writing forms that would take us inside your response to this call. Consult back issues of the journal for examples.
  4. Send your article to: Yvon Bonenfant at
  5. Deadline for articles to reach us: September 30, 2017


As this call follows on from a symposium in January, 2017, we are aware there may be many more articles sent to us than this volume of JIVS can contain. Know that your article may be considered for future issues of JIVS, should it be of excellent quality, but not ‘map on’ to the thematics of this volume and its final curated format.




Context statement:

Voices have power. Who gets listened to matters. Moving beyond the notion of voice as metaphor, we are interested in unpicking the Foucauldian rules that seem to govern the production and perception of identity in vocal sound, beyond – or perhaps beneath – language and accent (if such dissociation is even possible).


The voice resists analysis, as Adriana Cavarero (2005) passionately asserts. How we hear individuals through their voicing, and how we determine what person, or kinds of people, we think we are hearing is still relatively little understood. Even from a neurological perspective, as Kreiman and Sidtis (2011) point out, the mechanisms that underpin acts of hearing voice and identifying speakers have been much less studied than the mechanisms underpinning vision. How we hear each other is neglected. What’s more, to build on Stephen Connor’s (2000) assertions, the voice is simultaneously ‘alive’ and ‘dead’, in that it is (usually) produced by living bodies, yet once it moves away from us, it but a phenomenon of physics: it becomes fields of vibration, separated from biological life, while evoking that very life in our imaginations.


Given that this vocal sound is a vibrational phenomenon, we might assert that the vibratory quality of the voice literally touches us (Eidsheim 2015). So, when we voice, we emit fields of vibration that come into contact with, and ‘stir up’, other bodies.  If that is the case, in a world where identity categories and their intersectionality are always at play, what might it mean to be touched by identities (perceived to be) embedded in vocal sound?  Eidsheim (2011) asserts that in the case of opera singer Marian Anderson, the perception of race in her voice was, and is, a construction of the listener; indeed, in the little psycholinguistic study that has been done on the perception of race in speech in America, people cannot reliably ‘hear’ African-Americanness without hearing verbal accent (in Kreiman and Sidtis 2011), even though there appears to be a widespread cultural belief that there is such a thing as a sounding, biologically-based,  ‘Black’ voice.  At the same time, both Bonenfant and Jarman have made different arguments about how we might hear (Jarman 2011) or feel (Bonenfant 2010) queerness in voices.  What we think we hear, what we hear, what we feel, and what we think we feel are all dance together within the perception of vocal identity.


  1. From your theoretical and practical viewpoints, what aspects, qualities, performances, or manifestations of vocalisation might be perceived to constitute markers of the kinds of identity we might say are derived from recent-historical notions of identity politics – for positive or for negative? In other words, what aspects of vocal sound beyond pitch and accent might cause that sound to be ‘racialised’, ‘homosexualised’, ‘gendered’, ‘classed’, otherwise ‘ethnicised’, or otherwise ‘queered’? Are these phenomena acoustically detectable? Are they really embedded within voicings, or are they constructions we ‘think’ we hear?
  2. How might these mechanisms of the attribution of qualities of identity to voices actually work?
  3. What are the consequences of these mechanisms, from your scholarly or professional perspective: aesthetically, socioculturally, biopolitically…?
  4. If, as asserts Stephen Connor via his notion of the ‘vocalic body’, we attribute (fantasized, visual, tactile) bodies to voices, what are the implications of your views in light of how bodies approach, engage with, and are willing to enter into genuine contact one another via vocalisation? How do these dynamics seem to function in your personal experience, or in your sphere of analysis, or both?
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