The Female Voice in the Twentieth Century: Material, Symbolic and Aesthetic Dimensions PDF
Preview The Female Voice in the Twentieth Century: Material, Symbolic and Aesthetic Dimensions
The Female Voice in the Twentieth Century 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. 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. Musical Cultures of the Twentieth Century Series Editor: Gianmario Borio, University of Pavia and Giorgio Cini Foundation, Italy Editorial Board: Robert Adlington, University of Huddersfield, UK Esteban Buch, EHESS, Paris, France Mark Delaere, University of Leuven, Belgium Giovanni Giuriati, Sapienza-University of Rome, Italy Iwona Lindstedt, University of Warsaw Wolfgang Rathert, Ludwig-Maximilians University, Munich, Germany The series Musical Cultures of the Twentieth Century adopts a collaborative model for the study of key issues in twentieth-century music. The basis for each volume is a conference drawing together leading scholars from across Europe and beyond; conference themes are determined by the series’ distinguished interna- tional advisory board, with a view to developing new knowledge and understand- ing that reflects dialogue between scholars of different nationalities and theoretical backgrounds. Particular emphasis is placed upon recognition of the multiplicity of conceptions, artefacts, events and communities which characterised musical life in the last century. Accordingly, individual volumes seek to interrogate themes that encompass diverse musical genres and disciplinary perspectives. The series was conceived as a project of the Institute of Music of the Giorgio Cini Foundation, Venice, where many of the conferences are convened. Music-Dance: Sound and Motion in Contemporary Discourse Edited by Patrizia Veroli, Gianfranco Vinay New Music Theatre in Europe: Transformations between 1955-1975 Edited by Robert Adlington Investigating Musical Performance: Theoretical Models and Intersections Edited by Gianmario Borio, Giovanni Giuriati, Alessandro Cecchi and Marco Lutzu Finding Democracy in Music Edited by Robert Adlington & Esteban Buch For more information about this series, please visit: www .routledge .com /music/ series /MUSCULT The Female Voice in the Twentieth Century Material, Symbolic and Aesthetic Dimensions Edited by Serena Facci and Michela Garda First published 2021 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 52 Vanderbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2021 selection and editorial matter, Serena Facci and Michela Garda individual chapters, the contributors The right of Serena Facci and Michela Garda to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record has been requested for this book ISBN: 978-0-367-41855-7 (hbk) ISBN: 978-0-367-81657-5 (ebk) Typeset in Times New Roman by Deanta Global Publishing Services, Chennai, India Contents List of figures vii List of tables viii List of musical examples ix List of contributors x Preface xiv PART 1 The ‘voice’ and the voices: definitions, iconologies, myths and practices 1 1 Vocalising honey 3 ADRIANA CAVARERO 2 Writing the female voice from Debussy to Boulez 11 JULIAN JOHNSON 3 Eurydice’s voice in contemporary opera 30 MICHAL GROVER-FRIEDLANDER 4 Maria Callas and the achievement of an operatic vocal subjectivity 43 MARCO BEGHELLI 5 How female is the voice? Conceptualisations and practices 61 MICHELA GARDA PART 2 The grain of the voices, experimentation and technology 81 6 Love, race and resistance: the fugitive voice of Nina Simone 83 MARTHA FELDMAN vi Contents 7 Black sonic refusal 102 JAYNA BROWN 8 The voice that gives voice: female folk revival singers around 1968 117 SERENA FACCI 9 Women’s voices in Cairo, Egypt, at the turn of the twentieth century 136 VIRGINIA DANIELSON 10 ‘Hear what I Feel’: Joan La Barbara, the 1970s and the ‘extended voice’ 156 VENIERO RIZZARDI 11 Remediating the female voice in extremis(m): The Human Voice (1966) 172 PAMELA KARANTONIS Index 193 Figures 10.1 Joan La Barbara, Voice Piece: One-Note Internal Resonance Investigation, waveform overview. 160 10.2 Joan La Barbara, Voice Piece: One-Note Internal Resonance Investigation, spectrogram and intonation curves (2:00 to 7:30). 160 Tables 11.1 La Voix Humaine – the life cycle 174 11.2 Analysis of the film’s narrative closure as vocal composition mapped against Poulenc’s score and Cocteau’s libretto (score: Francis Poulenc La Voix Humaine. Paris: Ricordi, 1959) 189 Musical examples 2.1 Debussy, Pelléas et Mélisande, Act 2.ii, mm. 70–77. Source: piano reduction from Debussy (1985: 108–9) 15 2.2 Debussy, Pelléas et Mélisande, Act 4.iv, mm. 86–99. Source: piano reduction from Debussy (1985: 332–3) 16 2.3 Boulez, Le marteau sans maître, Movement 9, ‘Bel édifice et les pressentiments’, Double (mm. 157–167). Source: Boulez (1958: 94) 25 2.4 Boulez, Pli selon pli, ‘Le vierge, le vivace et le bel aujourd’hui’ (mm. 64–70). Source: Boulez (1958: 20–2) 27
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