Voice studies : critical approaches to process, performance and experience
- Submitting institution
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University of Portsmouth
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 10888585
- Type
- B - Edited book
- DOI
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- Publisher
- Routledge
- ISBN
- 9781138809352
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2015
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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B - Music, Dance, Drama and Performing Arts
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This output comprises the introduction, individual chapter, and edited book that contains them: Voice Studies: Critical Approaches to Process, Performance and Experience (2015, Routledge). It was co-edited by Ben Macpherson (Portsmouth) and Konstantinos Thomaidis (Exeter).
Responding to the ‘vocal turn’ of the 2010s, Voice Studies builds on work such as Jody Kreiman’s and Diana Sidtis’s scientific and sociological Foundations of Voice Studies: An Interdisciplinary Approach to Voice Production and Perception (2011), and Adriana Cavarero’s feminist philosophy of voice (For More Than One Voice (2005)). Locating voice as an ‘in-between’ of affective and critical concerns, it was the first significant volume to claim ‘voice studies’ as a field in its own right, drawing together twenty-two scholar-practitioners from six continents to map the field as intersectional, international and interdisciplinary. Described as ‘cutting edge [and] unique’ in its scope and originality (Midwest Book Review, 2015) the collection fosters provocative dialogue between disciplines including musicology, performance studies, cultural studies, sound studies, psychology, fine art, film studies, media technology and autoethnography, configuring ‘voice studies’ in three parts: Training and Process; Performance; and Experience and Documentation.
Macpherson’s chapter ‘Body musicality: The visual, virtual, visceral voice’ (pp.149-161) offers an original vocal historiography of musical notation from medieval liturgy to iPad applications, using musicologist Alexander Truslit’s notion of ‘visual curves’ (1938) as a framework. Innovatively combining neurobiology and musicology, Macpherson argues that all written musical notation is imbricated with a sense of embodied vocality. The chapter acts as an interdisciplinary demonstration of how a voice studies approach can significantly challenge predominant Western analytical frameworks, such as ocularcentrism.
As a result of the book, Macpherson now co-edits the ‘Routledge Voice Studies’ book series, and has delivered invited papers at international conferences including ‘VoiceGeek’ (Colchester, UK 2019) as was invited to join the ‘Somatics and Voice’ Research Group (Finland, 2020).
- Author contribution statement
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- Non-English
- No
- English abstract
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