We Go to the Opera to Eat Voice 1

Home , Chas Hodges, Dave Peacock (musician), Kurt Baum, Snooker Loopy

Notes

1 Introduction: Voice, Queer, Technologies 1. Operatic and other highly trained professional singers are often heard to talk about “the voice” as opposed to “my voice,” imply- ing that they perceive the voice as an instrument that is not exactly and entirely part of them. In listening, however, the overriding discourse is of the voice as emerging not only from the body but also the very being of the singer, something explored in further detail below. 2. See also Michel Chion on the acousmêtre and the acousmatic voice (1999). 3. One very clear example of the confusion to be found in “The Grain of the Voice” is Barthes’s asking his readers to allow the following three statements to coexist: the grain is “the body in the voice as it sings” (188); he hears the lungs in Fischer-Dieskau’s singing (183); and Fischer-Dieskau’s art is “borne by a voice lacking in any ‘grain’ ” (185). 4. Oxford English Dictionary. 5. One notable exception to this rule of thumb is Lynne Huffer’s Mad for Foucault (2010), in which the author calls upon scholars to notice the importance of Foucault’s earlier History of Madness (2006) in the genealogy of queer theory. 6. Oxford English Dictionary. 7. I intend this to be both adjective and noun. 8. See also Carolyn Abbate’s Unsung Voices (1991, 11–12), Edward Cone’s The Composer’s Voice (1974) and Heidi Epstein’s Melting the Venusberg (2004, 6).

2 Identification: We Go to the Opera to Eat Voice 1. It would require much more work than there is space for here to determine the true comparability of miming air-reliant instruments 166 NOTES

and singing; my instinct is that the separation of air production from the fingering of the instrument means that there can be a lower expectation for the miming party to simulate air production than there is with singing, where the relationship of air to mouth movements is essential and easily perceptible. It is also worth noting that, while the overwhelming majority of people are practised at controlling their own voices and have some experience of singing even if they choose not to engage with the act, playing any instrument is a more specialized and rarer skill. 2. “A registry of sayings, reminiscences, etc., by members of a family in their own voices, and of the last words of dying persons.” See Edison 1888. 3. Italy has a similar show (Sei un mito, Canale 5), as does Sweden (Sikta mot stjänorna, TV4). New Zealand has run the same pro- gram with the same name since 2008 (TVNZ). 4. The piece was reissued in 1965 with a brief caveat by the author about the changes in technology after its original publication, and some edits to the language, and it is this reissue from which I work. 5. This possibility is facilitated within Lacan’s model of the objet voix; the desire for the voice put in place by the objet voix’s being always-already lost may be, on the one hand, an eroticized desire, or it may be the desire to take up the subject position that pro- duces the voice. 6. The surprise of this anticlimax is noticeable enough that my youngest son, at six years old, drew my attention to it in the car one day, assuring me that it was “stupid” because “it sounds like it’s going to be a really big noise and then it isn’t”. We talked about how that surprise could be precisely the purpose of the musical moment, and that is my point here. 7. A French term meaning “deceive the eye”, trompe l’oeil is an art technique in which an illusion of three-dimensional spaces and objects is created in a two-dimensional space. 8. The association between a flat line and death—the flat line rep- resents an asystolic state, cardiac standstill—may also be worth noting here; in the putative flat line at the extreme end of this diagrammatic system is the death of the original voice, V0. 9. The similarity between his voice and Presley’s proved to be something of a double-edged sword for Ellis, when seeking out his own independent career during Presley’s lifetime: see http:// www.orionjimmyellis.com [Accessed March 19, 2010]. 10. Jarrow Elvis, so named because of his origins in the north-east England town of Jarrow, was a bizarre phenomenon, building up NOTES 167

quite a cult following despite (or, more likely because of) his poor vocal performances that almost exactly do not resemble Presley’s. Interested readers should turn to Facebook’s “The Jarrow Elvis Appreciation Society,” which hosts links to some videos of Jarrow Elvis in performance. 11. For example, Brown’s album Gravelands (1998) features Joy Division’s “Love Will Tear Us Apart” and Nirvana’s “Come As You Are”; on his follow-up Return to Splendor (2000) we find the Red Hot Chili Peppers’ “Under The Bridge,” and the Sex Pistols’ “Pretty Vacant.” 12. We could also recall Mud’s “Lonely This Christmas” (1974), such a convincing tribute to Presley’s ballad style (particularly “Are You Lonesome Tonight?”) that I once had to point out to an eminent colleague that it was not, in fact, a Presley recording. At the time of writing, it is also listed on YouTube as a Presley recording. 13. To be specific, I mean Dion herself probably in a performance of the same song (I say probably because a generalized aural image of Dion emerges from across her work), and probably in the version in most common circulation, which is probably (but not certainly) the single release or album version. 14. Cathexis, in psychoanalysis, is the process of investing mental and/or emotional energy into something, in this case an object but in others a person or idea. 15. The ego is “in” the oral phase of development inasmuch as it has regressed to this stage as part of its melancholic state.

3 Karen Carpenter: America’s Most Defiant Square 1. The initial blindness of the speakers to the point of gender was particularly interesting given that, in the previous year, their own journal had published an article critiquing North American rock criticism in terms of its gendered characteristics. See Mcleod 2001. 2. Guilbert 2002; Fouz-Hernández and Jarman-Ivens 2004; Frank and Smith 1993; Schwichtenberg 1993. 3. Mellers’ choice of title—Twilight of the Gods—adopts a doubly worshipful stance in relation to the Beatles, naming them as Gods and suggesting a comparison to Wagner through a reference to Götterdämmerung. 4. For those who wish for a short explanation, in the early 1970s, Chas Hodges and Dave Peacock moved away from the English rock scene to create novelty material inspired stylistically by 168 NOTES

cockney music. They established their own label—Rockney, a word alluding to their musical style—and enjoyed a handful of UK chart hits including “Rabbit” (1980) and “Snooker Loopy” (1986). They had a rare hit in the United States in 1998 with “Flying.” Only in September 2009 did the pair announce the end of their career together. 5. Joseph Lanza identifies certain common sonic elements of what he calls “vanilla pop,” which certainly makes up a subset of the music commonly vilified (2005, xiv). Indeed, one could easily enough set out certain key sonic qualities of any given genre, but the point here is that the genres being dismissed are not necessarily connected musically. Furthermore, Kembrew McLeod notes that “some of the qualities used to describe critically hailed and despised artists are quite similar in nature, but they are imbued with different values. For instance, RUN-DMC’s “brutal simplicity” is praised, but the Carpenters’ “saccharine simplicity” is damned. Further, there is a clearly demarcated line that separates, for instance, the “advanced sophistication” of critics’ darlings and the “slick profes- sionalism” of pop artists (2001, 55). 6. See “From This Moment On” (Live at the Palladium, 1976), draw- ing explicit attention to Cole Porter’s appropriation of J. S. Bach’s Prélude No. 2 from Das Wohltemperierte Klavier. Mabel Mercer’s 1955 recording makes an allusion to the Bach Prélude, but only a fragmentary one, and other recordings tend to ignore the connection altogether. See also “Intermission” (A Song For You, 1972), an amusing adaptation of the Baroque motet “Crucifixus” by Antonio Lotti. 7. Karen introduces this on the record as being an example of Richard playing “grown-up” music, although its legitimacy in the classical concert repertoire is somewhat marred by its having been com- posed for a film score (Dangerous Moonlight, known in the United States as Suicide Squadron, dir. Hurst, 1941). According to John Tobler, the performance “was not a big hit with fans, and the word ‘pretentious’ has been mentioned in this context” (1998, 76). 8. See also Jarman-Ivens 2007. 9. A particularly audible example of this influence is found on that album in “Baby It’s You,” a song originally recorded by the Shirelles in 1961. The Carpenters’ version of “Baby It’s You” is strikingly different from the Shirelles and early covers (such as that by the Beatles in 1963), being significantly slower in tempo and using maudlin and (emotionally) unstable harmonies. The parallels with the style of the Beach Boys are particularly audible in the second and third refrains, where we hear the thickest use NOTES 169

of choral overdubbing on this track, providing moments that are reminiscent in some ways to the verses and choruses of the Beach Boys’ “In My Room” (1963) and perhaps to the refrain of “You Still Believe In Me” (1966). 10. Live At The Palladium (1976) is a good demonstration of how live backing vocals are substituted for famous overdubbed sec- tions. Track eight on that record, a medley of ten of their most famous tunes, reveals this especially well. 11. On a purely biographical note, Karen’s ultimately fatal anorexia nervosa demands to be mentioned here. Psychological explana- tions are manifold, and include the possibility that the sufferer may be using food to try and exercise some control in their lives. See George 1997. 12. A few examples of which I am thinking are, “I Kept On Loving You” (Close To You (1970)), “Saturday” and “Druscilla Penny” (Carpenters (1971)), ‘Piano Picker’ (A Song For You), “Fun, Fun, Fun” and “Deadman’s Curve” (Now And Then). Richard’s voice also plays a particularly prominent part in “Crystal Lullaby” (A Song For You) and “Love Is Surrender” (Close To You). 13. See also the following chapter on Maria Callas. 14. William Acton: “a perfect ideal of an English wife and mother, kind considerate, self-sacrificing, and sensible, so pure-hearted as to be utterly ignorant of and averse to any sensual indulgence, but so unselfishly attached to the man she loves, as to be willing to give up her own wishes and feelings for his sake” (quoted in Nead 1988, 21). Krafft-Ebing: “the man who flees woman, and the woman who pursues sexual gratification, are abnormal phenom- ena” (quoted in Gay 1984, 154). 15. As an aside, we might pause to consider the figure of Eve, held responsible in Christian logic for the Fall of Man. It is not a great leap of logic to suggest that the intensity with which women in par- ticular are often held to standards of ‘purity’ has as a distant ancestor anxieties surrounding the actions of Eve as the archetypal woman. 16. This recalls Sedgwick’s observation that “It is a rather amazing fact that, of the very many dimensions along which the genital activity of one person can be differentiated from that of another (dimensions that include preference for certain acts, certain zones of sensations, certain physical types, a frequency, certain symbolic investments, certain relations of age or power, a certain species, a certain number of participants, and so on) precisely one, the gender of the object choice, emerged from the turn of the century, and has remained, as the dimension denoted by the now ubiquitous category of ‘sexual orientation’ ” (1990, 8). 170 NOTES

17. Indeed, Bruhm’s very title—Reflecting Narcissus: A Queer Aesthetic—reminds of the theoretical link between narcissism and sexualities. 18. Based on the novel Twins by Bari Wood and Jack Geasland. 19. Translates directly as “object little a”, although this is logically strange, as the term refers to the “autre” (other) as opposed to the “Autre” (Other) with a capital A. The term has to do with different kinds of O/otherness in Lacan’s formulations. 20. ‘Scotomization, from ‘scotoma’: “a blind spot” (Chambers Twentieth Century Dictionary). The context given by Chamber’s is medical—“due to disease of the retina or optic nerve”—but Freud’s transposition of the term is clear and valid. 21. Since I quote Dyer’s technical musical language here, the tonic note—for readers in need of clarification—is that which sounds most “final” in most melodies (certainly most melodies in popular song); it is, for example, the note sung on the last note of many national anthems, and certainly ‘The Star Spangled Banner’ and the national anthems of all member states of the European Union. A tonic harmony, to which I will refer in a few sentences, is a chord that sounds similarly “final” according to the harmonic logic of a piece. Tonic harmonies support the tonic melodic notes at the end of the above-mentioned examples. 22. In fact, the breath in question is not audible on the album release (A Song For You), but is in remixes from 1985 (Carpenters Perform Carpenter) and 1991 (20th Century Masters: The Millenium Collection: Best of the Carpenters), where it seems to have been reinserted.

4 Maria Callas: Great Interpreter; Dysfunctional Vocalist 1. An explanatory note: the ♩ symbol here denotes one beat, and the numbers indicate how many of those occur per minute. 2. Dame Janet Baker, for instance, in her 1975 recording of the same aria, manages a much more coherent tone at the same point in the aria. 3. There was a moment in second-wave feminism when precisely this question was part of an open and ongoing conversation about the politics of identity and femininity, and thus the non-removal of hair became a conscious act of gendering oneself. Indeed, those who were part of that conversation may well bemoan the absence of it and the continued insistence by women on the removal of their bodily hair apparently without consideration for the political implications. The decision to remove hair, then, is as historically NOTES 171

and culturally contingent an act of gender-marking as any other act may be, and I simply use this example as one of many that could illustrate the point. 4. See also the previous chapter on Karen Carpenter and vocal training discourses. 5. The soubrette role in opera, as in theatre, is a light-hearted young female character, often mischievous and quite possibly flirta- tious. Examples include the above-mentioned Zerlina (Don Giovanni), Despina (Cosí fan tutte), Susanna (Le nozze di Figaro), and Papagena (Die Zauberflöte). As a voice-type, the soubrette is expected to be light in weight and bright in timbre, and is not generally expected to sing extensive coloratura. 6. From the French, travestir, to disguise; in turn from Latin, trans (across) and vestire (to clothe). The same root gives rise to “trans- vestite.” Travesti (or “breeches,” “pants,” or “trouser”) roles are those that involve actors or singers playing a role of the opposite sex. After a long period of men playing women because of restric- tions on female actors, women in travesti roles became more common in the wake of the declining popularity of the castrato singer. Operatic roles include the title in Cherubino in Mozart’s Le nozze di Figaro, Octavian in Richard Strauss’s Der Rosenkavalier, and Romeo in Bellini’s I Capuleti e i Montecchi. 7. “Tessitura” refers not to the pitch range of a voice, but to the aver- age scope of pitches utilized in a role or piece. Thus, two sopranos can have the same range, in terms of the notes they can physically sing, but their roles can have higher or lower tessituras, so that one generally sings higher in her range and the other lower. 8. The gendering according to Fach is not limited to female roles, of course; Edward Miller’s summary is essentially correct, that in opera, “Normal men are baritones, young heroes are tenors, and evil or older guys are basses” http://www.popular-musicology-online .com/issues/02/miller.html 9. Aíne Mangaoang is currently exploring this phenomenon in her doctoral studies at the University of Liverpool, and I am grateful to her for bringing my attention to it. Interested readers should see http://www.youtube.com/watch?v=hMnk7lh9M3o 10. Composition is, of course, certainly not always conducted in that way, and singers have persistently “deviated” from the written score. Examples of such “deviation” (a word that begs the quote marks on the basis of its implicitly situating the composer as the sole authorial voice) would include several from Callas’s own career. A much-documented version of this was her “unfurl- ing” of a high E-flat at the end of Aïda’s Triumphal Scene in her 1950 performance in Mexico City. According to Koestenbaum, 172 NOTES

“Though her mediocre costar, tenor Kurt Baum, was furious, the audience loved her unexpected domination” (1993, 137). 11. What this means in sonic terms is that an E-flat—the note fur- thest away from aural “finishedness” in this key—persists as an underlying force, leaving a sense of an unresolved harmonic space even when the A-flat chord prevails, until Alfredo’s presence establishes a firmer sense of harmonic location. 12. We might also pause to consider the racialized vocabulary of the voice, insofar as voices are “light” or “dark” in tone; such a dis- cussion is not within the scope of the present chapter, but would no doubt prove to be an interesting point of departure. 13. An advertising campaign by insurance comparison website gocompare.com is a recent example of popular culture making use of the fat tenor stereotype.

5 Diamanda Galás: One Long Mad Scene 1. I mean “more subtly” to be emphatically comparative here; the “disruptive” elements of Galás’s work are rarely subtle in an absolute sense! 2. For comparison, the standard range expected of an operatic singer is around two octaves. 3. “Voice commentators describe the larynx as labial—based on visual analogy, and on the association between women and invis- ible things” (Koestenbaum 1993, 160). 4. It is only through the standardizing work of dictionaries, with their European-historical roots in the sixteenth century, that there is even such a thing as an approved spelling, making this broadly a historically located concept. It is, of course, in reaction to this that the “alternative” spellings have arisen, and only in this sense that they can be described as “alternative.” Moreover, in certain (feminist separatist) communities, such spellings have themselves become standardized. 5. Lyrical writing modes are taken here to denote any “fairly short poem expressing the personal mood, feeling, or meditation of a speaker,” including but not limited to the words of a song (Nielsen 2003, 2). 6. The phrase literally translates as “feminine writing” and is also commonly talked of as “women’s writing”. French feminist work of the 1970s asserts that language as it is generally conceived is essentially a male and masculine domain, representing a male world view and supporting a masculinist society; hence, women writers are called upon to engage in écriture féminine, using NOTES 173

language to inscribe their bodily difference on their writing and hence represent and construct a different world view through different writing strategies. 7. See also Appignanesi and Forrester 1992, 398–399; and Martin 1987, 18–19. See Gilbert and Gubar 1985 on gender, language, and the ir/rational. 8. Baudelaire, Les Litanies de Satan in “Wild Women With Steak Knives.” Celan, Todesfuge in “Todesfuge” on Defixiones, Will and Testament. Michaux, Je Rame in “Je Rame” on Defixiones. Psalms 22, 34, and 88 on Defixiones. Other Biblical extracts include sec- tions from Leviticus 15 on Plague Mass. 9. Genres covered by Galás include the spiritual (“Swing Low Sweet Chariot”), blues (“See That My Grave is Kept Clean”) and gospel (“Were You There When They Crucified My Lord?”), chanson (“La chanson des vieux amants”), opera (“Porgi amor” from La nozze de Figaro), and Greek and Armenian rembetika (“Keigome keigome”). 10. Hutcheon is clear that she means both process and product, noting that it is “no accident” that the word “adaptation” refers to both. 11. See chapter 3 for more on how the cyborg helps up queer vocal spaces. 12. The term is variously translated as “distancing effect,” “alienation effect,” or “defamiliarization effect” among other terms, but it is preferable because of the controversy surrounding its translation to leave it untranslated and simply use the German to signify the concept. Works Cited

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acousmêtre, 165n2 internal technologies, 96, 100 acoustic mirror, 31, 138 La traviata, 99, 110, 119 adaptation, 147–150 La traviata: ‘Sempre libera’, 116–120 Adorno, Theodor, 33, 34, 35, 42–43, 62, Obituary, 100 63, 66 pitching, 99, 100, 132 AIDS/HIV, 146, 149–150, 154–155 place in operatic history, 95, 97–98, 108 Alienation, see Verfremdungseffekt range, 99, 120 Allegri, Gregorio: Miserere, 1–2, 39, 40 register breaks, 96, 99, 100, 101, alter-ego, 36 102–103, 104–105, 106, 108, alter-ideal, 54–55 120, 132 anti-identification, 37, 39 rivalry with Renata Tebaldi, 97 roles, 108–111; see also Fach; voice bad music, 61, 64 categories Barthes, Roland, 43, 49, 148 on singing, 115, 130 ‘The Grain of the Voice’ (article), 5–7, tone quality, 99, 100–103, 106, 120 73, 80; see also grain of the voice vocal decline, 96, 99–100, 101, 125 (concept) vocal flaws, 23, 95, 96, 97–98, 99–107, see also body in the voice as it sings; 116, 120, 121–122, 126, 149, 159, geno-song; grain of the voice; pheno- 161; see also vocal flaw song; text of bliss; text of pleasure voice, 95–96, 97, 111, 116, 119, 122 Baudelaire, Charles, 136, 137, 147, 157–158 weight/weight-loss, 96, Baudrillard, Jean, 47–48, 55 124–125; see also fat Beach Boys, 69, 78 Carpenter, Karen, x, 4 bel canto, 19, 23, 105–106, 115, 122, 126, anorexia, 169n11, 126 128, 130, 133, 149 control, see Carpenters, discourses of definition, 105–106 control and opera, 97 natural voice, 73–75, 161, 162 body assigning to voice, see vocalic body pure voice, 74–75, 76, 78, 161 and language, 4–5, 13 relationship with Richard, 71, 76 body in the voice as it sings, 9–10, 72–73, vocal training, 73; see also technologies 89, 90, 105, 106, 120, 139 of power, vocal training Butler, Judith, 20, 107, 123, 134 voice, 23, 72, 74–75, 76, 78, 87, 88, 90, 98, 126 Callas, Maria comparison with Diamanda Carpenter, Richard Galás, see under Galás, Diamanda control, see Carpenters, discourses of criticisms, 97–98, 99–101 control ‘Divinités du Styx’, 101–105, 120 as musician, 64, 73, 84, 87 dramatic expression, 97–98, 120, as producer, 71, 72, 75, 76, 86–87 121–122, 159 relationship with Karen, 71 Fach, see Fach as vocalist, 72, 76 188 INDEX

Carpenters, The death in Greek culture, 151–153 Beach Boys’ influence, see Beach Boys gender roles, 152–153 comparison with Diamanda Galás, see see also lament under Galás, Diamanda Derrida, Jacques, 13, 29, 30 cyborg in work of, 88–93, 162; see also desire, 20–21, 23, 28, 33–34, 56, 79, 81, cyborg 116, 123, 124, 125–126, 132, 135 discourses of control, 69–72 Dolar, Mladen, 7, 10, 13, 28, 30, 35 external technologies, 75–78, 86–93; see Doppelgänger¸36, 76, 77, 138–139 also external technologies see also twin; cyborg geno-song, 72, 77–78, 82; see also geno- doubling, 44, 77 song drag, 20, 82, 107, 134 ‘Goodbye To Love’, 86–88 Grain, 72, 74–75, 82, 83, 86, 89 écriture féminine, 144–145 lyrics, 69 ego-ideal, see under Freud, Sigmund music/sound, 69–72, 76, 84, 85, 86, 87 Elvis impersonation, 50–51, 52 overdubbing, see overdubbing eroticism in music, 83–86 pheno-song, 72, 76, 77–78, 85, 88–90, excess/frame, 114, 116, 117–118, 119, 138; see also pheno-song; compare 121, 146, 160, 162 fetish external technologies, vii, 21–23, 42, 43, production, 23, 36 44, 161 taming the grain, see grain, taming in Carpenters, see under Carpenters, The value, 59–60, 63, 64, 67–68, 93 in Diamanda Galás, see under Galás, vocal harmonies, 77, 78 Diamanda voices, 69, 91 relation to internal technologies, 86, Casal, Luz: ‘Un año de amor’, 39, 40, 41 128, 129, 139–140, 163 castration anxiety, 37, 79, 80–81, 82 castrato, 18, 110, 171n6 Fach, 108–111, 130, 133–134 Celan, Paul, 147, 149, 155 gendering of, 110–111, 162 chest voice, 41, 102, 104–105; see also see also Callas, Maria, roles; voice Callas, Maria, registers; head voice; categories vocal registers falsetto, 41, 44 Cixous, Hélène, 37, 144 fat, 122–126 clone, 76, 77 relation to queer, 123–124, 126 see also Doppelgänger; twin relation to sexuality, 123–124 composition, see technologies of power, and voice, 122–123, 124–125 composition see also Callas, Maria, weight/weight- Connor, Stephen, 2, 3, 7, 8, 10, 18, 26, 27, loss 30, 34, 46, 107, 135 femininity, 19–20, 65–66, 107, 110–111, consciousness, 28, 30 117, 119, 135, 146 cover versions, 57, 74, 147 see also excess/frame cyborg, 44 fetish, 56, 80–82, 83, 85, 86, 93, 138 and borders, 90–91 Foucault, Michel, vii, 14, 22, 23, 112, 148 in Carpenters, see Carpenters, The, frame/excess, see under excess/frame cyborg Freud, Sigmund, viii, 36, 47, 55, 79, definition, 87–88 80–81, 82, 85, 88 and Diamanda Galás, see Galás, ego-ideal, 34–35, 43, 54–55 Diamanda, cyborg ‘Mourning and Melancholia’ (article), 55 as disruptive, 89–90, 140–141 part objects, 31 and gender, 140–141 ‘The Uncanny’ (article), 37 as queer, 91, 136, 140–141, 161 uncanny, see uncanny and subjective development, 88 and trauma, 88–90 Galás, Diamanda, x, 4, 23, 44 voice, 23, 36, 88–91 comparison with Carpenters, 44, 136, see also Doppelgänger; twin 147, 159, 163 INDEX 189

comparison with Maria Callas, 130, as performance, 20, 107, 111, 163 132, 133, 134–135, 136, 137, and pitch, 18 147–149, 159, 163 as technology of power, 151; see also as composer, 128–129, 141, technologies of power, gender 147–150, 155 and voice, see under voice control, 128–129 genocide, 149, 154–155, 160 ‘Cunt’, 127, 129 geno-process, 78, 88, 90 cyborg in work of, 128, 136, 139, geno-song, 5–6, 12, 34, 43, 57, 75 140–141, 163 definition, 5–6 Defixiones, Will and Testament, relation to pheno-song, 6, 77–78, 91 141–142, 149, 154–155, 155, 160 compare pheno-song external technologies, 127–128, 129, see also Barthes, Roland; grain of the 135–139, 146–147, 155, voice 156–158, 162 geno-space, 78 and genre, 129, 130, 133–135, 147; see geno-text, 5, 78 also genre genre horror, 128, 130, 132 and gender, 130, 134, 151 internal technologies, 128, 130, 135, glossolalia, etymology, 142 139–140, 146–147, 155, 157, 162 tropes/ideologies, 142, 145 lament, 129, 130, 154–159, 159–160; use by Diamanda Galás, 145–147, 158 see also lament see also Galás, Diamanda, use of language in work of, 129, 141–142, language 145–147; see also glossolalia grain of the voice (concept), 5–7, 8, 9–10, Litanies of Satan, 129, 155 12, 21–22, 47, 57, 73, 75, 79–80, 86, and madness, 129 87, 90, 92 monster, see under monster taming of, 23, 69–72, 75, 82–3, multiphonics, 139–140 86, 92 multiple voices, 135, 136, 137, 140, 155, see also Barthes, Roland; body in the 157, 158 voice as it sings; geno-song; music, 127–130, 139, 154 pheno-song pitching, 129–130, 132, 135 gramophone, 29, 34, 43, 149 Plague Mass, 136, 137–138, 154–155 Grech, Martin, 39, 40, 41–42, 44 politics, 23, 132, 149–150, 155, 158–160, 163 head voice, 102, 104–105 revenge/vengeance, 155, 158, see also Callas, Maria, registers; chest 159–160, 163 voice; vocal registers ‘Swing Low, Sweet Chariot’, 39, 42, HIV/AIDS, see AIDS/HIV 129–130, 139, 147 homosexuality, 14, 17, 77, 149 tone quality, 129–130, 135, 136, 159 relation to fetish, 80–81, 82 ugliness of voice/music/sound, 23, 130, hysteria, see madness 135, 139, 159 Vena Cava, 149–150, 154–155, identification 156–157, 158 against voice, 2, 3, 33, 56, 158, vocal flaws, 128, 129, 132, 159, 162 134–135, 162 as queer, 28, 43–44, 57, 126, 135; see vocal ugliness, 129–132, 133, 135 also queer identification voice, 128, 132, 134–135 with voice, 32–35, 39–44, 56, 91, ‘Wild Women With Steak Knives’, 129, 125–126, 137, 155, 159, 162 136–138, 140, 155, 157–158 see also vocal identification gaze, 31, 46, 115 identity see also voice, comparison with gaze as constructed, 16 gender and voice, see under voice and creativity, 67 imitation, 31 and genre, see under genre see also impersonation 190 INDEX impersonation, x, 25–26, 44–48, 49–55, madwoman, 145–146, 160 56–57 see also Galás, Diamanda, madness as queer, 57 mask, 45–46 relation to identification, 44, 46, 57 McClary, Susan, 11–12, 112, 114, 116, 117 relation to subjectivity, 54–56; see also ‘Mein Herr’, 39, 40 vocal identification; identification mezzo-soprano, 108, 109, 110, 111 with voice mirror, 31, 34, 35 as subversive, 56–57 see also acoustic mirror; gaze; mirror as uncanny, 44, 47, 55–56 stage see also imitation; impersonator; mirror stage, 30, 35, 43, 79 impersonator/audience relationship see also acoustic mirror; gaze; mirror impersonator, x, 25, 45–46, 49–50, 51, moirológhia, see lament 53, 54–55 monster see also impersonation; impersonator/ and borders, 130–132, 132–133, 140 audience relationship and cyborg, 140–141, 163 impersonator/audience relationship, 45–46 definition, 133 see also impersonation; impersonator disruptive power, 132–133, 140 internal technologies, vii, 21–23, 43, 74, and queer, 128–133, 135, 140–141 86, 101, 105, 161 relation to nature, 131 relation to external, see under external threat of, 132 technologies as uncanny, 131 multiphonics, see under Galás, Diamanda Jagose, Annamarie, 16–17, 21, 163 music as gendered/gendering, 11–12, 151 karaoke, 26, 57 socializing power, 112–113 Koestenbaum, Wayne, 3, 7, 19–20, 29, 33, musical value, 59–68, 98 45, 56, 73, 74, 101, 104, 110, 124 as gendered, 60–68, 93 Kristeva, Julia, 5, 78, 79, 144 role of sound, 62–64

Lacan, Jacques, 12, 28, 29, 30, 31, 35, 43, narcissism, 32, 34–35, 76–77 79, 88, 89 natural voice, 19, 73–75, 92, 105–106, lament 161–162 etymology, 152 relationship to purity, 74–75 form, 152, 155, 157 see also Carpenter, Karen gendered politics, 22, 143–145, 151–154, 157–158 object voice, 10, 28, 131–132 in Greek culture, 151–153, 160 see also objet voix non-sonic elements, 154 objet petit a, 79, 80 and revenge, 151, 153, 154 objet voix, 31, 43, 79 sonic elements, 154 see also object voice as technology of power, 129, 155 opera singers Western notions, 160 dietary habits, 100; see also singing in women’s role, 152–154, 157; see also opera; women in opera, singers technologies of power, lament opera singing, 73 language, see under technologies of power see also women in opera, singers lip-syncing, 26–27 oppositionality, 63–65, 66–67, 69 listening position, 10, 33, 39, 126, 135, ostranenie, 158–159 137, 140, 150, 155, 156, 163 overdubbing, 70, 72, 75–78, 82, 88, 89, listening subject, 28, 43, 113, 126 92, 98, 161 liturgical texts, 147, 149 see also Carpenters, The madness, 116, 117, 146 performance (act of), 45, 115–116 and language, 145–146 performer/audience relationship, 45–46, male, 145–146 115, 132, 150 INDEX 191 performer/composer relationship, 114–116, Schwarz, David, 137–138, 154, 155 126, 147–149, 162–163 Sedgwick, Eve Kosofsky, 77, 123 pheno-process, 78, 80, 89–90 seduction (Baudrillard), 48–49, 52 pheno-song, 57, 136 self/other, 76–77, 131 definition, 5–6 self-actualization, 28, 29, 30–31, 32–33, as fetish, 78–86, 88, 138 47, 79, 88 relation to geno-song, see under see also subjective development; geno-song subjectivity, formation of pheno-space, 78 Silverman, Kaja, 31, 32, 56 pheno-text, 5, 78 simulacra, 48–49, 52 phonograph, see gramophone see also seduction; simulation popular music scholarship simulation (Baudrillard), 47–49, 56 ideologies of, 60–68 see also seduction; simulacra popular song, 83–85, 162 soprano, 110–111, 118, 120 portamento, 75, 134 types, see Fach prima donna, 100, 110, 114–115 see also women in opera see also soprano; women in opera speaking in tongues, see glossolalia psychoanalysis Spectrum, 68–69 comparison with queer theory, viii–ix see also Carpenters critiques, viii, 144–145 Spitting Image, 25–26, 56 relation to queer, ix Stars In Their Eyes, 29, 53–54, 57 and subjectivity, viii–xii, 66, 79–81 stereo space, 156–158 Puccini, Giacomo Tosca, 39, 40, 109 subjective development, 31, 43, 56, 66, pure voice, 72, 73–75 79–80 as borderline object, 37, 91, 132–133 see also psychoanalysis, and subjectivity definition, 13–17, 20 subjectivity, autonomous, 139 as disruptive, viii, 17, 37, 132, 140–141 construction of, viii grammatical status, 13–14, 15–16, 16 formation of, see subjective and (homo)sexuality, 13–17, 23 development and identity, 2, 16, 17, 133, 163 modern, 43, 131 as process, 15–16, 17, 163 Symbolic (psychoanalysis), 28, 31, 66, 79, relation to cyborg, see cyborg, as queer 89, 145 relation to fat, see fat, relationship to queer technologies of power, vii, 22–23, 161 relationship to natural voice, see natural bodily discipline, 96, 125, 126 voice, relationship to purity composition, 22, 96, 111–119, 121, relationship to uncanny, 16, 36–37, 122, 126, 162 76–77, 82, 159 control, 69–71 and subjectivity, viii–ix, 17 gender, see gender as gendered, 151 queer identification, 3–4, 161 lament, see lament see also identification, as queer language, 128, 129, 141, 147, 162 queer theory, viii–ix, 165n5 vocal training, 22, 73–75, 96, 105, queer voice, see voice, as queer 120–121, 126, 161–162, 162 technology Real (psychoanalysis), 79, 138 visibility of, 21–22, 87–88 recording technology, 21, 34, 42, 54 see also external technologies; internal Redding, Otis: ‘I’ve Been Loving You Too technologies; technologies of power Long’, 39, 40–41, 43 text of bliss, 90–92 registers (vocal), see vocal registers see also texts of pleasure/bliss, relation to Rosolato, Guy, 31, 32 geno-/pheno-song text of pleasure, 85, 90–92 Sade: ‘Smooth Operator’, 39, 40 see also texts of pleasure/bliss, relation to satire, 25, 36, 56–57 geno-/pheno-song 192 INDEX texts of pleasure/bliss voice relation to geno-/pheno-song, 79–80, 91 as bodily, 2–3, 4, 7–10, 19, 26, 33, 120, see also geno-song; pheno-song 126, 130, 131–132, 161, 165n.1 third space, 3–4, 13, 18, 47, 106, 161 and borders, 10, 12, 18, 19, 27, 131–132 see also voice comparison with gaze, 31 timbre (of voice), 40–41, 57, 74, 102, 103, dangers of, 10–12, 20, 135 134, 135, 156, 157 disembodied, 2, 8, 120 Time magazine, 98, 100, 123 exceeds body, 33, 47, 132, 135, 161 trauma, 80–82, 88–90 as gendered, 8, 19, 141, 161 travesti roles, 110 as genderless, 18–19, 161 twin, 76, 77, 138–139 and identity, 4, 19, 29, 33, 44–45, 46, 47, 57, 73, 75, 138, 140, 165n.1 uncanny, 16, 35–36, 47, 76–77, 158 ideologies of, 4, 8, 19, 29, 104, as borderline thing, 37 105–106, 111 etymology, 37 immaterial, 4, 22, 28 relation to castration complex, 82 as instrument, 140, 165n.1 relationship to queer, see queer, and language, 4–5, 9, 73, 161, 162 relationship to uncanny language/body mediation, 10, 13, 26, 72 masquerade, 44–45; see also ventriloquism, 2, 7–8, 46–47 impersonation Verdi, Giuseppe: La traviata, 39, 40, 109, material, x, 4, 22, 28 116, 120 as multiply gendered, 35, 111 see also Callas, Maria, La traviata not bodily, 3, 130, 132 Verfremdungseffekt, 159 as object, 13, 31 vibrato, 41, 42, 102, 134 as penetrative, 3, 131–132 vocal flaw, 22–23, 43, 57, 86, 87, 101, performative, 18–19, 45, 46, 107 104, 120, 126, 128, 135, 162 as queer, vii, viii, ix, 2, 3, 10, 17, 17–21, see also Callas, Maria, vocal flaw; Galás, 22, 26, 44, 86, 106, 161–163 Diamanda, vocal flaw as remainder, 12 vocal identification, 26–28, 32, 36, 43 as signifier, 13 confirmation of subject, 28, 42–43 compare voice, exceeds body as queer, 37 voice/body relationship, 2–4, 7–10, 92 threat to subject, 28, 42–43 voice/listener relationship, 2, 2–4, 17, 20, as uncanny, 36 115, 120, 135, 159, 161, 162 vocal perfection, 23, 43, 86, 98, 104, voice categories, 19–20, 44, 107, 110, 111, 121–122 126, 133–134, 137 vocal production, 5, 7, 12–13, 21–22, 41, see also Fach 43, 104, 105, 120 vocal registers, 104–105, 106 women as pure/natural, 74–75 see also chest voice; head voice; Callas, women in opera, characters, 112, 114 Maria, registers performers, 114–116; see also composer/ vocal training, see technologies of power, performer relation vocal training voices, 108–109, 110–111; see also prima vocalic body, 7, 26, 49, 92 donna vocality, 21, 42, 47, 53, 57, 74 see also travesti