5 AUTO-TUNING HANNAH MONTANA: MILEY CYRUS’S CHILD VOICE AND THE TECHNOLOGICAL SUBVERSION OF GIRLHOOD

Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. ILLUSTRATIONS vii
4. NOTES ON CONTRIBUTORS ix
5. INTRODUCTION 1
6. PART 1 STARDOM AND THE SINGING BODY
7. 1 BEARER OF ALL THINGS: BLACK WOMEN’S VOICES IN 20TH CENTURY AMERICAN POPULAR MUSIC 19
8. 2 A VOICE TOO MUCH: PERFORMANCE, AUTHENTICITY AND NOSTALGIA IN BIOGRAPHICAL TELEVISION DRAMA 31
9. 3 SUPER-NATURAL: TELEVISION SINGING, THE SPECIAL GUEST STAR AND STEVIE NICKS IN AMERICAN HORROR STORY (2011–) 45
10. PART 2 VOICES, COMMERCE AND CONSUMPTION
11. 4 SINGALONG ADVERTISING: IMAGINED COMMUNITIES OF CONSUMPTION 67
12. 5 AUTO-TUNING HANNAH MONTANA: MILEY CYRUS’S CHILD VOICE AND THE TECHNOLOGICAL SUBVERSION OF GIRLHOOD 82
13. 6 WHERE VOICE AND BODY MEET AGAIN: PUNJABI RAPPERS IN BOLLYWOOD MUSIC VIDEOS 95
14. PART 3 THE SINGING VOICE AS TRANSFORMATION
15. 7 ON SCREEN, ON STAGE, IN LIVE PERFORMANCE: SONGS AND SINGING IN SISTER ACT 109
16. 8 KINSHASA’S MUSIC, DREAMS AND SHARED CINEMATIC REALITIES: LISTENING TO VOCAL PERFORMANCE IN FÉLICITÉ (2017) 122
17. 9 ‘BUT THE RIGHT WORDS, NEVER COME’: TRANSFORMATIVE IDENTITIES, FEMALE AGENCY AND PERFORMANCE IN SAYONARA WILD HEARTS (2019) 136
18. PART 4 SINGING, TECHNOLOGY AND MEDIATION
19. 10 ‘WE DON’T HAVE THAT’: REPRESENTATION OF HINDUSTANI CLASSICAL VOCAL PERFORMANCE IN YOUTUBE REACTION VIDEOS 149
20. 11 ‘I SEE MARINA, BUT FEEL MARIA’: MARINA ABRAMOVIC´’S MEDIATION OF CALLAS’S VOICE 163
21. 12 THE WORLD IS MINE: QUEER AFFECTIVE HORIZONS IN THE VOCALOID POP OF HATSUNE MIKU 176
22. REFERENCES 189
23. INDEX 207