Kapitel in diesem Buch

1. Frontmatter i
2. Contents vii
3. Preface xi
4. Illustrations xvii
5. Musical Examples (Print) xxi
6. Website Examples (Audiovisual) xxiii
7. Introduction
8. The Clamor of Voices 3
9. Part I: Sound-Producing Voice
10. 1. Speech and/in Song 37
11. 2. From the Natural to the Instrumental: Chinese Theories of the Sounding Voice before the Modern Era 54
12. Part II: Limit Cases
13. 3. Voice, Music, Modernism: The Case of Luigi Nono and Karlheinz Stockhausen 77
14. 4. Screamlines: On the Anatomy and Geology of Radio 91
15. Part III: Vocal Owners and Borrowed Voices
16. 5. It’s All by Someone Else 115
17. 6. The Artist’s Impression: Ethel Waters as Mimic 128
18. 7. “I Am an Essentialist”: Against the Voice Itself 142
19. Part IV: Myth, Wound, and Gap
20. 8. Is the Voice a Myth? A Rereading of Ovid 171
21. 9. Voice Gap Crack Break 188
22. 10. The Gesamtkunstwerk and Its Discontents: The Wounded Voice in (and around) Alexander von Zemlinsky’s The Dwarf 209
23. 11. There Is No Such Thing as the Composer’s Voice 227
24. Part V: Interlude: The Gendered Voice
25. 12. Vowels/Consonants: The Legend of a “Gendered” (Sexual) Difference Told by Cinema 249
26. Part VI: Technology, Difference, and the Uncanny
27. 13. The Prosthetic Voice in Ancient Greece 277
28. 14. The Duppy in the Machine: Voice and Technology in Jamaican Popular Music 295
29. 15. The Actor’s Absent Voice: Silent Cinema and the Archives of Kabuki in Prewar Japan 308
30. 16. A Voice That Is Not Mine: Terror and the Mythology of the Technological Voice 325
31. Afterword
32. Voices That Matter 339
33. Contributors 357
34. Index 363