Disabling the avant-garde: Listening to Berberian and Lucier

References

1. Abbate, C.. (1991), Unsung Voices: Opera and Musical Narrative in the Nineteenth Century, Princeton, NJ:: Princeton University Press;.
   [Google Scholar]
2. Abel, S.. (1996), Opera in the Flesh: Sexuality in Operatic Performances, Boulder, CO:: Westview Press;.
   [Google Scholar]
3. Baynton, D.. (2017);, 'Disability and the justification of inequality in American history'. , in L. Davis. (ed.), The Disability Studies Reader, , 5th. ed., New York:: Routledge;, pp. 17-34.
   [Google Scholar]
4. Benedictis, A. I. De. (2000);, 'Opera Prima: Ritratto di Cittá and the beginning of electroacoustic music in Italy'. , in V. Rizzari, and A. I. de Benedictis. (eds), Nuovo Musica Alla Radio/New Music on the Radio (trans. A. Petrina), Milan:: RAI/Eri;, pp. 26-53.
   [Google Scholar]
5. Berio, L.. (n.d.);, 'Visage: Author's note'. , Centro Studio Luciano Berio, http://www.lucianoberio.org/node/1505?2019623839=1. Accessed 20 August 2018 .
   [Google Scholar]
6. Berio, L.,, Eco, U., and Leydi, R.. (2000);, 'Luciano Berio, Umberto Eco, and Roberto Leydi remember the Studio di Fonologia forty years after its birth'. , in V. Rizzari, and A. I. de Benedictis. (eds), Nuovo Musica Alla Radio/New Music on the Radio (trans. A. Petrina), Milan:: RAI/Eri;, pp. 216-32.
   [Google Scholar]
7. Brodsky, S.. (2019);, 'There's no such thing as the composer's voice'. , in M. Feldman, and J. T. Zeitlin. (eds), The Voice as Something More: Essays Toward Materiality, Chicago:: University of Chicago Press;, pp. 225-46.
   [Google Scholar]
8. Broening, B.. (2006);, 'Alvin Lucier's I Am Sitting in a Room'. , in M. Simoni. (ed.), Analytical Methods of Electroacoustic Music, New York:: Routledge;, pp. 89-110.
   [Google Scholar]
9. Bulut, Z.. (2014);, 'Silence and speech in Lecture on Nothing and Phonophonie'. , Postmodern Culture, 24:3, https://doi.org/10.1353/pmc.2014.0018. Accessed 6 May 2019 .
   [Google Scholar]
10. Bulut, Z.. (2016);, 'Planes, walls, and bits of sound: Healing a voice'. , Music and Politics, 10:2, pp. 1-16.
    [Google Scholar]
11. Causton, R.. (1995);, 'Berio's Visage and the theatre of electroacoustic music'. , Tempo, 194, pp. 15-21.
    [Google Scholar]
12. Cavarero, A.. (2005), For More Than One Voice: Toward a Philosophy of Vocal Expression (trans. P. Kottman), Stanford:: Stanford University Press;.
    [Google Scholar]
13. Chion, M.. (2016), Sound: An Acoulogical Treatise (trans. J. Steintrager), Durham:: Duke University Press;.
    [Google Scholar]
14. Clarke, E. F.. (2005), Ways of Listening: An Ecological Approach to the Perception of Musical Meaning, New York:: Oxford University Press;.
    [Google Scholar]
15. Connor, S.. (2000), Dumbstruck: A Cultural History of Ventriloquism, New York:: Oxford University Press;.
    [Google Scholar]
16. Connor, S.. (2001);, 'The decomposing voice of postmodernist music. , New Literary History, 32:3, pp. 467-83.
    [Google Scholar]
17. Connor, S.. (2006);, 'Phonophobia: The dumb devil of stammering'. , talk for Giving Voice conference, University of Aberystwyth, Wales, 8 April, http://www.stevenconnor.com/phonophobia. Accessed 28 April 2019 .
    [Google Scholar]
18. Connor, S.. (2014), Beyond Words: Sobs, Hums, Stutters and Other Vocalizations, London:: Reaktion Books;.
    [Google Scholar]
19. Cox, A.. (2016), Music and Embodied Cognition, Bloomington, IN:: Indiana University Press;.
    [Google Scholar]
20. Davies, J. Q.. (2014), Romantic Anatomies of Performance, Berkeley:: University of California Press;.
    [Google Scholar]
21. Davies, J. Q.. (2015);, 'Voice belongs'. , Journal of the American Musicological Society, 68:3, pp. 677-681.
    [Google Scholar]
22. Dohoney, R.. (2015);, 'Echo's echo: Subjectivity in vibrational ontology'. , Women and Music: A Journal of Gender and Culture, 19, pp. 142-50.
    [Google Scholar]
23. Dolar, M.. (2006), A Voice and Nothing More, Cambridge, MA:: MIT Press;.
    [Google Scholar]
24. Dolar, M.. (2011);, 'The burrow of sound'. , Differences, 22:2&3, pp. 112-39.
    [Google Scholar]
25. Eidsheim, N. S.. (2014);, 'The micropolitics of listening to vocal timbre'. , Postmodern Culture, 24:3, https://doi.org/10.1353/pmc.2014.0014. Accessed 6 May 2019 .
    [Google Scholar]
26. Eidsheim, N. S.. (2015), Sensing Sound: Singing and Listening as Vibrational Practice, Durham:: Duke University Press;.
    [Google Scholar]
27. Eagle, C.. (ed.) (2014);, 'Introduction'. , in Literature, Speech Disorders, and Disability: Talking Normal, Hoboken, NJ:: Taylor and Francis;, pp. 1-8.
    [Google Scholar]
28. Feldman, M.. (2015a), Castrato: Reflections on Natures and Kinds, Berkeley, CA:: University of California Press;.
    [Google Scholar]
29. Feldman, M.. (2015b);, 'The interstitial voice: An opening'. , Journal of the American Musicological Society, 68:3, pp. 653-59.
    [Google Scholar]
30. Feldman, M.. (2019);, 'Voice gap crack break'. , in M. Feldman, and J. T. Zeitlin. (eds), The Voice as Something More: Essays Toward Materiality, Chicago:: University of Chicago Press;, pp. 186-206.
    [Google Scholar]
31. Fink, R.. (2018);, 'When the music stutters: Notes toward a symptomatology'. , in O. Julien, and C. Levaux. (eds), Over and Over: Exploring Repetition in Popular Music, New York:: Bloomsbury Academic;, pp. 14−35.
    [Google Scholar]
32. Friedner, M., and Helmreich, S.. (2016);, 'Sound studies meets deaf studies'. , in M. Bull, and L. Black. (eds), The Auditory Culture Reader, , 2nd. ed., London:: Bloomsbury;, pp. 87-98.
    [Google Scholar]
33. Garland-Thomson, R.. (1997), Extraordinary Bodies: Figuring Physical Disability in American Culture and Literature, New York:: Columbia University Press;.
    [Google Scholar]
34. Garland-Thomson, R.. (2009), Staring: How We Look, New York:: Oxford University Press;.
    [Google Scholar]
35. Goldmark, D.. (2006);, 'Stuttering in American popular song, 1890−1930'. , in N. Lerner, and J. Straus. (eds), Sounding Off: Theorizing Disability in Music, New York:: Routledge;, pp. 91−105.
    [Google Scholar]
36. Gordon, B.. (2015);, 'It's not about the cut: The Castrato's instrumentalized song'. , New Literary History, 46:4, pp. 647-67.
    [Google Scholar]
37. Gunning, T.. (2019);, 'A voice that is not mine: Terror and the mythology of the technological voice'. , in M. Feldman, and J. T. Zeitlin. (eds), The Voice as Something More: Essays Toward Materiality, Chicago:: University of Chicago Press;, pp. 323-336.
    [Google Scholar]
38. Holmes, J.. (2016);, 'Singing beyond hearing'. , Journal of the American Musicological Society, 69:2, pp. 542-48.
    [Google Scholar]
39. Holmes, J.. (2017);, 'Expert listening beyond the limits of hearing: music and deafness'. , Journal of the American Musicological Society, 70:1, pp. 171-220.
    [Google Scholar]
40. Holmes, J.. (2019);, 'The "manic pixie dream girl of the synth-pop world" and her "baby doll lisp": Grimes and the disabling logics of the feminization and infantilization of lisping'. , Journal of Popular Music Studies, 31:1, pp. 1-25.
    [Google Scholar]
41. Horlacher, G.. (2011), Building Blocks: Repetition and Continuity in the Music of Stravinsky, New York:: Oxford University Press;.
    [Google Scholar]
42. Iverson, J.. (2016a);, 'Mechanized bodies: Technology and supplements in Björk's electronica'. , in B. Howe,, S. Jensen-Moulton,, N. Lerner, and J. Straus. (eds), Oxford Handbook of Music and Disability Studies, New York:: Oxford University Press;, pp. 155-75.
    [Google Scholar]
43. Iverson, J.. (2016b);, 'Sounding traumatized bodies'. , Journal of the American Musicological Society, 69:2, pp. 536-42.
    [Google Scholar]
44. Iverson, J.. (2019), Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde, New York:: Oxford University Press;.
    [Google Scholar]
45. Kane, B.. (2014), Sound Unseen: Acousmatic Sound in Theory and Practice, New York:: Oxford University Press;.
    [Google Scholar]
46. Kane, B.. (2015a);, 'The voice: A diagnosis'. , Polygraph, 25, pp. 91-112.
    [Google Scholar]
47. Kane, B.. (2015b);, 'The model voice'. , Journal of the American Musicological Society, 68:3, pp. 671-77.
    [Google Scholar]
48. Kent, R. D., and Read, C.. (2002), Acoustic Analysis of Speech, , 2nd. ed., Albany, NY:: Singular Thomson Learning;.
    [Google Scholar]
49. Koestenbaum, W.. (1993), The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire, New York:: Poseidon Press;.
    [Google Scholar]
50. LaBelle, B.. (2010);, 'Raw orality: Sound poetry and live bodies'. , in N. Neumark,, R. Gibson, and T. van Leeuwen. (eds), VOICE: Vocal Aesthetics in Digital Arts and Media, Cambridge, MA:: MIT Press;, pp. 147-72.
    [Google Scholar]
51. LaBelle, B.. ([2006] 2015), Background Noise: Perspectives on Sound Art, , 2nd. ed., New York:: Bloomsbury;.
    [Google Scholar]
52. Ladefoged, P.. (1996), Elements of Acoustic Phonetics, , 2nd. ed., Chicago:: University of Chicago Press;.
    [Google Scholar]
53. Latham, C. H.. (2015);, 'Rethinking the intimacy of voice and ear: Psychoanalysis and genital massage and treatments for hysteria'. , Women and Music: A Journal of Gender and Culture, 19, pp. 125-32.
    [Google Scholar]
54. Law, H.. (2016);, 'A cannon-shaped man with an amphibian voice: Castrato and disability in eighteenth century France'. , in B. Howe,, S. Jensen-Moulton,, N. Lerner, and J. Straus. (eds), Oxford Handbook of Music and Disability Studies, New York:: Oxford University Press;, pp. 329-44.
    [Google Scholar]
55. Lietti, A.. ([1956] 1960);, 'The technical equipment of the electronic music studio of Radio Milan' (trans. D. A. Sinclair). , Elettronica, 5:3, pp. 116-21.
    [Google Scholar]
56. Lucier, A.. (1990), I Am Sitting in a Room, CD, New York, NY:: Lovely Music;.
    [Google Scholar]
57. Lucier, A.. (2012), Music 109: Notes on Experimental Music, Middletown, CT:: Wesleyan University Press;.
    [Google Scholar]
58. Margulis, L. H.. (2014), On Repeat: How Music Plays the Mind, New York:: Oxford University Press;.
    [Google Scholar]
59. Marshall, C.. (2014);, 'Crippled speech'. , Journal of Postmodern Culture, 24:3, https://doi.org/10.1353/pmc.2014.0020. Accessed 6 May 2019 .
    [Google Scholar]
60. McClary, S.. (1989);, 'Terminal prestige: The case of avant-garde music composition'. , Cultural Critique, 12, pp. 57-81.
    [Google Scholar]
61. McKay, G.. (2013), Shakin' All Over: Popular Music and Disability, Ann Arbor:: University of Michigan Press;.
    [Google Scholar]
62. Meehan, K.. (2011);, 'Not just a pretty voice: Cathy Berberian as collaborator, composer, and creator'. , Ph.D. thesis, St. Louis:: Washington University;.
    [Google Scholar]
63. Neumark, N.. (2010);, 'Introduction: The paradox of voice'. , in N. Neumark,, R. Gibson, and T. van Leeuwen. (eds), VOICE: Vocal Aesthetics in Digital Arts and Media, Cambridge, MA:: MIT Press;, pp. xv-xxxiii.
    [Google Scholar]
64. Osmond-Smith, D.. (2004);, 'The tenth oscillator: The work of Cathy Berberian 1958-66'. , Tempo, 58:227, pp. 2-13.
    [Google Scholar]
65. Oster, A.. (2006);, 'Melisma as malady: Cavalli's Il Giasone (1649) and opera's earliest stuttering role'. , in N. Lerner, and J. Straus. (eds), Sounding Off: Theorizing Disability in Music, New York:: Routledge;, pp. 157-172.
    [Google Scholar]
66. Pierson, M.. (2019);, 'Voice, music, modernism: The case of Luigi Nono and Karlheinz Stockhausen'. , in M. Feldman, and J. T. Zeitlin. (eds), The Voice as Something More: Essays Toward Materiality, Chicago:: University of Chicago Press;, pp. 75-88.
    [Google Scholar]
67. Poizat, M.. ([1986] 1992), The Angel's Cry: Beyond the Pleasure Principle in Opera (trans. A. Denner), Ithaca, NY:: Cornell University Press;.
    [Google Scholar]
68. Rice, T.. (2015);, 'Listening'. , in D. Novak, and M. Sakakeeny. (eds), Keywords in Sound, Durham and London:: Duke University Press;, pp. 99-111.
    [Google Scholar]
69. Rings, S.. (2015);, 'Analyzing the popular singing voice: Sense and surplus'. , Journal of the American Musicological Society, 68:3, pp. 663-71.
    [Google Scholar]
70. Rings, S.. (2019);, 'Speech and/in song'. , in M. Feldman, and J. T. Zeitlin. (eds), The Voice as Something More: Essays Toward Materiality, Chicago:: University of Chicago Press;, pp. 35-51.
    [Google Scholar]
71. Scaldaferri, N.. (2000);, '"Bronze by gold," by Berio by Eco: A journey through the sirensong'. , in V. Rizzari, and A. I. de Benedictis. (eds), Nuovo Musica Alla Radio/New Music on the Radio (trans. A. Petrina), Milan:: RAI/Eri;, pp. 100-57.
    [Google Scholar]
72. Schaeffer, P.. ([1949] 2012), In Search of a Concrete Music (trans. C. North and J. Dack), Berkeley:: University of California Press;.
    [Google Scholar]
73. Schaeffer, P.. ([1966] 2017), Treatise on Musical Objects: An Essay Across Disciplines (trans. C. North and J. Dack), Berkeley:: University of California Press;.
    [Google Scholar]
74. Siebers, T.. (2008), Disability Theory, Ann Arbor:: University of Michigan Press;.
    [Google Scholar]
75. Siebers, T.. (2010), Disability Aesthetics, Ann Arbor:: University of Michigan Press;.
    [Google Scholar]
76. St Pierre, J.. (2012);, 'The construction of the disabled speaker: Locating stuttering in disability studies'. , Canadian Journal of Disability Studies, 1:3, pp. 1-21. Rpt. in C. Eagle. (ed), Literature, Speech Disorders, and Disability: Talking Normal, Hoboken, NJ: Taylor and Francis, pp. 9-23.
    [Google Scholar]
77. St Pierre, J.. (2015);, 'Distending straight-masculine time: A phenomenology of the disabled speaking body'. , Hypatia, 30:1, pp. 49−65.
    [Google Scholar]
78. St Pierre, J.. (2017);, 'Becoming dysfluent: Fluency as biopolitics and hegemony'. , Journal of Literary & Cultural Disability Studies, 11:3, pp. 339−56.
    [Google Scholar]
79. St Pierre, J., and St Pierre, C.. (2018);, 'Governing the voice: A critical history of speech-language pathology'. , Foucault Studies, 24, pp. 151-84.
    [Google Scholar]
80. Sterne, J.. (2015);, 'Hearing'. , in D. Novak, and M. Sakakeeny. (eds), Keywords in Sound, Durham and London:: Duke University Press;, pp. 65-77.
    [Google Scholar]
81. Stras, L.. (2006);, 'The organ of the soul: Voice, damage, affect'. , in N. Lerner, and J. Straus. (eds), Sounding Off: Theorizing Disability in Music, New York:: Routledge;, pp. 173-84.
    [Google Scholar]
82. Straus, J. N.. (2011), Extraordinary Measures: Disability in Music, New York:: Oxford University Press;.
    [Google Scholar]
83. Straus, J. N.. (2018), Broken Beauty: Musical Modernism and the Representation of Disability, New York:: Oxford University Press;.
    [Google Scholar]
84. Swaan, C. de. (dir.) (1994);, 'Cathy Berberian: Music is the air I breathe'. , independent documentary film, http://www.swaanprodukties.nl/web/index.php?p=3&project=35. Accessed 6 May 2019 .
85. Verstraete, P.. (2014);, 'Cathy Berberian's Stripsody-An excess of vocal personas in score and performance'. , in P. Karantonis,, F. Placanica,, A. Sivuoja-Kauppala, and P. Verstraete. (eds), Cathy Berberian: Pioneer of Contemporary Vocality, Burlington, VT:: Ashgate;, pp. 64-75.
    [Google Scholar]
86. Vidolin, A.. (2012);, 'The school of fonologia'. , in M. M. Novati, and J. Dack. (eds), The Studio di Fonologia: A Musical Journey 1954-1983, Update 2008-2012, Milan:: Ricordi;, pp. 19-31.
    [Google Scholar]
87. Vincis, C.. (2012);, 'Totus mundus agit histrionem: Ages, an invention for radio by Bruno Maderna and Giorgio Pressburger'. , in A. I. de Benedictis, and M. M. Novati. (eds), Prix Italia, Milan:: die Schachtel and Rai Trade;, pp. 261-68.
    [Google Scholar]
88. Wilbourne, E.. (2015);, 'Demo's stutter, subjectivity, and the virtuosity of vocal failure'. , Journal of the American Musicological Society, 68:3, pp. 659-63.
    [Google Scholar]
89. Young, M.. (2015), Singing the Body Electric: The Human Voice and Sound Technology, Burlington, VT:: Ashgate;.
    [Google Scholar]
90. Iverson, J.. (2019);, 'Disabling the avant-garde: Listening to Berberian and Lucier'. , Journal of Interdisciplinary Voice Studies, 4:2, pp. 157-77, doi: 10.1386/jivs_00003_1
    [Google Scholar]