*Queer Voices* sets out both to queer the musicological and to make queer audible, arguing that t... more *Queer Voices* sets out both to queer the musicological and to make queer audible, arguing that the voice, particularly the singing voice, opens up a richly queer space. Using case studies from different repertoires, the book demonstrates how queer emerges particularly audibly when the voice is heard to engage with various technologies: the external technologies of music performances and recordings, technologies of power, or the internal technologies of vocal production itself.
The Music Department at the University of Liverpool is unusual in its entrance requirements: it d... more The Music Department at the University of Liverpool is unusual in its entrance requirements: it does not require any formal musical background for students of popular music subjects. Meanwhile, it is also home to students with high-level formal training in western classical music, who arrive expecting to make use of their competence in standard analytical methods. Both groups of students, and students whose skills are somewhere in between these extremes, sit alongside each other in a compulsory first-year module called Music as Sound. The aim of this module is to develop students' abilities to talk productively about musical detail in a very wide range of musical repertoires. This article reflects on the challenges of developing the module in ways that are meaningful to students with and without formal musical training, particularly because the module does not aim to provide musical theory where it is absent in students' musical language; instead, it changes the very nature of the goal, by providing a new mode of analysis that challenges notationally competent students to think about analysis without traditional western scores, and also introduces analytical techniques to non-notationally literate students without recourse to the technical tools and language of western classical music.
Abstract The extent to which university departments foster learning literacies that equip student... more Abstract The extent to which university departments foster learning literacies that equip students with the diverse skills required for employment in a digital world is an issue that is under increased scrutiny in British higher education. The Learning Literacies in the Digital Age report (LLiDA by Beetham et al. 2009) offers a framework of learning literacies, which encompasses a range of literacies including academic, information, digital and media literacies.
Lip-syncing has been an important element of cinema for probably as long as sound and vision have... more Lip-syncing has been an important element of cinema for probably as long as sound and vision have been integrated in the medium; in musical films in particular, singers have provided their voices for non-singing actors who lip-sync to construct an illusion of their vocal ability. Outside of the cinema, more than one musical scandal has emerged when a performing artist or group is revealed to have been lip-syncing to voices other than their own. There is a particular kind of scene, though, in which lip-syncing is not an illusory act to deceive an audience, but an openly deployed device with particular purposes and effects/affects. Such scenes (and similar occasions in television, YouTube videos, and stage performances) very often have results that are queer (La mala educación/Priscilla Queen Of The Desert), or comedic (Bridget Jones’s Diary/Love Actually), or—with striking frequency—some combination of the two (Austin Powers in Goldmember). Other lip-syncs, meanwhile, open up affects rather different from the comedic, such as abjection (Mulholland Drive), or simply the bizarre (The Singing Detective). In many such scenes, the act of lip-syncing is a self-consciously camp device, something that links it strongly with drag performance (as exemplified by the lip-sync battles on Ru Paul's Drag Act). This chapter aims to explore what it is about lip-syncing--what, indeed, it is about the explicit disruption of voice from body--that makes it such a powerfully camp device. This in turn opens up the question of how camp--so commonly taken to be a frivolity of performance--can access such a variety of affective agendas, and what such instances might reveal about the politics of camp.
*Queer Voices* sets out both to queer the musicological and to make queer audible, arguing that t... more *Queer Voices* sets out both to queer the musicological and to make queer audible, arguing that the voice, particularly the singing voice, opens up a richly queer space. Using case studies from different repertoires, the book demonstrates how queer emerges particularly audibly when the voice is heard to engage with various technologies: the external technologies of music performances and recordings, technologies of power, or the internal technologies of vocal production itself.
The Music Department at the University of Liverpool is unusual in its entrance requirements: it d... more The Music Department at the University of Liverpool is unusual in its entrance requirements: it does not require any formal musical background for students of popular music subjects. Meanwhile, it is also home to students with high-level formal training in western classical music, who arrive expecting to make use of their competence in standard analytical methods. Both groups of students, and students whose skills are somewhere in between these extremes, sit alongside each other in a compulsory first-year module called Music as Sound. The aim of this module is to develop students' abilities to talk productively about musical detail in a very wide range of musical repertoires. This article reflects on the challenges of developing the module in ways that are meaningful to students with and without formal musical training, particularly because the module does not aim to provide musical theory where it is absent in students' musical language; instead, it changes the very nature of the goal, by providing a new mode of analysis that challenges notationally competent students to think about analysis without traditional western scores, and also introduces analytical techniques to non-notationally literate students without recourse to the technical tools and language of western classical music.
Abstract The extent to which university departments foster learning literacies that equip student... more Abstract The extent to which university departments foster learning literacies that equip students with the diverse skills required for employment in a digital world is an issue that is under increased scrutiny in British higher education. The Learning Literacies in the Digital Age report (LLiDA by Beetham et al. 2009) offers a framework of learning literacies, which encompasses a range of literacies including academic, information, digital and media literacies.
Lip-syncing has been an important element of cinema for probably as long as sound and vision have... more Lip-syncing has been an important element of cinema for probably as long as sound and vision have been integrated in the medium; in musical films in particular, singers have provided their voices for non-singing actors who lip-sync to construct an illusion of their vocal ability. Outside of the cinema, more than one musical scandal has emerged when a performing artist or group is revealed to have been lip-syncing to voices other than their own. There is a particular kind of scene, though, in which lip-syncing is not an illusory act to deceive an audience, but an openly deployed device with particular purposes and effects/affects. Such scenes (and similar occasions in television, YouTube videos, and stage performances) very often have results that are queer (La mala educación/Priscilla Queen Of The Desert), or comedic (Bridget Jones’s Diary/Love Actually), or—with striking frequency—some combination of the two (Austin Powers in Goldmember). Other lip-syncs, meanwhile, open up affects rather different from the comedic, such as abjection (Mulholland Drive), or simply the bizarre (The Singing Detective). In many such scenes, the act of lip-syncing is a self-consciously camp device, something that links it strongly with drag performance (as exemplified by the lip-sync battles on Ru Paul's Drag Act). This chapter aims to explore what it is about lip-syncing--what, indeed, it is about the explicit disruption of voice from body--that makes it such a powerfully camp device. This in turn opens up the question of how camp--so commonly taken to be a frivolity of performance--can access such a variety of affective agendas, and what such instances might reveal about the politics of camp.
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