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The contemporary countertenor in con...

Fugate, Bradley K.

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The contemporary countertenor in context: Vocal production, gender/sexuality, and reception.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The contemporary countertenor in context: Vocal production, gender/sexuality, and reception./
Author:	Fugate, Bradley K.
Description:	246 p.
Notes:	Source: Dissertation Abstracts International, Volume: 78-02(E), Section: A.
Contained By:	Dissertation Abstracts International78-02A(E).
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10147147
ISBN:	9781369024364

The contemporary countertenor in context: Vocal production, gender/sexuality, and reception.
Fugate, Bradley K.

The contemporary countertenor in context: Vocal production, gender/sexuality, and reception. - 246 p.

Source: Dissertation Abstracts International, Volume: 78-02(E), Section: A.

Thesis (Ph.D.)--Boston University, 2016.

This dissertation highlights the importance of vocal registration/production in the ongoing discussion of how the material qualities of the singing voice transmit socially constructed meaning. Using the modern-day countertenor as an example, I show how falsetto singing can act as a marker for gender/sexuality. The first chapter of the project explains the anatomy and physiology of the singing voice, particularly as it applies to the falsetto register and the contemporary countertenor. Then, a brief look at how singing and gender fit within the burgeoning field of voice studies ensues. Chapter 2 inspects theories of vocal gender, identity, and sexuality in regards to vocal embodiment and applies them to the voice, singing, and the contemporary countertenor. Chapter 3 looks at the reception theories of Hans Robert Jauss and Wolfgang Iser in order to pinpoint ways in which social norms can be inscribed on the voice, especially that of the countertenor Klaus Nomi. The last three chapters apply the theories purported in the first half of the dissertation to the contemporary countertenor in three countries--the United States, England, and Japan. Examining the use and appreciation of the countertenor in these different societies provides examples of how the falsetto register, singing, and norms of gender/sexuality are connected in the different social contexts. The epilogue projects how this type of academic inquiry can extend to other types of singing and societies.

ISBN: 9781369024364Subjects--Topical Terms:

516178
Music.

The contemporary countertenor in context: Vocal production, gender/sexuality, and reception.
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100 1 $a Fugate, Bradley K. $3 3277709
245 1 4 $a The contemporary countertenor in context: Vocal production, gender/sexuality, and reception.
300 $a 246 p.
500 $a Source: Dissertation Abstracts International, Volume: 78-02(E), Section: A.
500 $a Advisers: Miki Kaneda; Brita Heimarck.
502 $a Thesis (Ph.D.)--Boston University, 2016.
520 $a This dissertation highlights the importance of vocal registration/production in the ongoing discussion of how the material qualities of the singing voice transmit socially constructed meaning. Using the modern-day countertenor as an example, I show how falsetto singing can act as a marker for gender/sexuality. The first chapter of the project explains the anatomy and physiology of the singing voice, particularly as it applies to the falsetto register and the contemporary countertenor. Then, a brief look at how singing and gender fit within the burgeoning field of voice studies ensues. Chapter 2 inspects theories of vocal gender, identity, and sexuality in regards to vocal embodiment and applies them to the voice, singing, and the contemporary countertenor. Chapter 3 looks at the reception theories of Hans Robert Jauss and Wolfgang Iser in order to pinpoint ways in which social norms can be inscribed on the voice, especially that of the countertenor Klaus Nomi. The last three chapters apply the theories purported in the first half of the dissertation to the contemporary countertenor in three countries--the United States, England, and Japan. Examining the use and appreciation of the countertenor in these different societies provides examples of how the falsetto register, singing, and norms of gender/sexuality are connected in the different social contexts. The epilogue projects how this type of academic inquiry can extend to other types of singing and societies.
590 $a School code: 0017.
650 4 $a Music. $3 516178
650 4 $a Gender studies. $3 2122708
650 4 $a LGBTQ studies. $3 2122706
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710 2 $a Boston University. $b Musicology. $3 3179795
773 0 $t Dissertation Abstracts International $g 78-02A(E).
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791 $a Ph.D.
792 $a 2016
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10147147