Advertisement

Sonic Performance and Feminist Posthumanities: Democracy of Resonance and Machinic Sounds

  • Milla Tiainen
Chapter

As a multi-faceted problem and set of practices, performance has inspired many feminist approaches to music and sound. It has attracted interest across feminist music and sound studies nearly since the formative stages of these trans-disciplinary research strands in the 1980s and 1990s. Questions of musical and other sonic performance have indeed interested feminist scholars in various albeit often converging domains of the arts and humanities: gender studies, musicology and ethnomusicology, opera and popular music studies, recent investigations into digital culture, and philosophical and political theories concerned with sound and voice.

Expanding on this previous work, my prime aim in the present chapter is to begin to explore how, why and to what effect feminist studies of sound and music as performance might move towards posthuman/ist1perspectives. My reflections will proceed along two lines: I will first introduce some of the characteristic concerns and aims of existing feminist...

References

  1. Abbate, Carolyn. 1993. Opera; or, the envoicing of women. In Musicology and difference: Gender and sexuality in music scholarship, ed. Ruth A. Solie, 225–258. Berkeley: University of California Press.Google Scholar
  2. Abbate, Carolyn. 2004. Music – drastic or gnostic? Critical Inquiry 30: 505–536.Google Scholar
  3. Alaimo, Stacy. 2008. Trans-corporeal feminisms and the ethical space of nature. In Material feminisms, eds. Alaimo, Stacy, and Susan Hekman, 237–264. Bloomington: Indiana University Press.Google Scholar
  4. Åsberg, Cecilia. 2013. The timely ethics of posthumanist gender studies. Feministische Studien 2013(1): 7–12.Google Scholar
  5. Barad, Karen. 2007. Meeting the universe halfway: Quantum physics and the entanglement of matter and meaning. Durham: Duke University Press.CrossRefGoogle Scholar
  6. Battersby, Christine. 1998. The phenomenal woman: Feminist metaphysics and the patterns of identity. Cambridge, MA: Polity Press.Google Scholar
  7. Bennett, Jane. 2010. Vibrant matter: A political ecology of things. Durham, NC: Duke University Press.Google Scholar
  8. Berardi, Franco “Bifo”. 2009. The soul at work: From alienation to autonomy. Trans. Francesca Cadel and Giuseppina Mecchia. Los Angeles: Semiotexte.Google Scholar
  9. Braidotti, Rosi. 2002. Metamorphoses: Towards a materialist theory of becoming. Cambridge, MA: Polity Press.Google Scholar
  10. Braidotti, Rosi. 2005. Politics + Ecology. In The Deleuze dictionary, eds. Parr, Adrian, 209–211. New York: Columbia University Press.Google Scholar
  11. Braidotti, Rosi. 2006. Transpositions: On nomadic ethics. Cambridge, MA: Polity Press.Google Scholar
  12. Braidotti, Rosi. 2013. The posthuman. Cambridge, MA: Polity Press.Google Scholar
  13. Brophy, Philip. 2010. Vocalizing the posthuman. In Voice: Vocal aesthetics in digital arts and media, eds. Neumark, Norie, Ross Gibson, and Theo van Leuuwen, 361–382. Cambridge, MA: The MIT Press.Google Scholar
  14. Bryant, Levi R. 2011. The democracy of objects. Ann Arbor, MI: Open Humanities Press.CrossRefGoogle Scholar
  15. Cavarero, Adriana. 2005. For more than one voice: Toward a philosophy of vocal expression. Trans. and with an introduction by Paul A. Kottman. Stanford: Stanford University Press.Google Scholar
  16. Coole, Diana, and Samantha Frost. eds. 2010. New materialisms: Ontology, agency, politics. Durham: Duke University Press.Google Scholar
  17. Cull, Laura. 2009. Deleuze and performance. Edinburgh: Edinburgh University Press.Google Scholar
  18. Cusick, Suzanne G. 1994. Feminist theory, music theory, and the mind/body problem. Perspectives of New Music 32(1): 8–27.CrossRefGoogle Scholar
  19. Cusick, Suzanne G. 1999a. Gender, musicology, and feminism. In Rethinking music, eds. Cook, Nicholas, and Mark Everist, 471–498. Oxford: Oxford University Press.Google Scholar
  20. Cusick, Suzanne G. 1999b. On musical performances of gender and sex. In Audible traces: Gender, identity, and music, eds. Barkin, Elaine, Lydia Hamessley, and Benjamin Boretz, 25–48. Zürich: Carciofoli Verlagshaus.Google Scholar
  21. Deleuze, Gilles, and Félix Guattari. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. and with a foreword by Brian Massumi. Minneapolis: Minnesota University Press.Google Scholar
  22. Dunn, Leslie. and Nancy Jones. eds. 1994. Embodied voices: Representing female vocality in western culture. Cambridge, UK: Cambridge University Press.Google Scholar
  23. Dolar, Mladen. 2006. A voice and nothing more. Cambridge, MA: the MIT Press.Google Scholar
  24. Eidsheim, Nina. 2011. Sensing voice: Materiality and the lived body in singing and listening. Senses and Society 6(3): 133–155.CrossRefGoogle Scholar
  25. Fast, Heidi. 2010. An emergent tuning as a molecular organizational mode. Inflexions – A Journal of Research Creation 4 (December). http://www.inflexions.org/n4_t_fasthtml.html. Accessed 29 November 2015.Google Scholar
  26. Fast, Heidi. 2015. Co-attuning voice: Evoking a trembling resonance field. Unpublished manuscript.Google Scholar
  27. Grosz, Elizabeth. 2008. Chaos, territory, art: Deleuze and the framing of the earth. New York: Columbia University Press.Google Scholar
  28. Herzog, Amy. 2010. Dreams of difference, songs of the same: The musical moment in film. Minneapolis: University of Minnesota Press.Google Scholar
  29. Kokkonen, Tuija. 2014. Kun emme tiedä. Keskustelemassa ‘meitä’ uusiksi: lajienväliset esitykset ja esitystaiteen rooli ekokriisien aikakaudella [When we don’t know. Renegotiating ‘us’: trans-species performances and the role of the performing arts in the age of ecocrises]. In Posthumanismi, eds. Lummaa, Karoliina, and Lea Rojola, 179–210. Turku: Eetos.Google Scholar
  30. Leonardi, Susan. and Rebecca Pope. 1996. The diva’s mouth: Body, voice, prima donna politics. New Brunswick: Rutgers University Press.Google Scholar
  31. Manning, Erin. 2013. Always more than one: Individuation’s dance. Durham: Duke University Press.Google Scholar
  32. Massumi, Brian. 2002. Parables for the virtual: Movement, affect, sensation. Durham: Duke University Press.CrossRefGoogle Scholar
  33. Moisala, Pirkko, Taru Leppänen, Milla Tiainen, and Hanna Väätäinen. 2015. Noticing musical becomings: Deleuzian and Guattarian approaches to ethnographic studies of musicking. Current Musicology 98, https://currentmusicology.columbia.edu/article/noticing-musical-becomings-deleuzian-and-guattarian-approaches-to-ethnographic-studies-of-musicking/. Accessed 12 July 2017.
  34. Murphie, Andrew. 2009. Performance as the distribution of life. In Deleuze and performance, eds. Cull, Laura, 221–239. Edinburgh: Edinburgh University Press.Google Scholar
  35. Neumark, Norie. 2010. Doing things with voices: Performativity and voice. In Voice: Vocal aesthetics in digital arts and media, eds. Neumark, Norie, Ross Gibson, and Theovan Leuuwen, 95–118. Cambridge, MA: The MIT Press.CrossRefGoogle Scholar
  36. Ouzounian, Gascia. 2009. Impure thinking practices and clinical acts: The sonorous becomings of Heidi Fast. Organised Sound 14(1):75–81.CrossRefGoogle Scholar
  37. Schechner, Richard. 2006. Performance studies: An introduction. New York: Routledge.Google Scholar
  38. Scheer, Edward. 2012. Posthuman scenarios and performative media. Performance Research: A Journal of the Performing Arts 17(3): 23–33.CrossRefGoogle Scholar
  39. Smart, Mary Ann. 2004. Mimomania: Music and gesture in nineteenth-century opera. Berkeley: University of California Press.CrossRefGoogle Scholar
  40. Tiainen, Milla. 2008. Corporeal Voices, sexual differentiations: New materialist perspectives on music, singing and subjectivity. In Sonic interventions, eds. Mieszkowski, Sylvia. et al., 147–168. Amsterdam: Rodopi.Google Scholar
  41. Tiainen, Milla. 2013. Revisiting the voice in media and as medium: New materialist propositions. NECSUS – European Journal of Media Studies 1(3), http://www.necsus-ejms.org/revisiting-the-voice-in-media-and-as-medium-new-materialist-propositions/. Accessed 12 July 2017.
  42. Tiainen, Milla. Forthcoming. Becoming-Singer: Cartographies of singing, music-making and opera. Minneapolis: University of Minnesota Press.Google Scholar

Copyright information

© Springer International Publishing AG, part of Springer Nature 2018

Authors and Affiliations

  1. 1.Department of Musicology, University of HelsinkiHelsinkiFinland

Personalised recommendations