Abstract
Roland Barthes’s well-known essay, “The Grain of the Voice,” establishes that singing is a relation between the voice and the body, or, more precisely, the voice discloses a bodily presence. This “grain” or imprint of the body, he goes on to say, are palpably evident in the singer’s voice texture, her diction, and emotion.
Tameka stopped short of shouting out the words to a song she played on the violin when she noticed that she alone in that quartet was making her feeling known to the audience.
—Ruth Gustafson, “Stories of Failure or Delight”
The Grain is the body in the voice as it sings … I am determined to listen to my relation with the body of the man or woman singing.
—Roland Barthes, “The Grain of the Voice”
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Notes
See, for example, Bobbitt, “A City School as a Community Art and Musical Center.” More recently, Soderman and Folkestad, in “How Hip Hop Musicians Learn: Strategies in Informal Creative Music Making,” Music Education Research 6, no. 3 (2004): 314–26
See the biography of conductor Theodore Thomas, The American Orchestra and Theodore Thomas by J. Russell (Garden City, NY: Doubleday, 1927).
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© 2009 Ruth Gustafson
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Gustafson, R.I. (2009). Reason, Ventriloquism, and National Music Memory Contests. In: Race and Curriculum. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230622449_7
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DOI: https://doi.org/10.1057/9780230622449_7
Publisher Name: Palgrave Macmillan, New York
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