1st Edition

Voicing Girlhood in Popular Music
Performance, Authority, Authenticity





ISBN 9781138916494
Published June 15, 2016 by Routledge
310 Pages 25 B/W Illustrations

USD $170.00

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Book Description



This interdisciplinary volume explores the girl’s voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers through topics that range from female vocal development during adolescence to girls’ online media culture. While girls’ voices are more prominent than ever in popular music culture, the specific sonic character of the young female voice is routinely denied authority. Decades old clichés of girls as frivolous, silly, and deserving of contempt prevail in mainstream popular image and sound. Nevertheless, girls find ways to raise their voices and make themselves heard. This volume explores the contemporary girl’s voice to illuminate the way ideals of girlhood are historically specific, and the way adults frame and construct girlhood to both valorize and vilify girls and women. Interrogating popular music, childhood, and gender, it analyzes the history of the all-girl band from the Runaways to the present; the changing anatomy of a girl’s voice throughout adolescence; girl’s participatory culture via youtube and rock camps, and representations of the girl’s voice in other media like audiobooks, film, and television. Essays consider girl performers like Jackie Evancho and Lorde, and all-girl bands like Sleater Kinney, The Slits and Warpaint, as well as performative 'girlishness' in the voices of female vocalists like Joni Mitchell, Beyoncé, Miley Cyrus, Taylor Swift, Kathleen Hanna, and Rebecca Black. Participating in girl studies within and beyond the field of music, this book unites scholarly perspectives from disciplines such as musicology, ethnomusicology, comparative literature, women’s and gender studies, media studies, and education to investigate the importance of girls’ voices in popular music, and to help unravel the complexities bound up in music and girlhood in the contemporary contexts of North America and the United Kingdom.   

Table of Contents

PART I
Voice and Agency







1  I’m with the Band: Redefining Young Feminism 15 LUCY O’BRIEN









2  Girls at Work: Gendered Identities, Sex Segregation,
and Employment Experiences in the Music Industry 37 MARION LEONARD









3  "I Love Beyoncé, but I Struggle with Beyoncé": Girl Activists
Talk Music and Feminism 56 LYN MIKEL BROWN AND DANA EDELL WITH MONTGOMERY JONES, GEORGIA LUCKHURST, AND JONEKA PERCENTIE







PART II
Voice and Vocality







4  "These Stupid Little Sounds in Her Voice": Valuing and
Vilifying the New Girl Voice 77 DIANE PECKNOLD









5  Girls and Puberty: The Voice, It Is a-Changin’;
A Discussion of Pedagogical Methods for the
Training of the Voice through Puberty 99 BARBARA FOX DEMAIO









6 The Curse of the "O mio bambino caro": Jackie Evancho as Prodigy, Diva, and Ideal Girl 113 DANA GORZELANY-MOSTAK



7  Authority, Ability, and the Aging Ingénue’s Voice 143 ALEXANDRA APOLLONI



PART III
Voice and Authenticity







8  Performing Pop Girlhood on Disney Channel 171 MORGAN BLUE









9  When Loud Means Real: Tween Girls and the Voices of Rock Authenticity 191 SARAH DOUGHER









10  YouTube, Twerking and You: Context Collapse and
the Handheld Copresence of Black Girls and Miley Cyrus 208 KYRA D. GAUNT







PART IV
Voice and Narrative







11  The Counterpoint of Aging and Coming of Age in the Mother–Daughter Duets of Tori Amos and Natashya Hawley 235 LORI BURNS









12  Listen to the Mockingjay: Voice, Identity, and Agency in

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Editor(s)

Biography

Jacqueline Warwick is Associate Professor of Music at Dalhousie University, Canada.



Allison Adrian is Associate Professor of Music and Women’s Studies at St. Catherine University, Minnesota, where she also serves as Endowed Chair in Women’s Education.