Duke University Press The Race of Sound: Listening, Timbre, and Vocality in African American Music (Refiguring American Music)

In The Race of Sound Nina Sun Eidsheim traces the ways in which sonic attributes that might seem natural, such as the voice and its qualities, are socially produced. Eidsheim illustrates how listeners measure race through sound and locate racial subjectivities in vocal timbre—the color or tone of a voice. Eidsheim examines singers Marian Anderson, Billie Holiday, and Jimmy Scott as well as the vocal synthesis technology Vocaloid to show how listeners carry a series of assumptions about the nature of the voice and to whom it belongs. Outlining how the voice is linked to ideas of racial essentialism and authenticity, Eidsheim untangles the relationship between race, gender, vocal technique, and timbre while addressing an undertheorized space of racial and ethnic performance. In so doing, she advances our knowledge of the cultural-historical formation of the timbral politics of difference and the ways that comprehending voice remains central to understanding human experience, all the while advocating for a form of listening that would allow us to hear singers in a self-reflexive, denaturalized way. Review " The Race of Sound is ... an insightful addition to the growing body of work on the voice.... We continue to live in a time in which Black voices struggle to be heard. The Race of Sound contributes to this struggle in recognition and joins the record of activist scholarship that centres and respects Black humanity."--Natalie Hyacinth "Feminist Review" (3/1/2021 12:00:00 AM) "Like Eidsheim's earlier work, The Race of Sound presents meticulously researched, compelling, and detailed accounts of reception, race, and voice throughout the careers of important historical figures. The author provides ample evidence to support her groundbreaking arguments that will give readers a new understanding of how we construct voice, race, and identity every time we engage in the act of listening."--Victoria Malawey "MUSICultures" (11/22/2020 12:00:00 AM) "Eidsheim demonstrates an impressive ability to weave together different critical modes and diverse topics without faltering in her project.... New and established scholars interested in the study of race, gender, voice, and/or African American musics will find much to engage with in Eidsheim's push toward nonessentializing listening."--Alex C. Valin "Women and Music" (8/1/2020 12:00:00 AM) " The Race of Sound is brimming with insight and originality. Not every chapter contributes new knowledge (e.g., Eidsheim is not the first to note that black classical singers were constrained by listener expectations), but in tandem they constitute a groundbreaking argument that should inform all listeners and be part of all music courses. If enough readers take Eidsheim's work to heart, we can begin to counter the effect of institutions that create and perpetuate the racialized voice."--Sandra Jean Graham "ARSC Journal" "An important read within sound studies and race studies."--Jeff Donison "Journal of Radio & Audio Media" (11/1/2019 12:00:00 AM) "Should be required reading in music education--and no doubt it will become required reading in many academic disciplines that touch on voice studies."--Marit MacArthur "Yale Review" (11/1/2018 12:00:00 AM) Review “In her own magisterial voice, Nina Sun Eidsheim speaks outward from musicology to scholars in a host of cultural studies-oriented fields, doing indispensable work to make nuanced and collaborative discussions possible across borders many have considered impermeable. This brilliant book will be the benchmark for discussions of voice, sound, and race for many years to come.” (Gustavus Stadler, author of Troubling Minds: The Cultural Politics of Genius in the United States, 1840–1890) “Voice is ‘a thick event’ in Nina Sun Eidsheim's pathbreaking study of race and vocality. Her visionary work challenges us to rethink and ultimately disassemble the long-standing, putative metrics for reading identity and the body in