![]() I find this turn in line with the focus on listener-response in feminist musicology, discussed by Marcia Citron and Joke Dame and inspired by the reader-response criticism in literary studies of Roland Barthes, Wolfgang Iser, Jonathan Culler and others 1 (but Eidsheim does not refer to listener-response theory). To do so, Eidsheim is “listening to listening”, focusing on listening practices, on the reception and interpretation of voices (p. 27-28, 57-58). Eidsheim is “not insisting on a more perfect understanding of the voice”, but instead “aim to confront the continually developing understanding of meaning, the choices and power structures at its base” (p. 21). These three correctives may not cover all aspects of the voice, but are indeed “correctives”, meant to correct “broad misconceptions” about the voice (p. 9, 40). This is in line with the corrective “voice is not innate it is cultural” (p. 9). Listening and vocal practices are cultural practices. Eidsheim argues that the possibilities of the human voice are infinite, and that particular vocal characteristics are the result of cultural influences, formal and informal vocal training, and choices of the vocalizer – “style and technique” (p. 10, 21, 30-37). This is summarized with the corrective “voice is not singular it is collective” (p. 9-11). Moreover, vocalizing is learned by listening to and vocalizing with others – a social practice. Eidsheim summarizes this in the “corrective” “voice’s source is not the singer it is the listener” (p. 9-13, 65). ![]()
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