The Race of Sound – Why Do We Think We Can Hear Race Vocally?
Thursday 24th October 2024, 5:00 PM - 7:00 PM (London Time)
Why and how do we make assumptions about a person’s race, gender, or age based on the timbre of their voice? Within the context of the United States, we will examine historical precedents for racialized listening to voices as well as contemporary realities, utilizing a framework for critically interrogating the racializing processes embedded in vocal and listening practices. The case studies we will draw on range from classical voices (such as Marian Anderson’s) to jazz (Jimmy Scott) and voice technologies (the vocal synthesis software Vocaloid). In considering the physiological basis for voice, we learn that there are actually no racial markers. And in taking the power of formal and informal voice lessons seriously, we can begin to deconstruct how voices and listening strategies are shaped within a racialized world.
This session will draw from my book The Race of Sound: Listening, Timbre, and Vocality in African American Music (Duke University Press, 2019).
Nina Eidsheim
Nina Eidsheim is the author of Sensing Sound: Singing and Listening as Vibrational Practice and The Race of Sound: Listening, Timbre, and Vocality in African American Music, and co-editor of the Oxford Handbook of Voice Studies and Refiguring American Music.
Attend this course for as little as £22 as part of the Voice Professional Training CPD Award Scheme.
Learn MoreSorry, this is an archived short course...
We have plenty of upcoming short courses coming soon. See details of some of them below or look at the full list of short courses.
Tuesday 22nd July 2025
5:00 PM - 7:00 PM
Tuesday 29th July 2025
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5:00 PM - 7:00 PM
Tuesday 19th August 2025
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Thursday 24th July 2025
5:00 PM - 6:00 PM
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Dr Caitlin Moore
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Tuesday 29th July 2025
5:00 PM - 7:00 PM
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Dr Autumn Griffin
Join Dr Autumn Griffin as she explores the foundational tenets of jazz pedagogy as both a conceptual and practical framework for teaching, in this two-hour workshop. Drawing from her research in “Towards a Jazz Pedagogy: Learning with and from Jazz Greats and Great Educators,” she’ll investigate how jazz (its historical and cultural legacy, structure, improvisation, and relationality) can be mobilized to inform dynamic, liberatory educational practice!