En savoir plus
Zusatztext From the sirens who transfixed Odysseus to the 'Dark Lady' who prowls through Shakespeare's sonnets! from the ruthless sonic terrorism of Diamanda Galás to state-of-the-art black metal theory! this extraordinary meditation snakes through centuries of shadowy culture to weave together forbidden philosophies of sound! gender! and creativity. It is by turns symphonic! sizzling! and slinky! driven by a tempestuous intellectual energy that gathers obscurities! mysteries! and insurgencies into an unruly hymn - or an unforgiving lament - for the marginalized and defiant voices of the dark feminine. Informationen zum Autor D Ferrett is Senior Lecturer in Music at Falmouth University, UK, where she teaches cultural studies, sound studies and popular music studies. As both a writer and singer, D’s focus on the voice brings together interests in critical theory, ecology, gender studies, improvisation, pop and experimental sound practices.This book examines the concept of 'dark sound', a strand of contemporary music that links the ideas of death, desire and violence with women's and gender studies. Zusammenfassung Dark sound carries the dense cultural weight of darkness; it is the undertow of music that embodies melancholy, desire, grief, violence, rage, pain, loss and longing. Compelling and unnerving, dark sound immerses bodies in the darkest moments and delves into the depths of our hidden inner selves. There is a strangely perverse appeal about music that conjures intense affective states and about sound that can move its listeners to the very edge of the sayable. Through a series of case studies that include Moor Mother, Anna Calvi, Björk, Chelsea Wolfe and Diamanda Galás, D Ferrett argues that the extreme limits and transgressions of dark sound not only imply the limits of language, but are moreover tied to a cultural and historical association between darkness and the feminine within music and music discourse. Whilst the oppressive and violent associations between darkness and femininity are acknowledged, the author challenges their value to misogynistic, racist, capitalist and patriarchal power, showing how dark sound is charged with social, creative and political momentum. Inhaltsverzeichnis Acknowledgements Introduction: Cosmologies of dark feminine soundings1. Rewiring love-sick text and listening for the dark lady2. At the frozen borderline of a music lover’s discourse: The dark white voice3. Open to the demonic: A sonic articulation of desire4. The black hole song of unsounding mothers 5. Becoming-shadow thing, becoming-witch: Chelsea Wolfe’s heavy mourning dirge 6. Abject virtuosa, darkened virtuosity: Diamanda Galás and swarms of powerConclusion. Of the refrain: Is the future dark? Notes References Index ...
