Introduction: She’s So Fine, or Why Girl Singers (Still) Matter

Research output: Chapter in Book/Report/Conference proceedingForeword/postscriptpeer-review

2 Citations (Scopus)

Abstract

This chapter deals with the vocal technique of popular girl artists in the late 1950s and early 1960s. It realizes that “vocal technique” and "1960s girl singers” might not be concepts immediately or even easily associated. The voice is a fundamental element of the human identity, both as means of communication and expression of the self, and as a means by which the self is recognized by others. Good vocal technique is, therefore, at least partially a matter of control over vocal quality as a conveyor of meaning; for many repertoires this includes the maintenance of the voice in an optimal condition for maximum control. The voices are breathy, unfocussed and unsupported, and the singers are clearly unable to use any sophisticated vocal coloring. However, any possible discomfort is at least partially mitigated by the well-balanced, multi-tracked unison voices singing in harmony. The absence of “good vocal technique” here unambiguously conveys childishness, rather than precocity.

Original languageEnglish
Title of host publicationShe’s So Fine
Subtitle of host publicationReflections on Whiteness, Femininity, Adolescence and Class in 1960s Music
EditorsLaurie Stras
PublisherRoutledge
Pages1-30
Number of pages30
Edition1st
ISBN (Electronic)9781315087986
ISBN (Print)9781409400516, 9781409436652
DOIs
Publication statusPublished - 28 Aug 2010
Externally publishedYes

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