Recent work has suggested a relationship between vocal fry or “creak” and sex/gender, yet the current research on the meaning of the creaky voice somewhat remains in the field of sociolinguistic theory. Moreover, recent studies in sound culture address the sounding voice while ignoring gender, and contemporary gender theory often analyses the speech- act without considering the sounding voice; in both cases, the gender performativity of vocal fry is not considered. My embodied research aims to address such gaps by combining Extreme Vocal Techniques (EVTs) and queer theory, and by investigating the largely untouched relation between non-conforming identities and the extra-normal voice. Can EVTs offer new methods to address identity issues? And if so, within which framework(s)? Whilst the queer voice is often associated only with the modal register (or normal voice), this paper investigates the non-modal register (creak) and explorers both its social and musical meaning potential.
Premiered at Teatrum Botanicum 2019
Commissioned by PAV Parco Arte Vivente (Turin) and Giulia Mengozzi
Images credit: Raffaele Rezzonico and PAV