Index

   CONTENTS

   Illustrations • viii 
   Acknowledgments • xi 
   Introduction • 1

1  MUSIC’S MATERIAL DEPENDENCY
   What Underwater Opera Can Tell Us about Odysseuss Ears • 27

2  THE ACOUSTIC MEDIATION OF VOICE, SELF, AND OTHERS • 58

3  MUSIC AS ACTION
   Singing Happens before Sound • 95

4  ALL VOICE, ALL EARS
   From the Figure of Sound to the Practice of Music • 132

5 MUSIC AS A VIBRATIONAL PRACTICE 
   Singing and Listening as Everything and Nothing • 154

   Notes • 187 
   Bibliography • 241 
   Index • 261

1.1  Juliana Snapper singing underwater • 28
1.2  Ron Athey on the Judas cradle • 30
1.3  Juliana Snapper singing upside down in Judas Cradle • 38
1.4  Juliana Snapper singing in bathtub • 42
1.5  Snapper singing in water tank • 42
1.6  Snapper with two tenders • 43
1.7  Eidsheim and Bieletto in pool • 44
2.1  Audible and acoustic factors • 67
2.2  Songs of Ascension, Oliver Ranch, Geyserville, CA • 73
2.3  Songs of Ascension, Stanford University, Palo Alto, CA • 76
2.4  Songs of Ascension, Guggenheim Museum, New York, NY • 76
2.5  Songs of Ascension, Disney Hall, Los Angeles, CA • 77
2.6  Map of Union Station, Los Angeles, CA • 83
2.7  Overture of Invisible Cities, Union Station • 84
2.8  Dancers during performance of Invisible Cities • 86
2.9  Invisible Cities, rehearsal • 86
2.10 Singer with cellphone; audience with headset • 88
3.1  Speechjammer • 98
3.2  Three Noisy Clothes costumes • 106
3.3  Person bending down; person standing • 107
3.4  Silhouettes of clothes • 107
3.5  Early list of body movements, Body Music • 114
3.6  Early abandoned sketch, Body Music • 117
3.7  Draft of section of final iteration of Body Music • 119
5.1  Wheel of Acoustics • 166
5.2  Vibratory Model of the Human Body • 173