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Queer Responses to Sexual Trauma: The Voices of Tori Amos’s “Me and a Gun” and Lydia Lunch’s Daddy Dearest

Queer Responses to Sexual Trauma: The Voices of Tori Amos’s “Me and a Gun” and Lydia Lunch’s... Queer Responses to Sexual Trauma The Voices of Tori Amos's "Me and a Gun" and Lydia Lunch's Daddy Dearest Mary Lee Greitzer his essay explores the solo musical voice responding to sexual violation. When an artist's solo voice provides the entire musical fabric of a piece about sexual violence, how is the trauma's impact on body and soul inscribed onto that voice, inflecting the words and shaping the piece? In the two analyses below, we will see how various nonverbal and bodily/rhythmic dimensions of music and performance, especially vocal timbre, communicate in ways that language by itself does not. As Yvon Bonenfant explains, "Timbre carries connotations of touch through its relationship to the notion of texture. We can perhaps imagine timbre as a complex form of tissue or a touchable fabric. It is layered, multi-faceted and rich with complexity and information."1 My analyses also focus on the ambivalence present in each artist's intuitive response to sexual trauma--the embracing of contradictory perspectives, the ambiguous blurring of "harmful" with "healing"--in these two very different presentations of trauma and transcendence. Note that although "ambivalent" and "ambiguous" are often used colloquially to mean "not caring which of two choices is made," my http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Women and Music: A Journal of Gender and Culture University of Nebraska Press

Queer Responses to Sexual Trauma: The Voices of Tori Amos’s “Me and a Gun” and Lydia Lunch’s Daddy Dearest

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Publisher
University of Nebraska Press
Copyright
Copyright © 2008 the International Alliance for Women in Music.
ISSN
1553-0612
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Abstract

Queer Responses to Sexual Trauma The Voices of Tori Amos's "Me and a Gun" and Lydia Lunch's Daddy Dearest Mary Lee Greitzer his essay explores the solo musical voice responding to sexual violation. When an artist's solo voice provides the entire musical fabric of a piece about sexual violence, how is the trauma's impact on body and soul inscribed onto that voice, inflecting the words and shaping the piece? In the two analyses below, we will see how various nonverbal and bodily/rhythmic dimensions of music and performance, especially vocal timbre, communicate in ways that language by itself does not. As Yvon Bonenfant explains, "Timbre carries connotations of touch through its relationship to the notion of texture. We can perhaps imagine timbre as a complex form of tissue or a touchable fabric. It is layered, multi-faceted and rich with complexity and information."1 My analyses also focus on the ambivalence present in each artist's intuitive response to sexual trauma--the embracing of contradictory perspectives, the ambiguous blurring of "harmful" with "healing"--in these two very different presentations of trauma and transcendence. Note that although "ambivalent" and "ambiguous" are often used colloquially to mean "not caring which of two choices is made," my

Journal

Women and Music: A Journal of Gender and Culture – University of Nebraska Press

Published: Oct 20, 2013

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