UC San Diego

The guiding question of this dissertation is if a non-binary voice is possible, and if so, how? I address this question by analyzing various facets of my creative practice and how I have navigated the ways in which my non-binary gender identity is in conflict with my instrument (which is, arguably, inherently gendered). As part of my analysis, I offer various theoretical frameworks to clarify and illuminate this conflict as it appears in my work. In the introduction, I contextualize my work by reflecting on Sarah Hennies’ Contralto alongside my own relationship with my speaking voice and voice feminization therapy. Chapter 1 and 2 consider technological intervention as a means of liberation as well as oppression; Chapter 1 explores the patterns of silencing the female voice by withholding linguistic meaning from operatic madwomen to 21st century electroacoustic music, whereas Chapter 2 explores the possibilities of vocal effects pedals and a post-gender future. Lastly, Chapter 3 analyzes my band’s multimedia piece, Dawson’sCreamo, and reflects on the early Internet as a queer space.