Authenticity refers to ideas of the voice as origin or a faithful correspondence to an ideal original. In this sense, vocal authenticity also refers to a discourse of the voice as signature, as distinctive evidence of an individual. More broadly, a discourse of vocal authenticity is produced at the intersection between the aural and visual, between whom we see and what we therefore expect to hear and/or what we hear and therefore whom we expect to see. This latter point is crucial to the field of [and often pleasures associated with] popular music studies whereby musical genre often sets up these types of expectations [i.e. what bodies and voices we associate with opera versus blues versus soul music, for example]. See also: Daphne Brooks, Jacques Derrida, Nina Eidsheim, Simon Frith.

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