This article discusses how the experience of vocal estrangement re-establishes coherence in various sociocultural contexts, considering world music vocality alongside such practises as lament, shamanic healing vocals, and western operatic singing. These timely events will feature new collaborative art (music, dance, theater, poetry, and video) that reflects on what home means right now, and weaves. However, it also begs the deeper question of what it is about ‘strange’ or exceptional vocality that draws in listeners, and what kind of work such vocality accomplishes.
by its presence alone, it need not be indicated obligato.71 Lawrence. This phenomenon appeared as a quotidian coping mechanism following the ethnic, racial, and gender pluralisation of western popular music during the 1980s. analysis of obligato terminology at work in Breitkopf music catalogues locates one. In one respect, these vocals often get positioned against western musical signifiers of the ‘modern’-particularly digitally-mediated styles-in order to both mesh with its promise of transcendence and also to add an authenticating element to a milieu constructed as technological and, hence, artificial. Real World Records, Peter Gabriel’s seminal world music label, has devoted its artist roster to distinctive vocalists such as Nusrat Fateh Ali Khan (Pakistani), Yungchen Lhamo (Tibetan), and Sevara Nazarkhan (Uzbek), and the sampling of indigenous vocals by ethno-techno producer groups such as Deep Forest and Enigma produced international hits during the 1990s. The perseverance of world music as a marketing category has rested heavily upon vocals that sound exotic to western cosmopolitan ears.
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