Abstract
In charting the “territory between speech and song,” Cummins (2020) identifies various forms of vocal behavior involving “multiple people uttering the same thing at the same time”—what the author calls “joint speech.” I interrogate this conceptual framework in light of specific examples both musical and linguistic, which suggest a usefully expanded category: “collaborative vocality.” At the same time, I also propose a distinctly musical account of joint speech that ultimately affirms the conventional separation between music and language. Central to this account is an analysis of the unique character of singing and an insistence on the centrality of pleasure in musical experience.
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