Abstract
Music is a visceral experience. It allows audiences to feel its message in and through their bodies. In this essay, I bring together the rhetorical concepts of viscerality and harmony to offer a new approach to feminist musical rhetorical criticism. I argue that recording artists ROES and Sia produce rhetorical harmony by performing and inciting viscerality in “Battle Cry,” and that rhetorical harmony exists when connections are made across difference for social change.
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