Review| December 01 2021 The Voice as Something More: Essays toward Materiality, edited by Martha Feldman and Judith T. Zeitlin The Voice as Something More: Essays toward Materiality, edited by MarthaFeldman and Judith T.Zeitlin, with an afterword by MladenDolar. New Material Histories of Music. Chicago: University of Chicago Press, 2019. xv, 375 pp. Naomi Waltham-Smith Naomi Waltham-Smith NAOMI WALTHAM-SMITH is Reader in the Centre of Interdisciplinary Methodologies at the University of Warwick. Her work sits at the intersection of continental philosophy, sound studies, and music theory. She is the author of Music and Belonging between Revolution and Restoration (Oxford University Press, 2017), Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham University Press, 2021), and Mapping (Post)colonial Paris by Ear (Cambridge University Press, forthcoming). Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2021) 74 (3): 667–672. https://doi.org/10.1525/jams.2021.74.3.667 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Naomi Waltham-Smith; The Voice as Something More: Essays toward Materiality, edited by Martha Feldman and Judith T. Zeitlin. Journal of the American Musicological Society 1 December 2021; 74 (3): 667–672. doi: https://doi.org/10.1525/jams.2021.74.3.667 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the American Musicological Society Search The title of this scintillating collection of essays, which grew out of the interdisciplinary Voice Project and an international conference, is a self-conscious reworking of Mladen Dolar’s A Voice and Nothing More, itself intended ironically as a critique of an idealist reduction, as he explains in his afterword to this volume.1 The stakes of the three modifications to the title are all high in their own way. The decision to adopt the definite article for the published collection, unlike the indefinite “a” chosen for the conference, may seem perplexing given the cumulative effect of the sixteen chapters (plus introduction and Dolar’s afterword) to demonstrate, as one might say with Jean-Luc Nancy, that “there is no ‘the’ voice.” Rather, as the editors highlight in their introduction and acknowledge in its title, “The Clamor of Voices,” the voice, if there is such a thing, immediately splinters into myriad things: musical,... You do not currently have access to this content.