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254 American Music, Summer 2018 making into r iver City, Iowa, builds community around the townsmen, while the women—after Hill introduces them to the rigid poses of Delsarte—gradually lose importance and, indeed, find their once- prominent voices reduced to rubbish and nonsense chirping (as in the musical number “Pick- a- l ittle, Talk- a- l ittle”). Wilson Kimber draws a connection between the loss of women’s voices in the musical, an emblem of their former independence and a primary measure of power in the community, with the rise of Delsarte performance stylizations dur- ing the late nineteenth century that effectively disciplined women’s bodies and muted their voices. This chapter makes remarkable inroads to fresh analyses of a well-known musical and serves as just one example of how better understand - ing the history and trajectory of elocution might enhance various pockets of the field in unsuspected ways. Wilson Kimber seems concerned primarily with shedding light on the birth, flowering, and subsequent decline of poetic recitation among women; conse- quently, her book unfolds as a rather straightforward historical narrative and not an immediately recognizable contribution to the theory or analysis of voice. Depending on the reader ’s expectations, this may
American Music – University of Illinois Press
Published: Jul 31, 2018
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