This dissertation highlights the importance of vocal registration/production in the ongoing discussion of how the material qualities of the singing voice transmit socially constructed meaning. Using the modern-day countertenor as an example, I show how falsetto singing can act as a marker for gender/sexuality. The first chapter of the project explains the anatomy and physiology of the singing voice, particularly as it applies to the falsetto register and the contemporary countertenor. Then, a brief look at how singing and gender fit within the burgeoning field of voice studies ensues. Chapter 2 inspects theories of vocal gender, identity, and sexuality in regards to vocal embodiment and applies them to the voice, singing, and the contemporary countertenor. Chapter 3 looks at the reception theories of Hans Robert Jauss and Wolfgang Iser in order to pinpoint ways in which social norms can be inscribed on the voice, especially that of the countertenor Klaus Nomi. The last three chapters apply the theories purported in the first half of the dissertation to the contemporary countertenor in three countries–the United States, England, and Japan. Examining the use and appreciation of the countertenor in these different societies provides examples of how the falsetto register, singing, and norms of gender/sexuality are connected in the different social contexts. The epilogue projects how this type of academic inquiry can extend to other types of singing and societies.

Although mythological monsters have rarely been examined in any collective and comprehensive manner, they constitute an important cosmic presence in archaic and classical Greek poetry. This thesis brings together insights from the scholarly areas of 'monster studies' and the 'sensory turn' in order to offer readings of the sounds made by monsters. I argue that the figure of the monster in Greek poetry, although it has positive attributes, does not have a fixed definition or position within the cosmos. Instead of using definitions of monstrosity to think about the role and status of Greek monsters, this thesis demonstrates that by listening to the sounds of the monster's voice, it is possible to chart its position in the cosmos. Monsters with incomprehensible, cacophonous, or dangerous voices pose greater threats to cosmic order; those whose voices are semiotic and anthropomorphic typically pose less serious threats. The thesis explores the shifting depictions of monsters according to genre and author. In Chapter 1, 'Hesiod's Theogony: The Role of Monstrosity in the Cosmos', I consider Hesiod's genealogies of monsters that circulate and threaten in the nonhuman realm, while the universe is still undergoing processes of organisation. Chapter 2, 'Homer's Odyssey: Mingling with Monsters', discusses the monster whom Odysseus encounters and even imitates in order to survive his exchanges with them. In Chapter 3, 'Monsters in Greek Lyric Poetry: Voices of Defeat', I examine Stesichorus' Geryoneis and the presence of Centaurs, Typhon, and Gorgons in Pindar's Pythian 1, 2, 3, and 12. In lyric, we find that these monsters are typically presented in terms of the monster's experience of defeat at the hands of a hero or a god. This discussion is followed by two chapters that explore the presence of the monster in Greek tragedy, entitled 'Centripetal Monsters in Aeschylus' Prometheus Bound and Oresteia' and 'Centrifugal Monsters in Greek Tragedy: Euripides and Sophocles.' Here, I argue that in tragedy the monster, or the abstractly 'monstrous', is located within the figure of the human being and within the polis. The coda, 'Monstrous Mimesis and the Power of Sound', considers not only monstrous voices, but monstrous music, examining the mythology surrounding the aulos and looking at the sonic developments generated by the New Musicians.