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Through a consideration of the underwater singing practiced by contemporary American soprano and performance artist Juliana Snapper, this article addresses the inherent relation between materiality and the voice, the sensed and the embodied. I focus on the physical and sensory properties of singers' and listeners' bodies; the space within and the matter through which sound disperses; and how the relation between these aspects plays an integral part in what it feels like to sing, and what it is possible to hear. I aim to demonstrate that a sensory reading of singing and listening may capture dimensions of the voice that are difficult, if not impossible, to account for using conventional analyses of music or standard readings of vocal repertoire. However, a sensory approach to sound does not offer a stable explanation of what sound or music is. Instead each such account unveils a composite manifestation of our understanding of sound at a given moment in time and space.

Marian Anderson’s 1955 Metropolitan Opera debut promised to be a pivotal moment that would create a level playing field for African American singers in U.S. opera. But an examination of Anderson’s career, as well as those of later African American opera stars, reveals that their operatic engagements were often limited to marginalized characters. In attempt to understand this situation, this essay looks to the history of African Americans singing classical music from the mid-nineteenth through early twentieth centuries. Early classical singers’ careers and reception, even certain operatic repertoire, suggest that African American classical voices are heard through a complex filter constituted by perceptions of slaves’ voices, burlesque opera and minstrel shows, resulting in claims that blackness produces peculiar vocal timbres. This article, a case study of listening as a cultural-historical process, posits that perceptual sediments deposited during the abolitionist era continued to shape reception of African American operatic voices throughout later centuries.