{"id":{"repo_id":"oregon","oai_identifier":"oai:scholarsbank.uoregon.edu:1794/29784"},"canonical_url":"https://search.dev.ndltd.org/etd/oregon/oai:scholarsbank.uoregon.edu:1794/29784","repository":{"repo_id":"oregon","name":"University of Oregon","base_url":"https://scholarsbank.uoregon.edu/server/oai/request"},"display":{"title":"Cyborgs in the Studio: Transhuman Vocal Approaches in Gender Nonconforming Recording Artists","abstract":"This project explores the means by which trans and gender nonconforming (GNC) artists use technological manipulations to vocal performance to signify their gender experience. The introduction and literature review (Chapter 1) situates the discussion in the disciplines of voice studies, embodied cognition, and post- and transhumanism. Chapter 2 examines three songs by genderfluid artist Dorian Electra (they/them): “Career Boy,” “Adam and Steve,” and “Ram It Down,” arguing that timbral shifts accomplished via post-production modification provide a means of “dragging” genderfluidity. Chapter 3 examines three songs by transfeminine artist Cleo McKenzie (she/her) aka TAMAGOTCHI MASSACRE: “MFW MIRRORZ :3 :P xD,” “i’m two years on hormones and i’m still sad i want a refund,” and “mirrorsong*.” I situate the analysis of these works in discussions of glitch art as politics and explore notions of embodiment of glitched sounds. Chapter 4 examines two songs by cisgender artist Merrill Garbus (she/her), “Now as Then” and “Colonizer,” which use the post-production techniques of spatial positioning, layering, and reverb to critique white femininity. I close with a brief epilogue in which I address propose a model for viewing transness through the lens of transhumanism.","abstract_html":"This project explores the means by which trans and gender nonconforming (GNC) artists use technological manipulations to vocal performance to signify their gender experience. The introduction and literature review (Chapter 1) situates the discussion in the disciplines of voice studies, embodied cognition, and post- and transhumanism. Chapter 2 examines three songs by genderfluid artist Dorian Electra (they/them): “Career Boy,” “Adam and Steve,” and “Ram It Down,” arguing that timbral shifts accomplished via post-production modification provide a means of “dragging” genderfluidity. Chapter 3 examines three songs by transfeminine artist Cleo McKenzie (she/her) aka TAMAGOTCHI MASSACRE: “MFW MIRRORZ :3 :P xD,” “i’m two years on hormones and i’m still sad i want a refund,” and “mirrorsong*.” I situate the analysis of these works in discussions of glitch art as politics and explore notions of embodiment of glitched sounds. Chapter 4 examines two songs by cisgender artist Merrill Garbus (she/her), “Now as Then” and “Colonizer,” which use the post-production techniques of spatial positioning, layering, and reverb to critique white femininity. I close with a brief epilogue in which I address propose a model for viewing transness through the lens of transhumanism.","abstract_has_math":false,"creators":["Pinkham, Frances"],"institution":"University of Oregon","degree_name":"M.A.","degree_level":"masters","degree_discipline":"School of Music and Dance","degree_department":null,"school":null,"contributors":[],"advisors":["Wallmark, Zachary"],"committee_chairs":[],"committee_members":[],"year":2024,"date_issued":"2024-08-07","date_published":"2024-08-07","updated_at":"2026-08-21T16:47:18Z","subjects":["gender","LGBTQ+","popular music","transgender","transhumanism","voice"],"languages":["en_US"],"rights":["All Rights Reserved."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/1794/29784","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"source_record":{"url":"https://scholarsbank.uoregon.edu/server/oai/request?verb=GetRecord&metadataPrefix=dim&identifier=oai%3Ascholarsbank.uoregon.edu%3A1794%2F29784","prefix":"dim"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Wallmark, Zachary"]},{"key":"dc:creator","label":"Author","values":["Pinkham, Frances"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2024-08-07T22:01:14Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2024-08-07T22:01:14Z"]},{"key":"dc:date.issued","label":"Date","values":["2024-08-07"]},{"key":"dc:publisher","label":"Institution","values":["University of Oregon"]},{"key":"dc:type","label":"Dc Type","values":["Electronic Thesis or Dissertation"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["School of Music and Dance"]},{"key":"thesis:degree_level","label":"Degree Level","values":["masters"]},{"key":"thesis:degree_name","label":"Degree Name","values":["M.A."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Oregon"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["gender","LGBTQ+","popular music","transgender","transhumanism","voice"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en_US"]},{"key":"dc:rights","label":"Dc Rights","values":["All Rights Reserved."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://hdl.handle.net/1794/29784"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This project explores the means by which trans and gender nonconforming (GNC) artists use technological manipulations to vocal performance to signify their gender experience. The introduction and literature review (Chapter 1) situates the discussion in the disciplines of voice studies, embodied cognition, and post- and transhumanism. Chapter 2 examines three songs by genderfluid artist Dorian Electra (they/them): “Career Boy,” “Adam and Steve,” and “Ram It Down,” arguing that timbral shifts accomplished via post-production modification provide a means of “dragging” genderfluidity. Chapter 3 examines three songs by transfeminine artist Cleo McKenzie (she/her) aka TAMAGOTCHI MASSACRE: “MFW MIRRORZ :3 :P xD,” “i’m two years on hormones and i’m still sad i want a refund,” and “mirrorsong*.” I situate the analysis of these works in discussions of glitch art as politics and explore notions of embodiment of glitched sounds. Chapter 4 examines two songs by cisgender artist Merrill Garbus (she/her), “Now as Then” and “Colonizer,” which use the post-production techniques of spatial positioning, layering, and reverb to critique white femininity. I close with a brief epilogue in which I address propose a model for viewing transness through the lens of transhumanism."]},{"key":"dc:title","label":"Title","values":["Cyborgs in the Studio: Transhuman Vocal Approaches in Gender Nonconforming Recording Artists"]}]}],"canonical_facts":{"dc:contributor.advisor":["Wallmark, Zachary"],"dc:creator":["Pinkham, Frances"],"dc:date.accessioned":["2024-08-07T22:01:14Z"],"dc:date.available":["2024-08-07T22:01:14Z"],"dc:date.issued":["2024-08-07"],"dc:description.abstract":["This project explores the means by which trans and gender nonconforming (GNC) artists use technological manipulations to vocal performance to signify their gender experience. The introduction and literature review (Chapter 1) situates the discussion in the disciplines of voice studies, embodied cognition, and post- and transhumanism. Chapter 2 examines three songs by genderfluid artist Dorian Electra (they/them): “Career Boy,” “Adam and Steve,” and “Ram It Down,” arguing that timbral shifts accomplished via post-production modification provide a means of “dragging” genderfluidity. Chapter 3 examines three songs by transfeminine artist Cleo McKenzie (she/her) aka TAMAGOTCHI MASSACRE: “MFW MIRRORZ :3 :P xD,” “i’m two years on hormones and i’m still sad i want a refund,” and “mirrorsong*.” I situate the analysis of these works in discussions of glitch art as politics and explore notions of embodiment of glitched sounds. Chapter 4 examines two songs by cisgender artist Merrill Garbus (she/her), “Now as Then” and “Colonizer,” which use the post-production techniques of spatial positioning, layering, and reverb to critique white femininity. I close with a brief epilogue in which I address propose a model for viewing transness through the lens of transhumanism."],"dc:identifier.uri":["https://hdl.handle.net/1794/29784"],"dc:language.iso":["en_US"],"dc:publisher":["University of Oregon"],"dc:rights":["All Rights Reserved."],"dc:subject":["gender","LGBTQ+","popular music","transgender","transhumanism","voice"],"dc:title":["Cyborgs in the Studio: Transhuman Vocal Approaches in Gender Nonconforming Recording Artists"],"dc:type":["Electronic Thesis or Dissertation"],"thesis:degree_discipline":["School of Music and Dance"],"thesis:degree_level":["masters"],"thesis:degree_name":["M.A."],"thesis:institution_name":["University of Oregon"]},"updated_at":"2026-08-21T16:47:18Z"}