This book argues that there are some important implications of the role the voice plays in popular music when thinking about processes of identification. The central thesis is that the voice in popular music is potentially uncanny (Freud's unheimlich), and that this may invite or guard against identification by the listener.

This book argues that there are some important implications of the role the voice plays in popular music when thinking about processes of identification. The central thesis is that the voice in popular music is potentially uncanny (Freud''s unheimlich), and that this may invite or guard against identification by the listener.

This book argues that there are some important implications of the role the voice plays in popular music when thinking about processes of identification. The central thesis is that the voice in popular music is potentially uncanny (Freud's unheimlich), and that this may invite or guard against identification by the listener.

This book argues that there are some important implications of the role the voice plays in popular music when thinking about processes of identification. The central thesis is that the voice in popular music is potentially uncanny (Freud''s unheimlich), and that this may invite or guard against identification by the listener.