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A Natural Voice?

The mystery of irrecoverable sound is a problem faced by scholars of early music in nearly every aspect of research. All we have at our disposal is musical notation, often fragmentary, and circumstantial evidence, inevitably incomplete, to help us imagine how the music of the past may have sounded. While the scholarly debates surrounding ‘historically informed performance’ have largely abandoned the notion that sonic reconstructions of earlier musical repertories – in the manner of museum pieces – are possible or even desirable, the matter of ‘unknowables’ in the history of music remains central to musicological inquiry. In the introduction to The Castrato: Reflections on Natures and Kinds, Martha Feldman writes,