Leoš Janáček’s 1924 opera Příhody liškyBystroušky (The Cunning Little Vixen) epitomizes the musical “animal play,” a dramatic form wherein the presence of nonhuman animals indexes non-seriousness, whimsicality, and childishness. Bystrouška situates its titular fox within a folkloric tradition, deriving stereotypes from Aesopian and Reynardian “animal fable.” I contend that such performances of foxiness are necessarily zoopolitical in that they characterize a group traditionally excluded from the “political community of humans” (Ludueña 2010). Like other problematic performances of “Others,” musical depictions of foxes rely on preexisting notions of species,and often exoticize, infantilize, and generalize their subjects. Following literary scholar Susan McHugh’s call to construct a proper “narrative ethology” to investigate how “forms of representation matter to the development oftheories of species life” (McHugh 2011), I argue for thes serious examination of how musical representation might harm those we presume to voice.

Tracking how red foxes have been constituted by humans though sound, specifically through articulations of voice, this project locates the fox as a liminal figure in the Western cultural imaginary, subject to conditional appraisals of personhood. Interpreting three disparate cultural sites wherein red foxes come to be “voiced” by humans – via representation in early twentieth-century opera, the listening practices of a New Jersey foxhunting community, and recent discourses around internet videos featuring rescued fur-farm foxes – I ask how the voice is mobilized to demarcate, police, and legitimize boundaries of non/personhood along and across species lines.