This thesis explores the multifaceted dynamics of voice, performance, and identity within the context of NBC's popular singing competition, The Voice. The show's blind audition format, which focuses solely on the sonic qualities of contestants' voices, sets the stage for an investigation into the complexities of acousmatic sound and the decoupling of sight from sound. By examining the journeys of two contestants, Rayshun LaMarr and Jordan Smith, this study aims to uncover the theoretical contributions they bring through their exploration of voice.

Chapter 1 delves into the audition of Rayshun LaMarr, a Black male contestant in season fourteen. Through the lens of acousmatic sound, the chapter explores LaMarr's performance, analyzing how issues of race and gender intertwine with the perception of his voice. It delves into the active role of listeners in shaping the sonic feedback-identity loop and engages with philosophical questions of perception raised by scholars like Nina Eidsheim.

Chapter 2 focuses on Jordan Smith, the winner of season nine, whose trajectory on The Voice offers insights into the intersections of race, gender, and performance. Examining Smith's blind audition, the chapter uncovers how he taps into a longer history of minstrelsy and Blackface, highlighting the ways in which audiences consume music influenced by Black vocal techniques presented within different racialized and gendered contexts. The chapter traces Smith's progress through various rounds, illustrating the destabilization and simultaneous reward of gender, sexual orientation, and race.

The thesis also explores key terms such as the voice, genre, and identity. It investigates the voice as both a material and metaphorical entity, considering its significance as a sonic signifier. Genre is examined as a proxy for identity, illuminating how categories and boundaries are constructed and sustained. Additionally, the study embraces an intersectional understanding of identity, drawing upon the racial formation framework proposed by Omi and Winant.

In conclusion, this thesis acknowledges the role of structures in shaping social legibility and emphasizes the power of storytelling in relation to the voice and the identities it embodies. By critically examining The Voice as a cultural phenomenon, this research uncovers the nuanced ways in which sound, performance, and identity intersect, ultimately contributing to a broader understanding of the voice as a complex and transformative medium.