Across various literary works, the term "soprano" is employed in both musical and metaphorical contexts. In some texts, such as in Stendhal’s description of a “spiritual state” [1] or Helen Keller’s nuanced observation of vocal tones [2], “soprano” extends beyond a mere technical descriptor, suggesting an elevated, almost transcendent quality. In many other instances, however, the term functions within detailed discussions of musical performance—referenced as a specific vocal range within ensemble arrangements [3, 4, 5, 6, 7] and composed pieces like arias and operatic numbers [8, 9]. Authors like Dumas [10] and Joyce [11, 12] incorporate “soprano” to capture both the appearance of a character’s vocal talent and the social or aesthetic implications associated with that musical role. This multifaceted usage highlights the word’s ability to operate on literal, technical levels as well as in more symbolic or narrative-driven ways throughout literature.