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Drinker 1948 was an outlier which received attention retrospectively as part of a deliberate historicization of feminist music scholarship (see Solie 1993b). Cusick 1993a and Cusick 1993b were remarkably influential and remain useful today Citron 1993 was part of a larger conversation about altering the musical canon-a conversation that has largely faded, leaving only minimal impact on the music that is regularly played and the repertoire that is taught in universities. McClary 1991 was widely seen-and widely critiqued-as the originary work of feminist musicology. A number of the earliest feminist texts focused on opera see the separate list in Foundational Texts of Opera and Gender or Sexuality. Particular attention has been given here to those works that focus on broader questions of gender and sexuality, rather than those directed at the more limited topic of women and music (cf.
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In recent years, music scholarship on gender and sexuality has become increasingly intersectional, positing both gender and sexuality as axes in a larger context that considers race, ethnicity, class, citizenship, and disability alongside other categorical terms.įoundational Texts of Feminist Musicology Importantly, scholarship on gender and sexuality is often political, not only predicated on an ethical imperative that recognizes the humanity of the scholar, of her readers, and of her music-making subjects, but actively working to untangle or dismantle prejudice and inequality. Each assumes a benefit from working to understand how music functions within society. Music interacts with each of these fields, and the rich descriptive and analytic dimensions of scholarship into gender and sexuality have proved illuminating to questions such as: Who makes music, and for whom? What kind of music is made? How did music signify, how does it signify now? What was represented? How did (or does) musical performance or consumption respond to or shape social norms? Such questions assume that music is a practice-created, appreciated, and utilized by particularly situated people at specific historical times. Both “gender” and “sexuality” mark the bodies and the lived experiences of groups and individuals in ways that provide unequal access to cultural, physical, and psychic resources, including but not limited to behavioral norms, education, careers, finances, and political power. The relevance of gender and sexuality for music scholarship emerges in relation to musical meaning or context, whether historical, ethnographic, or analytic. Importantly, “gender” and “sexuality” are inextricably linked: as Eve Kosofsky Sedgwick makes clear, gender is built into the very definition of the terms “heterosexuality” and “homosexuality.” Gender and sexuality studies are particularly reliant on English-language and specifically North American academic cultures the bibliography reflects this reliance.
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As such, sexuality studies have been strongly influenced by gay and lesbian studies and queer theory. In contrast, the term “sexuality” calls attention to various modes of desire, particularly the ways in which desires are policed and/or authorized by the dominant power structures of a given society. While the term “gender” can indicate a shift away from identity politics and positions, it more frequently represents an attempt at a more inclusive or nuanced set of identities. “Gender studies” thus expands feminist methodologies beyond the topic of “women,” incorporating men and masculinity along with trans*, non-fixed, and cross-gendered subject positions. The term “gender” marks a distinction between a presumed biological sex (male or female) and the systems by which sex differences affect embodied experience (masculinity and femininity). While frequently deployed in amalgamated form, two distinct if related dimensions of scholarly inquiry are invoked. The field of gender and sexuality studies emerged in the wake of feminist musicology and work on women in music (cf.