Women & Music

Publication covering music and women.

Articles

Vol. 17, Annual

Queer Responses to Sexual Trauma: The Voices of Tori Amos's "Me and a Gun" and Lydia Lunch's Daddy Dearest
This essay explores the solo musical voice responding to sexual violation. When an artist's solo voice provides the entire musical fabric of a piece about sexual violence, how is the trauma's impact on body and soul inscribed onto that voice, inflecting...
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Hoopskirts, Coffee, and the Changing Musical Prospects of the Bach Women
On June 15, 172.1, nineteen-year-old Anna Magdalena Wilcke took up her post as Hofsangerin (court singer) in the central German principality of Cothen. Hired by the music-loving Prince Leopold and having been recruited for the position by the Kapellmeister,...
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Shall Nation Speak Unto Nation? Grace Williams and the BBC in Wales, 1931-1950
You know it was a marvellous sensation, simply being asked to write something; someone wanting your music. --Grace Williams to A. J. Heward Rees, 1976, referring to the commission of Four Illustrations for the Legend of Rhiannon The generation...
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Blackness in Opera
Blackness in Opera. Edited by Naomi Andre, Karen M. Bryan, and Eric Saylor. Urbana: University of Illinois Press, 2012. 304 pp. Blackness: reference to people of African descent or to cultural representations of people of African descent in...
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Hearts of Pine: Songs in the Lives of Three Korean Survivors of the Japanese "Comfort Women."
Hearts of Pine: Songs in the Lives of Three Korean Survivors of the Japanese "Comfort Women." By Joshua D. Pilzer. New York: Oxford University Press, 2012. 168 pp. Presented in conjunction with a companion website, http://www.oup.com/us/companion.websites/9780199759576....
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Towards a Twenty-First-Century Feminist Politics of Music
Towards a Twenty-First-Century Feminist Politics of Music. By Sally Macarthur. Burlington, VT: Ashgate, 2010. 210 pp. Driven by the author's desire to reinvigorate feminist musicology using Deleuzian philosophical tools, this book promotes the productive...
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Umm Kulthum: Artistic Agency and the Shaping of an Arab Legend 1967-2007
Umm Kulthum: Artistic Agency and the Shaping of an Arab Legend 1967-2007. By Laura Lohman. Middletown, CT: Wesleyan University Press, 2010. 260 pp. Descriptions of Umm Kulthum (1904-75) are often free of reference to her female identity. Common...
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Vol. 16, Annual

Complementarity and Cultural Ideals: Women's Roles in Contemporary Canadian Powwows
In many First Nations communities across Canada, complementarity between the sexes is recognized as a common philosophical paradigm originating long before contact with non-Natives. (1) Complementarity is not to be viewed as equality or "sameness"...
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"Between Death and Life": Mobility, War, and Marshallese Women's Songs of Survival
Q: Can you tell me about Marshallese music before the missionaries? A: I'm not sure about music before the missionaries, but I know that the women always made battle songs. --Bikinian councilman Majuro, interview by the author, 2009 In 2006...
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Female Singers and the Maladie Morale in Parisian Lyric Theaters, 1830-1850
In 1835 music critic Henri Blanchard wrote a provocative article titled "Les actrices mariees," published in the theater journal Le monde dramatique. The article opened with a mock conversation conveying the critic's concern with morality in Parisian...
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Making Waves: Opening Keynote for the Twentieth Anniversary of the Feminist Theory and Music Conference
It is a great honor to have been invited to deliver this keynote. When we first launched the concept of such an event in Minneapolis twenty years ago, no one could have anticipated that it would still be going full blast in 2011. We all owe its continued...
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Someday They Will Dance
In early 2010 a book chapter by feminist scholar Roberta Lamb asserting that the ostensibly radical MayDay Group is hegemonic and exclusionary drew a firestorm of criticism. (1) Prominent members of the MayDay Group, which is composed largely of music...
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Resounding Chicana Music: Listening to Eva Garza
This essay is based on a keynote address given at the twentieth anniversary of the Feminist Theory and Music conference (FTM II). The keynote address was based on my forthcoming book Dissonant Divas in Chicana Music: The Limits of La Onda (University...
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Reflections on the Twenty-Fifth Anniversary of Women Making Music
What a pleasure it is to be here as a plenary speaker for the twentieth anniversary of the Feminist Theory in Music Conference. It has been so heartening to experience the new work in the field as younger generations continue to rise to the challenges...
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Dusty! Queen of the Postmods
Dusty! Queen of the Postmods. By Annie Janeiro Randall. Oxford: Oxford University Press, 2008. 240 pp. Annie Randall's groundbreaking book on Dusty Springfield has now been in print for over three years, but you wouldn't know it. Although this review...
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Songs in Black and Lavender: Race, Sexual Politics, and Women's Music
Songs in Black and Lavender: Race, Sexual Politics, and Women's Music. By Eileen Hayes. Urbana: University of Illinois Press, 2010. 248 pp. I was fortunate enough to have been able to take an excellent seminar on women and music in graduate school....
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Sounding Out!
Sounding Out! By Madelyn Byrne, Renee T. Coulombe, Linda Dusman, Mara Helmuth, Kristin Norderval, and Anna Rubin. Redland, FL: Everglade Records, 2010. DVD. A percussive sound rolls around the listening space just prior to an emergence of numerous...
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Changed for Good: A Feminist History of the Broadway Musical
Changed for Good: A Feminist History of the Broadway Musical. By Stacy Wolf. New York: Oxford University Press, 2011. 306 pp. Stacy Wolf's Changed for Good: A Feminist History of the Broadway Musical deftly traces the changing roles of women in...
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Wagner and the Erotic Impulse
Wagner and the Erotic Impulse. By Laurence Dreyfus. Cambridge, MA: Harvard University Press, 2010. 288 pp. Left to your own devices one evening, you feel a little restless and think to quell the feeling with music. Perhaps you sit down at the piano...
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Pink Noises: Women on Electronic Music and Sound
Pink Noises: Women on Electronic Music and Sound. By Tara Rodgers. Durham, NC: Duke University Press, 2010. 322 pp. The title of Tara Rodgers's Pink Noises: Wornen on Electronic Music and Sound comes from a term in electronic music referring to...
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Vol. 15, Annual

Listening for Willie Mae "Big Mama" Thornton's Voice: The Sound of Race and Gender Transgressions in Rock and Roll
SINGER WILLIE MAE "BIG MAMA" THORNTON'S story will be familiar to many Women & Music readers. Yet I retell it here in a way that emphasizes her voice as an expressive instrument through which she built her career as a musician and that uncovers...
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The Touch of the Violin, the Coldness of the Bell: Synaesthesia, Mimesis, and the Unlocking of Traumatic Memory in Bunita Marcus's "The Rugmaker" and Andra McCartney's "Learning to Walk"
When I started this piece, I didn't remember. I had post-traumatic stress disorder. I thought I was writing a piece about making rugs. (1) [ILLUSTRATION OMITTED] I always had a fascination with bell sounds, and it was only after I had amassed...
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Trauma and Recovery in Germaine Tailleferre's Six Chansons Francaises (1929)
DURING THE SUMMER OF 1929 FRENCH composer Germaine Tailleferre (1892-1983) endured the unimaginable. Childless still at the age of thirty-seven and married to New York caricaturist Ralph Barton (1891-1931) for two and a half years--enduring his frequent...
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An Antidote to Metaphysics: Adriana Cavarero's Vocal Philosophy
I am convinced that the best antidote to meta-physics is singing. Adriana Cavarero with Elisabetta Bertolino, "Beyond Ontology and Sexual Difference: An Interview with the Italian Feminist Philosopher Adriana Cavarero" The body of the voice/the...
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Vol. 14, Annual

Performing Sentiment; or, How to Do Things with Tears
She does not look at us. She is one of those who do not look at us ... Everything seems domestic. And yet such a strangeness wells up in our eyes, like tears. It's that she is already gone, she who is called Bathsheba. But the body remains. That...
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A Dialogue Begins: Nadia Boulanger, Igor Stravinsky, and the Symphonie De Psaumes
IN THE FINAL WEEKS OF SEPTEMBER 1929 Nadia Boulanger retreated to her summer home in Gargenville, France, to afford herself a few moments of peace. She had spent the summer, as she had every summer since 1921, teaching at the Conservatoire americain...
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If Liz Phair's Exile in Guyville Made You a Feminist, What Kind of Feminist Are You? Heterosexuality, Race, and Class in the Third Wave
IN 2008 LIZ PHAIR RELEASED THE FIFTEENTH--anniversary edition of her debut album, Exile in Guyville, on ATO Records. The album, which had been Matador Records' biggest hit of the 1990s but had fallen out of print, created a newfound flurry of publicity...
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The Smyth-Brewster Correspondence: A Fresh Look at the Hidden Romantic World of Ethel Smyth
Write to me always in veiled language as I can't help leaving letters about, & loathe tearing up yours. Ethel Smyth to Harry Brewster, August 2, 1895 DAME ETHEL MARY SMYTH (1858-1944), English composer and suffragette, wrote around a thousand...
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Vol. 13, Annual

Clares in Procession: The Processional and Hours of the Franciscan Minoresses at Aldgate
THE CRANSTON LIBRARY, ENGLAND'S OLDEST public lending library, houses a fifteenth-century manuscript from the English Franciscan convent of the Blessed Virgin Mary and St. Francis outside Aldgate, near the Tower of London. This manuscript, Cranston...
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Bernstein, Homophobia, Historiography
BY THE GENERAL AGREEMENT OF BOTH his champions and his detractors, Leonard Bernstein (1918-90) was American classical music's first megastar, an international icon whose celebrity transcended his field. Perhaps this extraordinary popularity somehow...
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What's Queer about Musicology Now?
THE THREE ARTICLES FEATURED IN THIS "Queer Vibrations" special section of Women & Music initially emerged as a result of an interdisciplinary graduate student conference on music and queer performance held at Cornell University in March 2007. (1)...
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Amor Nello Specchio (1622): Mirroring, Masturbation, and Same-Sex Love
THE LITERAL TRANSLATION OF AMOR hello specchio is "love in the mirror," although "love reflected" provides a better sense of the phrase's meaning. The play by that name was first published in Paris by Giovan Battista Andreini in 1622 and has recently...
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"Do You Nomi?" Klaus Nomi and the Politics of (Non)identification
Klaus was a face--elfin and painted as a Kabuki robot. He was a style--a medieval interpretation of the 21st century via Berlin 1929. He was a voice, almost inhuman in range, from operatic soprano to Prussian general. He was a master performer--a master...
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The Erotics of an Oil Drum: Queercore, Gay Macho, and the Defiant Sexuality of Extra Fancy's Sinnerman
IN 1996 ATLANTIC RECORDS RELEASED AND almost instantly abandoned an album that asserted a uniquely aggressive, macho gay male identity. The songs of Extra Fancy's Sinnerman deal with sadomasochism, violent retribution against gay-bashers, and life...
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Voicing Gender: Castrati, Travesti, and the Second Woman in Early-Nineteenth-Century Italian Opera
Voicing Gender: Castrati, Travesti, and the Second Woman in Early-Nineteenth-Century Italian Opera. By Naomi Andre. Bloomington and Indianapolis: Indiana University Press, 2006. 230 pp. It's 7:36 p.m. As I tighten the Ace bandage that flattens my...
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Women Composers and Music Technology in the United States: Crossing the Line
Women Composers and Music Technology in the United States: Crossing the Line. By Elizabeth Hinkle-Turner. Aldershot, England: Ashgate, 2006. 301 pp., including discography, bibliography, list of Web sites with access to recorded music, and index of...
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O Let Us Howle Some Heavy Note: Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage
O Let Us Howle Some Heavy Note: Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage. By Amanda Eubanks Winkler. Bloomington and Indianapolis: Indiana University Press, 2006. 232 pp. To study the English stage...
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Bay Area Women in Creative Music
Bay Area Women in Creative Music (http://music.mills.edu/bawcm/). Web site maintained by Mills College, Oakland, CA. In 1997, when the Internet was still in its infancy, American composer and educator Pauline Oliveros invited students in her Women...
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Queering the Popular Pitch
Queering the Popular Pitch. Edited by Sheila Whiteley and Jennifer Rycenga. New York: Routledge, 2006. xix + 308 pp. At a "Queering" plenary during the 2003 IASPM (International Association for the Study of Popular Music) international conference...
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Vol. 12, Annual

Remaking the Past: Feminist Spirituality in Anonymous 4 and Sequentia's Vox Feminae
IN HER 1994 REVIEW OF RECORDINGS OF medieval and Renaissance music for the journal Plainsong and Medieval Music critic Tess Knighton distinguished with the heading "Women's Music" a new section devoted purely to female voices. Making note of the increased...
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Gender and Gender Redux: Rethinking Binaries and the Aesthetics of Old-Style Javanese Wayang
IN 1993 I PUBLISHED AN ARTICLE ENTITLED Gender and Gender: Gender Ideology and the Female Gender Player in Central Java." (1) Written when I was literally just out of the field, the article represented my preliminary attempts to untangle my own understanding...
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A Spy in the House of Love
WHAT IS A FEMINIST POP CRITIC? LIKE any ideological stance, this one is made to be fussed with, stretched out, sent to the tailor for a refitting. We might, however, be able to agree on a few fundamentals. To be feminist is to value the experience...
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Calling Ellen Willis: Quarreling with the "Radicals," Loving Consumer Culture, and Hearing Women's Voices
If white radicals are serious about revolution, they are going to have to discard a lot of bullshit ideology created by and for educated white middle-class males. Ellen Willis, quoted in "Women and the Myth of Consumerism," Ramparts (1969) I...
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The Write to Rock: Racial Mythologies, Feminist Theory, and the Pleasures of Rock Music Criticism
WITNESS HOW, IN THE HANDS OF TENACIOUS D, the self-proclaimed "greatest rock band of all time," the history of rock and roll--a hallowed history that mainstream rock music critics have been repeating in varied forms for decades now--comes to life in...
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The Sublime, the Ineffable, and Other Dangerous Aesthetics
IN THE MID-1980s JEAN-LUC NANCY OBSERVED that "the sublime is in fashion" ([1988] 1993, 25), reminding us that aesthetic categories have a history despite the tendency to naturalize and universalize aesthetic experience. (1) In recent music studies...
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Garden Disputes: Postmodern Beauty and the Sublime Neighbor: A Response to Judy Lochhead's "The Sublime, the Ineffable, and Other Dangerous Aesthetics"
IT MAY SURPRISE SOME OF YOU TO KNOW that Theodor Adorno authored the following: "Every thought resembles play." For those who feel that thought should remain beholden unto the job at hand, "divergence from the facts becomes mere wrongness, the moment...
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Musicology after Identity-Four Fragments
And so, one must accept that the hyperbolic could well end up as a grain of sand. This is, of course, the fate of all actions. Since thought is also an action, since it is not in opposition to action, it must undergo the same fate. Jacques Derrida,...
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Experience, Borders: "How, Therefore, Must We Live?" A Response to James Robert Currie
WHILE TAKING MARKEDLY DIFFERENT paths, James and I arrive eventually at the issue of subjectivity as it has been figured in musicological thought at the turn of the millennium. I am in total sympathy with his points and share with him a sense of unease...
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Vol. 11, Annual

"The Call of Salome": American Adaptations and Re-Creations of the Female Body in the Early Twentieth Century
"IT IS ANNOUNCED ON GOOD AUTHORITY," A New York Times writer joked in August 1908, "that the management at the New Amsterdam Theater has been exceptionally active in guarding against outbreaks of Salomania among members of the company. As soon as any...
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Thinking (as) Difference: Lesbian Imagination and Music
PHILIP BRETT'S DECLARATION, "ALL MUSICIANS ... are faggots" (2006, 17-18, emphasis in original), both recalls and refers to the deviant social positionalities of musicians--regardless of their sexual practices--in Western societies. Moreover, Brett...
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"Excellence in Execution" and "Fitness for Teaching": Assessments of Women at the Conservatoire Americain
IN 1921 GERMAN-BORN AMERICAN CONDUCtor Walter Damrosch and French conductor and composer Francis Casadesus opened a new school for American musicians in the Palais de Fontainebleau, just outside of Paris. This school, which became known as the Conservatoire...
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Keeping Time with Lesbians on Ecstasy
IN A NEW PROJECT ON "THE POLITICS OF knowledge in an age of stupidity" entitled Dude, Where's My Theory, I have been trying to produce, identify, and enact alternative modes of knowledge production associated with queer modes of being. My intent in...
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Listening to Gender: A Response to Judith Halberstam
THE AURAL DIMENSIONS OF GENDER AND sexuality--voice and music--have haunted the margins of theory but have seldom factored as centrally as the visual. "Scopophilia"--the privileging of sight--has become a mainstay in theory, tied to physical morphology,...
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Vol. 10, Annual

Creating Madame Landowska
THE FAMOUS POLISH HARPSICHORDIST Wanda Landowska has recently been characterized as an "uncommon visionary" and an "epochal exception." (1) Such epithets recognize her as a singularly influential musician and, at the same time, mythologize her into...
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The Taste of Love: Salome's Transfiguration
IN THIS ARTICLE I OFFER A REZEPTIONSGESCHICHTE of the premiere of Richard Strauss's Salome within a framework informed by postcolonial theories of race. In 1905 audiences at Dresden's Konigliches Opernhaus interpreted the work as a Judenoper, but not...
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Music, Novels, and Women: Nineteenth-Century Prescriptions for an Ideal Life
"I am sure if I were in the wildest paroxysm of anger, your [singing] voice would soothe me into peace" [said Moreland]. "But you never have such paroxysms," said [Eulalia].... "You do not know me, my Eulalia. My bosom is the couchant lion's...
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"Like Horses to Water": Reconsidering Gender and Technology within Music Education Discourses
THE MUSIC PROGRAMS MANY OF US remember from our childhoods simply no longer exist: some have been cut back beyond recognition, while others have been reshaped by new technologies, including musical instrument digital interface (MIDI), computers, sequencers,...
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Not Your Mother's Racial Uplift: Sweet Honey in the Rock, Journey, and Representation: Sweet Honey in the Rock: Raise Your Voice
Not Your Mother's Racial Uplift: Sweet Honey in the Rock, Journey, and Representation: Sweet Honey in the Rock: Raise Your Voice. Produced and directed by Stanley Nelson. New York: Thirteen/WNET, 2005. Videodisc (84 mins.). FOR THE PAST THREE DECADES...
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25 Plus Piano Solo. 25 Jahre Frau Und Musik. Jubilaumsausgabe
25 Plus Piano Solo. 25 Jahre Frau und Musik. Jubilaumsausgabe. Schriftenreihe Frau und Musik, Internationaler Arbeitskreis e.V., vol. 5- Kassel: Furore-Verlag, 2004. Fanny Hensel: Klaviermusik--eine Auswahl. Fanny Hensel zum 200. Geburtstag 2005....
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A Problem like Maria: Gender and Sexuality in the American Musical
A Problem Like Maria: Gender and Sexuality in the American Musical. By Stacy Wolf. Ann Arbor: University of Michigan Press, 2002. By her own account, Stacy Wolf wrote A Problem Like Maria to try to make sense of her own passionate attachment to...
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Venus Boyz
Venus Boyz. Directed by Gabriel Bauer. New York: First Run Features, 2004. Videodisc. This documentary, filmed in New York and London, focuses on drag kings and on women who, for a variety of reasons, explore aspects of masculinity through performance...
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Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon
Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon. By Ellie M. Hisama. Cambridge Studies in Music Theory and Analysis, Ian Bent, general editor. Cambridge: Cambridge University Press, 2001. Figures, tables, musical...
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Vol. 9, Annual

Letter from the Editor
I FIND IT A HUMBLING, EVEN A DAUNTING, honor to write this, my first page as Women and Music's editor in chief. It is an honor to have been entrusted with three years of this journal's life, and it is both humbling and daunting to succeed Women and...
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Re-Presenting Dalit Feminist Politics through Dialogical Musical Ethnography
CONDUCTING FIELDWORK AMONG SUBaltern populations in South India, I have come to define ethnomusicological fieldwork as an experience of dialogical exchange of music and its values. When feminist and Dalit (formerly so-called untouchable) politics are...
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A Resisting Performance of an Appalachian Traditional Murder Ballad: Giving Voice to "Pretty Polly"
It ain't about how pretty you sing, it's all about bow good you tell the story. Dellie Norton, traditional ballad singer, Madison County NC, as told to the author by Sheila Kay Adams, Norton's great-niece, 7 November 2004 SCENARIO 1: MY PARTNER'S...
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Kate Bush's Subversive Shoes
If I can't dance I don't want to be in your revolution. Emma Goldman, 1869-1940 IF YOU KNOW THE LURID DETAILS OF HANS Christian Andersen's fairy tale "The Red Shoes," then Kate Bush's song of the same name presents a fascinating twist. A dance...
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Sounding the Frauenseele: Gender, Modernism, and Intertextuality in Alban Berg's "Uber Die Grenzen," Op. 4, No. 3
WHEN SCHOLARS DESCRIBE SOCIETAL and intellectual trends in the late nineteenth and early twentieth centuries that affected musical modernism, they often include technological innovation, urbanization, and positivism, among other important factors....
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Nurturing Herself, Nurturing Her Baby: Creating Positive Experiences for Firsttime Mothers through Lullaby Singing
BECOMING A MOTHER IS ONE OF THE MOST defining moments in a woman's life. For the majority of women today the joys of motherhood are both real and plentiful. However, hand in hand with the great joys of motherhood can come great sorrow, anger, frustration,...
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(Left out in) Left (the Field): The Effects of Post-Postmodern Scholarship on Feminist and Gender Studies in Musicology and Ethnomusicology, 1990-2000
SINCE THE PUBLICATION OF WOMEN AND Music in Cross-Cultural Perspective in 1987 I have watched the steady growth of feminist and, more recently, genderist studies in musicology and ethnomusicology. (1) Heavily influenced by postmodern theories derived...
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Radical Harmonies
Radical Harmonies. Dee Mosbacher (Executive Producer/Director), Boden Sandstrom (Coproducer), Margie Adam (Associate Producer), June Millington (Associate Director). San Francisco: Woman Vision, 2002. Videodisc (88 mins.). RADICAL HARMONIES, AN...
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Right to Rock: The Black Rock Coalition and the Cultural Politics of Race
Right to Rock: The Black Rock Coalition and the Cultural Politics of Race. By Maureen McMahon. Durham NC: Duke University Press, 2004. Bibliography, index. Black rock has long seemed an impossibility. Anthropologist Maureen McMahon's new study explores...
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Vol. 8, Annual

Masculinity and Legitimacy on the English Musical Stage: The Mature Male, 1800-1845
THAT MUSIC HOLDS AN UNCERTAIN PLACE in Anglo-American culture is clear to many musicians sensitive to issues of respect. Although widely enjoyed, from Elizabethan times it has sometimes failed to receive a degree of esteem consistent with its extensive...
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Women as Religious and Political Praise Singers within African Institutions: The Case of the CCAP Blantyre Synod and Political Parties in Malawi
THIS COLLABORATION BETWEEN THE FOLKlorist Lisa Gilman and the ethnomusicologist Clara Henderson explores the roles played by women in two types of institutions in Malawi: on the one hand, political parties, and on the other, Blantyre Synod of the Church...
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Are We There? Women's Studies in a Professional Music Program
THIS ESSAY REFLECTS MY EXPERIENCE OVER the past fourteen years as a music history teacher. Therefore it seems fitting, before turning to the question in the title, to describe my particular situation. I teach at the Oberlin College Conservatory of...
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Feminist Waves and Classical Music: Pedagogy, Performance, Research
WHEN JUDY TSOU ASKED ME TO PARTICIPATE in this session, I was excited but didn't know what I'd speak about. Not long after, a newsletter from the women's studies program at Rice came my way. It was titled "A Special Issue Highlighting 'Young Feminism.'"...
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Composer Rhian Samuel: The Female Viewpoint and Welsh Influences in Her Vocal Music
THE ENTRY FOR THE BRITISH COMPOSER Rhian Samuel in the Norton/Grove Dictionary of Women Composers states, "Samuel's understanding of vocal genres betokens her Welsh background as well as American influences; they come together in her direct, sympathetic...
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Controversy and Conflict in the Henry Street Settlement Music School, 1927-1935
IN 1971 HELEN HALL (1892-1982), THE president of the National Federation of Settlements, published Unfinished Business in Neighborhood and Nation, memoirs of her tenure as Henry Street Settlement's second director. (1) The book relates many of the...
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Vol. 7, Annual

Yanyuwa Women Play Too: Didjeridu Performance at Borroloola, N.T
ORIGINATING IN THE ARNHEM LAND region of the top end of northern Australia, today the didjeridu is variously recognized both as a symbol of Yolngu culture and pan-Aboriginal identity and as a distinctly Australian icon. Measuring approximately 1.3...
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Male Fantasies in Einar Englund's Symphony No. 1: The Symphony as a Technology of Male Gender Articulation
THIS ARTICLE ADDRESSES THE CULTURAL and social appreciation linked with Einar Englund's Symphony No. 1 (1946), involving the audience, the composer, and the performers, and particularly how male gender articulation was enhanced by the symphony. Addressing...
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"Jelly Jelly Jellyroll": Lesbian Sexuality and Identity in Women's Blues
Mama she told me, my jellyroll wasn't right Well I can jelly'n'jelly jelly, jelly makes my life Well upside down, right side up, Give it to me baby till I've had enough jelly'n'jelly'n'jelly'n'jelly, jelly jelly jellyroll --Faith...
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Funk, or "It's a Man's Man's World": Genre Subversion in "Flirtin' Is a Flo-Thing" by Jane Siberry
OWING TO THE PREVALENCE OF AFRICAN-diaspora musical characteristics in funk, this genre of popular music was uniquely suited to express black nationalism in the 1970s. (1) For this reason, perhaps, funk frequently failed to achieve crossover success...
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Annual

"Love Is the Essence of the Eternal Feminine": Richard Wagner's Concept of Femininity with Reference to Brunnhilde
The use of gender-specific metaphors in Richard Wagner's writings and his treatment of women's roles in his music are subjects that have yet to undergo examination. Since the question of gender is a constituent part of social relationships, and...
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Their Paths, Her Ways: Comparison of Text Settings by Clara Schumann and Other Composers
Literary scholars have long recognized that gender can influence how writers present narratives. In particular, a number of feminist literary theorists, such as Sandra Gilbert and Susan Gubar, have discussed the tendency for women to adopt a perspective...
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The Spirit of '77: Punk and the Girl Revolution
In 1976 the Slits, the first all-female punk band, performed their version of the 1960s classic "Heard It through the Grapevine."--To the uninitiated, their guitar fumblings, unpolished vocal style, and uneven percussion labeled the Slits as an...
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Annual

An Operatic Skeleton on the Western Frontier: Zitkala-Sa, William F. Hanson, and the Sun Dance Opera
"Braves Aid in Indian Opera at Utah Presentation ... A Full-Blooded Sioux Co-Author." (1) So runs part of the Musical America headline reporting the premiere of an opera on a Native American subject, created in part by a Native American woman. Built...
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Baakisimba: Constructing Gender of the Baganda (of Uganda) through Music and Dance
There is a dialectic relationship between baakisimba and gender constructions among the Baganda people of Uganda. (1) On the one hand, baakisimba--the term denotes a drum, a music genre, and dance type accompanied by this music--participates in the...
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Helene De Montgeroult and the Art of Singing Well on the Piano
In 1794 the most bloody stage of the French Revolution came to an end when Maximilien Robespierre, the leading figure of the Committee of Public Safety, who had been obsessed with the elimination of any perceived threats to the Revolutionary cause,...
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"Eve ... Blowing in Our Ears"? toward a History of Music Scholarship on Women in the Twentieth Century
The origin of this article was a talk I was invited to give in Toronto at the conference Musical Intersections 2000, a millennial joint meeting of fourteen societies devoted to the scholarly study of music. Writing on behalf of five societies' Committees...
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"R-E-S-P-E-C-T (Find out What It Means to Me)": Feminist Musicology and the Abject Popular
As a feminist first and a musicologist second, my research and teaching start from the premise that the work I do matters, and it matters in a way that can be called political. It is more than embracing the well-worn feminist belief that "the personal...
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Annual

Musical Gender in Performance
AS A UNIQUE HUMAN EXPRESSION THAT combines our bodily and cultural identity with idiosyncratic creativity, music provides an interesting setting for gender performance and negotiation in all sociohistorical and cultural contexts. In this article I...
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Thoughts on the Study of Gender in Ethnomusicology: A Pedagogical Perspective
IN RECENT YEARS, SOME OF THE MOST exciting, challenging, and ground-breaking work in historical musicology has been done by feminist musicologists. Their work is exciting because it has brought to light a new cast of characters--long-forgotten women...
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Separate but Equal? Sexual Politics in the Barbershop
"The Tyneside Ladies Barbershop Chorus was formed in 1973 by a few barbershop widows, but this nucleus was soon the minority when women realised that they too could sing in the barbershop style--and enjoy the pleasure of its fellowship and goodwill."...
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Margaret Cecil, Lady Brown: "Persevering Enemy to Handel" but "Otherwise Unknown to History"
THE IMPRESSION SO EASILY OBTAINED from the literature is that Margaret Cecil, Lady Brown, in the words of Charles Burney, "distinguished herself as a persevering enemy to Handel."(1) Burney was the first author to name her straightforwardly in a publication...
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Annea Lockwood's Burning Piano, Scruffed Stones, and Noble Snare: Feminist Politics and Sound Sources in Music
DURING THE 1960S AND 1970S, experimental composer Annea Lockwood charted a bold path in terms of her relationship with sound and its sources. From her works featured in Source magazine through her environmental soundscapes to her present practice,...
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Weavings: Native Women's Music, Poetry, and Performance as Resistance
USING WHATEVER HIDE, FUR, PLANT material, or fabric that was available, native women(1) have woven intricate patterns since ancient times.(2) Currently, this represents an activity of both necessity and artistic expression. As a metaphor, weaving reveals...
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