Women & Music

Publication covering music and women.

Articles from Vol. 12, Annual

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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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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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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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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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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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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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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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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