Feminine Endings: Music, Gender, and SexualityU of Minnesota Press, 2002 - 248 páginas A groundbreaking collection of essays in feminist music criticism, this book addresses problems of gender and sexuality in repertoires ranging from the early seventeenth century to rock and performance art. ". . . this is a major book . . . [McClary's] achievement borders on the miraculous." The Village Voice"No one will read these essays without thinking about and hearing music in new and interesting ways. Exciting reading for adventurous students and staid professionals." Choice"Feminine Endings, a provocative 'sexual politics' of Western classical or art music, rocks conservative musicology at its core. No review can do justice to the wealth of ideas and possibilities [McClary's] book presents. All music-lovers should read it, and cheer." The Women's Review of Books"McClary writes with a racy, vigorous, and consistently entertaining style. . . . What she has to say specifically about the music and the text is sharp, accurate, and telling; she hears what takes place musically with unusual sensitivity."-The New York Review of Books |
Índice
| 3 | |
Constructions of Gender in Monteverdis Dramatic Music | 35 |
Sexual Politics in Classical Music | 53 |
Excess and Frame The Musical Representation of Madwomen | 80 |
Getting Down Off the Beanstalk The Presence of a Womans Voice in Janika Vanderveldes Genesis II | 112 |
This Is Not a Story My People Tell Musical Time and Space According to Laurie Anderson | 132 |
Living to Tell Madonnas Resurrection of the Fleshly | 148 |
Notes | 169 |
Index | 213 |
Otras ediciones - Ver todo
Feminine Endings: Music, Gender, and Sexuality, Parte 7 Susan McClary No hay ninguna vista previa disponible - 2002 |
Feminine Endings: Music, Gender, and Sexuality, Parte 5 Susan McClary No hay ninguna vista previa disponible - 2002 |
Términos y frases comunes
artists beanstalk Bizet Bizet's Bloomington body cadence Cambridge Carmen Chapter characters chromaticism classical music closure composition concerned constructions context conventions Critique deconstruction demonstrate desire discussion dramatic enacted erotic essays female Feminine Endings Feminism feminist criticism film finally Foucault frame gender and sexuality Genesis Genesis II genre identity images Indiana University Press instance issues José José's Joseph Kerman L'incoronazione di Poppea L'Orfeo Lauretis Laurie Anderson likewise listeners Lucia madness Madonna madwoman male Mary Ann Doane masculine means metaphors Minneapolis Minnesota Press models Monteverdi movement music theory musical discourse musicians musicology narrative nineteenth-century opera Orfeo organized patriarchal performance piece pitch pleasure political Poppea Postmodernism procedures Renaissance repertory representation rhetorical Robert Walser Schoenberg semiotic seventeenth century social sonata song strategies structure Susan Susan McClary symphony Tchaikovsky Teresa de Lauretis theme theorists tion tonal tonic traditional trans University of Minnesota Vandervelde voice Western music woman York
Pasajes populares
Página 108 - After many unsuccessful attempts during a period of approximately twelve years, I laid the foundations for a new procedure in musical construction which seemed fitted to replace those structural differentiations provided formerly by tonal harmonies.
Página 197 - Sandra M. Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (New Haven: Yale University Press, 1979...
Página 23 - ... that rhythm is a way of transmitting a description of experience, in such a way that the experience is re-created in the person receiving it, not merely as an 'abstraction...
Página 120 - Sadism demands a story, depends on making something happen, forcing a change in another person, a battle of will and strength, victory/defeat, all occurring in a linear time with a beginning and an end.
Página 14 - In so doing, the hero, the mythical subject, is constructed as a human being and as male; he is the active principle of culture, the establisher of distinction, the creator of differences.
Página 200 - Edward T. Cone, Musical Form and Musical Performance (New York: WW Norton, 1968...
Página 65 - The aim of jazz is the mechanical reproduction of a regressive moment, a castration symbolism. "Give up your masculinity, let yourself be castrated...
Página 17 - As a boy [I was] partially ashamed of it — an entirely wrong attitude, but it was strong — most boys in American country towns, I think, felt the same.
Página 200 - I dare suggest that the composer would do" himself and his music an immediate and eventual service by total, resolute, and voluntary withdrawal from this public world to one of private performance and electronic media, with its very real possibility of complete elimination of the public and social aspects of musical composition.
Página 163 - In this video. Madonna confronts the most pernicious of her stereotypes and then attempts to channel it into a very different realm: a realm where the feminine erotic need not be the object of the patriarchal gaze, where its energy can motivate play and nonsexual pleasure.