BUCH
Dichotonies. Gender and Music
Herausgeber: Neumeier, Beate
American Studies – A Monograph Series, Bd. 181
2012
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Bibliografische Daten
Abstract
This volume brings together twenty-one original essays by international scholars from the fields of gender studies, cultural theory, and music studies. Covering a wide range of music genres and theoretical perspectives, the shared concern of all contributions is the underlying concept of gender and sexuality pervading music production and performance as well as its consumption. At the end of the first decade of the new millennium, at a time when once abolished gender boundaries seem to be re-established under the guise of postfeminism, there is a discernible and renewed interest in rekindling the debate about the de- and reconstruction of dichotomies with regard to gender and music as well as with regard to its academic intersections in sociology, literary and cultural studies, musicology, and music theory. Through the shared focus on the interrelation of music and gender in theory and performance, the volume comprises such seemingly disparate categories as Classical and Pop music, Gangsta Rap and Liederspiel and thus contributes to the unsettling of established boundaries and points towards the continuity of important dialogues.
Inhaltsverzeichnis
| Zwischenüberschrift | Seite | Aktion | Preis |
|---|---|---|---|
| Table of Contents | 5 | ||
| Beate Neumeier - Dichotonies - Gender and Music: An Introduction | 9 | ||
| I. Music and Gender: A Historical and Theoretical Dialogue | 21 | ||
| Elisabeth Bronfen - Silencing Voices | 23 | ||
| Melanie Unseld - Silent Voices | 29 | ||
| Chris Weedon - Feminist and Queer Approaches to Music | 33 | ||
| Susan McClary - Why Gender Still (as Always) Matters in Music Studies | 49 | ||
| Fred Everett Maus - Feminism, Music Theory, Time, and Embodiment | 61 | ||
| II. Music and the Gendering of Sound | 75 | ||
| David Beard - From "Heroische Bogenstriche" to "Waldeinsamkeit" | 77 | ||
| Kenneth Gloag - Thomas Adès and the "Narrative Agendas" of "Absolute Music" | 97 | ||
| Andrew Whelan - The "Amen" Breakfast as Fratriarchal Totem | 111 | ||
| Philipp Hofmann - The Twittering Machine: Kate Bush's Becoming-Bird | 135 | ||
| III. Music and the Gendering of Text: On a Textual Note | 145 | ||
| Regula Hohl Trillini - Like Perfect Music unto Noble Words | 147 | ||
| Jennifer Ronyak - Gender and Sociability within the "Schöne Müllerin" Liederspiel | 163 | ||
| Barbara Bradby - Sexy (No No No): the Cool and the Hot in Female Popular Song | 175 | ||
| Leonhard Kreuzer - "Aiming at a Mirror": Towards a Critique of Gangsta Masculinity | 197 | ||
| IV. Music and the Gendering of Performance: On a Performative Note | 217 | ||
| Lawrence Kramer - The Sex of Song: Brigitte Fassbänder's Winterreise | 219 | ||
| Carmen Birkle - Haunting the House of Gender: Marilyn Manson and Gothic Rock | 231 | ||
| Ralph Poole - Arabesk: Nomadic Tales, Oriental Beats, and Hybrid Looks | 245 | ||
| Dirk Schulz - Dancing to the Jailhouse Rock The Pop Prison | 267 | ||
| V. Intermedial Crossovers of Music and Gender: Music in Fiction - Drama - Film | 285 | ||
| Sylvia Mieszkowski - Effeminate Idolatry: the Word and the Violin of Flesh | 287 | ||
| Mita Banerjee - The Cultural Logic of Bad Taste | 305 | ||
| Birgit Däwes - Sound Tracks to the Frontier | 321 | ||
| Beate Neumeier - Contemporary Playwrights Staging Music and Gender | 341 | ||
| List of Contributors | 371 |
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