MTU Cork Library Catalogue

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Musicology and difference : gender and sexuality in music scholarship / edited by Ruth A. Solie.

Contributor(s): Solie, Ruth A.
Material type: materialTypeLabelBookPublisher: Berkeley : University of California Press, 1993 1995Description: xi, 355 p. : ill., music ; 23 cm.ISBN: 0520201469.Subject(s): Sex in music | Music -- Psychological aspects | MusicologyDDC classification: 780.82
Contents:
Introduction : on "difference" / Ruth A. Solie -- Systems of difference. Gender and other dualities of music history / Leo Treitler ; Difference and power in music / John Shepherd ; Loving it : music and criticism in Roland Barthes / Barbara Engh -- Cultural contexts of difference. Charles Ives and gender ideology / Judith Tick ; The ethnomusicologist as midwife / Carol E. Robertson ; Women as musicians : a question of class / Nancy B. Reich -- Interpretive strategies. Miriam sings her song : the self and the other in anthropological discourse / Ellen Koskoff ; Lesbian fugue ; Ethel Smyth's contrapuntal arts / Elizabeth Wood ; Reading as an opera queen / Mitchell Morris ; Schwarze Gredel and the engendered minor mode in Mozart's operas / Gretchen A. Wheelock -- Critical readings. Opera, or the envoicing of women / Carolyn Abbate ; Britten's dream / Philip Brett ; Of women, music, and power : a model from Seicento Florence / Suzanne G. Cusick ; Carnaval, cross-dressing, and the woman in the mirror / Lawrence Kramer ; Narrative agendas in "absolute" music : identity and difference in Brahms's Third Symphony / Susan McClary.
List(s) this item appears in: Susan Sayer Collection
Holdings
Item type Current library Call number Copy number Status Date due Barcode Item holds
3 day loan MTU Cork School of Music Library Short Loan 780.82 (Browse shelf(Opens below)) 1 Available 00147383
Total holds: 0

Enhanced descriptions from Syndetics:

Addressing Western and non-Western music, composers from Francesca Caccini to Charles Ives, and musical communities from twelfth-century monks to contemporary opera queens, these essays explore questions of gender and sexuality. Musicology and Difference brings together some of the freshest and most challenging voices in musicology today on a question of importance to all the humanistic disciplines.

Includes bibliographical references and index.

Introduction : on "difference" / Ruth A. Solie -- Systems of difference. Gender and other dualities of music history / Leo Treitler ; Difference and power in music / John Shepherd ; Loving it : music and criticism in Roland Barthes / Barbara Engh -- Cultural contexts of difference. Charles Ives and gender ideology / Judith Tick ; The ethnomusicologist as midwife / Carol E. Robertson ; Women as musicians : a question of class / Nancy B. Reich -- Interpretive strategies. Miriam sings her song : the self and the other in anthropological discourse / Ellen Koskoff ; Lesbian fugue ; Ethel Smyth's contrapuntal arts / Elizabeth Wood ; Reading as an opera queen / Mitchell Morris ; Schwarze Gredel and the engendered minor mode in Mozart's operas / Gretchen A. Wheelock -- Critical readings. Opera, or the envoicing of women / Carolyn Abbate ; Britten's dream / Philip Brett ; Of women, music, and power : a model from Seicento Florence / Suzanne G. Cusick ; Carnaval, cross-dressing, and the woman in the mirror / Lawrence Kramer ; Narrative agendas in "absolute" music : identity and difference in Brahms's Third Symphony / Susan McClary.

Susan Sayer Collection.

Table of contents provided by Syndetics

  • Contributors

Reviews provided by Syndetics

CHOICE Review

This important contribution to the field of music contains 15 original essays by prominent musicologists and ethnomusicologists, elegantly edited and with an introduction by Solie (Smith College). The book expands, with often brilliant insights, on issues presented in Susan McClary's Feminine Endings (CH, Jun'91). The essays encourage musical scholars to move beyond a formalistic or absolutist approach to music and to consider how works may reflect individual or cultural concerns with gender and sexual orientation. (There is very little on racial difference.) Much of the attention is on the works of the common practice period, but there are also essays on Britten, Ives, Ethel Smyth, and Francesca Caccini, on chant, and on popular and non-Western traditions. There is a philosophical bent to many of the essays; some warn against "essentialism" in criticism, for example, whereas others warn that charges of "essentialism" can be used to silence divergent views. The book shows the influence of multiple disciplines and should be of interest to scholars both within and outside the field of music. Several essays would be tough going for lower-level undergraduates. R. Lorraine; University of Tennessee at Chattanooga

Author notes provided by Syndetics

Ruth A. Solie is Professor of Music at Smith College.

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