When the term “postfeminism” entered the media lexicon in the 1990s, it was often accompanied by breathless headlines about the “death of feminism.” Those reports of feminism’s death may have been greatly exaggerated, and yet contemporary popular culture often conjures up a world in which feminism had never even been born, a fictional universe filled with suburban Stepford wives, maniacal career women, alluring amnesiacs, and other specimens of retro femininity. In _Feminism and Popular Culture_, Rebecca Munford and (...) Melanie Waters consider why the twenty-first century media landscape is so haunted by the ghosts of these traditional figures that feminism otherwise laid to rest. Why, over fifty years since Betty Friedan’s critique, does the feminine mystique exert such a strong spectral presence, and how has it been reimagined to speak to the concerns of a postfeminist audience? To answer these questions, Munford and Waters draw from a rich array of examples from contemporary film, fiction, music, and television, from the shadowy cityscapes of _Homeland _to the haunted houses of _American Horror Story_. Alongside this comprehensive analysis of today’s popular culture, they offer a vivid portrait of feminism’s social and intellectual history, as well as an innovative application of Jacques Derrida’s theories of “hauntology.” _Feminism and Popular Culture_ thus not only considers how contemporary media is being visited by the ghosts of feminism’s past, it raises vital questions about what this means for feminism’s future. (shrink)

This collection of essays seeks to expand the parameters of the debate on pornography. In an effort to move away from the divisive frameworks of which side are you on? and who counts as women worthy to be listened to? in feminist debates on pornography, this volume seeks to understand what pornography means to those who consume it, fight against it, work within it, and to those engaged in changing its meaning. By opening up a space for divergent points of (...) view to address the complexityof sexual material, this volume seeks to forge solidarity amongst a diverse array of constituencies, including academics, activists, and sex workers from diverse socio-political contexts. Through seeking to address the relationship between imperialism, the exotic, and the pornographic, the collection moves away from Eurocentric perspectives on pornography, by including the perspectives of women involved in struggles for national liberation in the South. This volume explores a wide range of issues, such as, how the meaning of pornography is shaped by changing historical and political realities; the role law should play, if any, in the sex industry; whether union organizing can change the working conditions in the sex industry; kinds of representational politics available for redefining pornography; and how sexually explicity literature, videos, art, and music can serve the purpose of sexual freedom. Contributors to the volume include Diana Russell, Catharine MacKinnon, Andrea Dworkin, Wendy Brown, Becki Ross, Mallek Alloula, M. Jacqui Alexander, Victoria Ortiz, bell hooks, Rey Chow, Judith Butler, Candida Royalle, Zoraida Ramirez Rodriguez, amongst others. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Democracy and Music Education: Liberalism, Ethics, and the Politics of PracticeHeidi WesterlundPaul G. Woodford, Democracy and Music Education: Liberalism, Ethics, and the Politics of Practice ( Bloomington, Indiana University Press, 2005)Paul G. Woodford's Democracy and Music Education needs to be warmly welcomed in the field of philosophy of music education. It contributes to the discussion centering on ethics and music education—a discussion that (...) after multiculturalism, pluralism, praxialism, and other recent "isms" still awaits its appearance in a stronger sense. Woodford writes that the aim of the book is to enhance democratic ends by inviting music educators to contribute "to wider intellectual and political conversations about the nature and significance of music in our lives and those of our children."1Woodford borrows ideas from many thinkers creating an interesting synthesis and lines of thought throughout the book. His main resource in developing a liberalist music education is, however, along the ideas of the American pragmatist and educational philosopher, John Dewey. Woodford's choice is well thought out. Dewey deserves to be redeemed and recognized in music education, not the least because of various distorted interpretations of his views that have commonly been accepted in the profession in the past. Woodford argues that the music appreciation movement, which aimed at developing good musical taste equally in all children, has not in any particular way been a Deweyan democratic movement. Music educators have not acknowledged their role as agents in the [End Page 235] transformation of school and society. Instead, he states, they have continued to subscribe to the older aesthetic and utilitarian rationales and yet neither approach prepares students "to question and challenge authority and thereby to transform musical society."2It is noteworthy that Woodford does not elaborate on Dewey's central concept, experience, but unexpectedly draws upon concepts such as abstract reason or the autonomous individual to reconstruct music education. Critical conversation becomes celebrated against performance-oriented music education. The book leaves open the discussion between utilitarian and aesthetic rationales and carefully avoids Dewey's notion of the aesthetic and experimentation, which could have brought new angles in understanding his notion of democracy and its relation to the social and musical.3 Woodford tries to maintain a middle ground in the North American philosophical battlefield of music education stating that music educators "should listen more closely to one another while avoiding extremes."4 His critique targets critical theorists, radical feminist writers, and modernist as well as postmodernist ideas, while Woodford himself seeks a middle way between laissez-faire and elitist or autocratic concepts of music education.As a whole, Woodford's conceptual toolkit for promoting ethical aspects in music education are less akin to Dewey's thoughts and more to the Greek philosophers and their notions of virtues. Woodford writes, "democracy depends on the existence of good faith and generosity of spirit, of character and love for one's fellow men and women."5 These virtues are "the glue that can bind us together as society."6 How is this achieved in music education? Teaching love becomes a practical problem: explaining love requires it to be modelled and experienced, Woodford writes. However, he leaves this cornerstone of his conceptual scheme to rest on the notion of intellectual conversation.Allow me to explain briefly in what way Dewey's philosophical project differs from the Greek philosophical ethos and why abstract reason and intellectual conversation are not central concepts in Dewey's pragmatism (this does not mean that they cannot be celebrated as Woodford has done). For Dewey, the virtue of love signifies devotion, interest, and courage since genuine interest challenges us to overcome the obstacles that stand in the way.7 Interest and devotion are not just attitudes or intellectual modes in the sense of mental states, but linked to doings and active transactions with and in the environment. Interest is co-extensive with action and devotion with dedication to shared projects. This devotion to shared doings and their significance is the socially inclusive ethical side that Dewey brought to the individualistic humanistic theory of self-realization and to the theory of experience. The vision of humanistic self-realization, as has been presented in... (shrink)

Neoliberalism co-opts noisy riots like feminism and hardcore music--can melancholic siren songs fight back?

A historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, (...) and reflective of the values of its participants. Its impetus involves ‘feminist imperative(s)’ to help in the sense articulated by Elizabeth Grosz: to provoke thought, challenge, and problematize. (shrink)

While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own limitations (...) and unasked questions. This essay addresses the paucity of work in feminist philosophy and popular music by applying insights from other areas of feminist aesthetics to questions of popular music, and thereby using feminist aesthetics – specifically, Julia Kristea’s notion of female genius and the genius spectator – to critique itself. (shrink)

This is the first volume to mobilize encounters between the work of Gilles Deleuze and Félix Guattari and the rich developments in cultural studies of music and sound. The book takes seriously the intellectual and political challenge that the process philosophy of Deleuze and Guattari poses for previous understandings of music as permanent objects and primarily discursive texts. By elaborating on the concepts of Deleuze and Guattari in innovative ways, the chapters of the book demonstrate how musical and (...) sonic practices and expressions can be reconsidered as instances of becoming, actors in assemblages, and actualizations of virtual tendencies. The collection pushes notions of music and sound beyond such long-term paradigms as identity thinking, the privileging of signification, and the centrality of the human subject. The chapters of the volume bring a range of new topics and methodological approaches in contact with Deleuze and Guattari. These span from movement improvisation, jazz and western art music studies, sound and performance art and reality TV talent shows to deaf musicians and indigenous music. The book also highlights such fresh ways of doing analysis and shaping the methodological tools of music and sound studies that are enabled by Deleuze and Guattari's philosophy. Their philosophy, too, gains renewed capacities and potential when responding to ethnographic, cultural, ethnomusicological, participatory, aesthetic, new materialist, feminist and queer perspectives to music and sound. (shrink)

This is the first book to focus on the role of education in relation to music and gender. Invoking a concept of musical patriarchy and a theory of the social construction of musical meaning, Lucy Green shows how women's musical practices and gendered musical meanings have been reproduced, hand-in-hand, through history. Dr. Green views the contemporary school music classroom as a microcosm of the wider society, and reveals the participation of music education in the continued production and (...) reproduction of gendered musical practices and meanings. (shrink)

Analyzing how some names grant and reinforce power while others deny it serves a central role in understanding and ultimately challenging systemic inequalities. Yet, when left unquestioned, the ways in which social justice advocates use names can have detrimental effects. The work of various post-structuralist authors illuminates the problems and possibilities of names and naming. While names can further homogeneity, stagnation, and limited future possibilities, not naming can hide inequalities, propagate existing hegemonic systems, and inhibit actionable political endeavors. This essay (...) proposes two integrated paths forward and offers possible applications to music teacher education. First, utilizing Braidotti’s “scheme of feminist nomadism,” I suggest that social justice advocates consider differences between groups, differences within groups, and individuals’ differing. Second, superposition is posited as a philosophical figuration for simultaneously named and unnamed individuals. Seeing ourselves and others as existing in superposition accentuates the temporal aspect of naming as well as highlights unnamed potentialities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Democracy and Music Education: Liberalism, Ethics, and the Politics of PracticeHeidi WesterlundPaul G. Woodford, Democracy and Music Education: Liberalism, Ethics, and the Politics of Practice ( Bloomington, Indiana University Press, 2005)Paul G. Woodford's Democracy and Music Education needs to be warmly welcomed in the field of philosophy of music education. It contributes to the discussion centering on ethics and music education—a discussion that (...) after multiculturalism, pluralism, praxialism, and other recent "isms" still awaits its appearance in a stronger sense. Woodford writes that the aim of the book is to enhance democratic ends by inviting music educators to contribute "to wider intellectual and political conversations about the nature and significance of music in our lives and those of our children."1Woodford borrows ideas from many thinkers creating an interesting synthesis and lines of thought throughout the book. His main resource in developing a liberalist music education is, however, along the ideas of the American pragmatist and educational philosopher, John Dewey. Woodford's choice is well thought out. Dewey deserves to be redeemed and recognized in music education, not the least because of various distorted interpretations of his views that have commonly been accepted in the profession in the past. Woodford argues that the music appreciation movement, which aimed at developing good musical taste equally in all children, has not in any particular way been a Deweyan democratic movement. Music educators have not acknowledged their role as agents in the [End Page 235] transformation of school and society. Instead, he states, they have continued to subscribe to the older aesthetic and utilitarian rationales and yet neither approach prepares students "to question and challenge authority and thereby to transform musical society."2It is noteworthy that Woodford does not elaborate on Dewey's central concept, experience, but unexpectedly draws upon concepts such as abstract reason or the autonomous individual to reconstruct music education. Critical conversation becomes celebrated against performance-oriented music education. The book leaves open the discussion between utilitarian and aesthetic rationales and carefully avoids Dewey's notion of the aesthetic and experimentation, which could have brought new angles in understanding his notion of democracy and its relation to the social and musical.3 Woodford tries to maintain a middle ground in the North American philosophical battlefield of music education stating that music educators "should listen more closely to one another while avoiding extremes."4 His critique targets critical theorists, radical feminist writers, and modernist as well as postmodernist ideas, while Woodford himself seeks a middle way between laissez-faire and elitist or autocratic concepts of music education.As a whole, Woodford's conceptual toolkit for promoting ethical aspects in music education are less akin to Dewey's thoughts and more to the Greek philosophers and their notions of virtues. Woodford writes, "democracy depends on the existence of good faith and generosity of spirit, of character and love for one's fellow men and women."5 These virtues are "the glue that can bind us together as society."6 How is this achieved in music education? Teaching love becomes a practical problem: explaining love requires it to be modelled and experienced, Woodford writes. However, he leaves this cornerstone of his conceptual scheme to rest on the notion of intellectual conversation.Allow me to explain briefly in what way Dewey's philosophical project differs from the Greek philosophical ethos and why abstract reason and intellectual conversation are not central concepts in Dewey's pragmatism (this does not mean that they cannot be celebrated as Woodford has done). For Dewey, the virtue of love signifies devotion, interest, and courage since genuine interest challenges us to overcome the obstacles that stand in the way.7 Interest and devotion are not just attitudes or intellectual modes in the sense of mental states, but linked to doings and active transactions with and in the environment. Interest is co-extensive with action and devotion with dedication to shared projects. This devotion to shared doings and their significance is the socially inclusive ethical side that Dewey brought to the individualistic humanistic theory of self-realization and to the theory of experience. The vision of humanistic self-realization, as has been presented in... (shrink)

TWEEN POP examines the creation of the "tween" in the early 2000s as a gendered and raced consumer audience. The tween, aged nine to twelve, and usually thought of as a white girl, occupies a temporality between childhood and adolescence: she has aged out of children's products but is too young to fully engage in marketing directed at teenagers. But, as Tyler Bickford argues, this seemingly narrow market grew to broadly include four to fifteen year olds, with producers and marketers (...) pulling upwards and downwards by creating material that would attract younger viewers and teenagers, thereby creating a demographic that expanded, rather than limited, the traditional reach of child and teenage markets. According to Bickford, the key to this expansion was pop music, as it provided an intensity of experience that mirrored childhood in its investments in emotional authenticity, cultural value, and relational intimacies. In other words, pop music needed to be both intimate and public--a tension that Bickford argues defined the tween's positionality as well--and tween pop did so by pairing the mainstream pop of adulthood with images and lyrics suitable for younger audiences. Throughout the book, Bickford reveals how childhood's status as a private domestic position outside of politics was not a hindrance to the cultivation of children as a mass audience but rather was the very foundation of that project. By creating an intimate public of tween pop, the tween music industry was able to position tweens as still within the private domestic sphere of family life, but connected in a broader public of other tween-pop-listening tweens. Chapter 1 looks at Kidz Bop music videos to argue that the tween music industry framed childhood domesticity as complementary to participation in a public culture. Chapter 2 focuses on Disney Channel's popular music programs' efforts to engage older children, particularly older girls, in their marketing tactics. Chapter 3 analyzes the Disney Channel show Hannah Montana and its foregrounding of tensions between girlhood, public culture, and family. Chapter 4 attends to how whiteness served as central to the tween construction of innocence and childhood. Bickford concludes the book by periodizing the tween moment as the decade from 2001 to 2011, and then outlines the developments in popular culture for children since that time. This book will be of interest to students and scholars of ethnomusicology, feminism and gender studies, and cultural studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 2. © 2015 by Feminist Studies, Inc. 335 Rachel Lumsden “The Music Between Us”: Ethel Smyth, Emmeline Pankhurst, and “Possession” But limelight is bad for me: the light in which I work best is twilight. —Virginia Woolf to Ethel Smyth1 There are few composers who seemed to seek the glow of public limelight more than Dame Ethel Smyth (1858–1944). Smyth fearlessly forged a career (...) for herself as a professional composer in Britain during a time when female musicians were largely regarded as inferior to male musicians and lacked equal educational and professional opportunities. Smyth’s brazen personality was evident from her early years; as a teenager, she battled for two years to gain her father’s approval to travel to Leipzig to further her musical studies. Smyth’s struggle for acceptance as a composer continued throughout her career; she composed large-scale works—including six operas—at a time when women were expected to write “feminine,” small-scale compositions (such as solo piano pieces and songs), and she fought unrelentingly to have her music performed. Throughout her career Smyth faced a barrage of sexist criticism, in which she was consistently referred to as a “lady composer” and alternatively praised and derided for writing “masculine” music: if a 1. Virginia Woolf, letter to Ethel Smyth (August 21, 1932), in The Letters of Virginia Woolf, ed. Nigel Nicolson and Joanne Trautmann (New York: Harcourt Brace Jovanovich, 1979), 5: 97. 336 Rachel Lumsden critic liked her work, it would be lauded for its “masculine strength,” and if a critic didn’t like her work, it would be admonished for exceeding the bounds of female propriety.2 Yet Smyth rarely flinched from battles. A defiant and prolific writer, Smyth also published an exhaustive array of books and memoirs: Impressions that Remained (1919), Streaks of Life (1921), A Three-Legged Tour in Greece (1927), A Final Burning of Boats (1928), Female Pipings in Eden (1933), Beecham and Pharaoh (1935), As Time Went On (1936), Inordinate (?) Affection (1936), Maurice Baring (1938), and What Happened Next (1940), using her literary works as a means of bringing her own experiences into the limelight. By chronicling the oppression and discrimination she consistently faced, she sought not only to draw attention to herself as a composer—whose works, in her mind, had been consistently and unjustly neglected by the public—but also to highlight the plight of female musicians in general. Smyth’s literary works are wide-ranging and cover a host of different subjects, including recollections about her own life, biographical portraits of close friends, excerpts from letters, reviews of her musical compositions, and her forthright opinions about women’s rights. A number of scholars have explored these different aspects of Ethel Smyth’s fascinating artistic career; however, most research on Smyth has focused either on her literary endeavors or her compositions. What is missing is a thoroughgoing analysis of the connections between the two. One exception is Elizabeth Wood, who has brilliantly discussed Smyth’s writings and music; however, many details of Smyth’s vast array of musical works still remain largely unexplored.3 This article examines 2. Smyth’s operas include Fantasio (1892–1894), Der Wald (1899–1901), The Wreckers (1902–1904), The Boatswain’s Mate (1913–1914), Fête Galante (1921– 1922), and Entente Cordiale (1923–1924). For more information about Smyth and the status of female musicians in Britain during this era, see Jane A. Bernstein, “‘Shout, Shout, Up with Your Song!’ Dame Ethel Smyth and the Changing Role of the British Woman Composer,” in Women Making Music: The Western Art Tradition, 1150–1950, ed. Jane Bowers and Judith Tick (Urbana: University of Illinois Press, 1986), 304–24; and Eugene Gates, “Damned If You Do and Damned If You Don’t: Sexual Aesthetics and the Music of Dame Ethel Smyth,” Journal of Aesthetic Education 31, no. 1 (Spring 1997): 63–71. 3. See Elizabeth Wood, “Performing Rights: A Sonography of Women’s Suffrage,” The Musical Quarterly 79, no. 4 (Winter 1995): 606–43; and Elizabeth Rachel Lumsden 337 a small, specific slice of Smyth’s oeuvre: her 1913 song “Possession,” dedicated to Emmeline Pankhurst (“E.P”), her friend and leader of... (shrink)

Issues of desire in music education are integral and anathema to the profession. Constituted of and by desire, we bodily engage music emotionally and cognitively; yet references to the body are limited to how it may be better managed in order to produce more satisfactory (desired) sounds, thus disciplining desire as we focus on the content of teaching (music) to the virtual exclusion of its subjects (students)—and our selves. Developing embodied senses of learning and teaching where students’ (...) and educators’ subject formation may be understood in terms of their/our desire holds potentialities of fully engaging us in music education, even as it also implicates music education practices in the production of desire as positivity rather than lack, and requires political pedagogies locating us as mindful bodies in relationship with each other, music, and the social world. My discussion is framed by poststructural feminism and affirmative postmodernism, and I argue that desire as production is integral to socially grounded and responsible subject positions claimed in, through, and as performative music literacies. (shrink)

ABSTRACTTranslated into English in 2004, Vladimir Jankelevitch’s book Music and the Ineffable has made a significant impact in anglophone musicology. I argue that the figure of the feminine is central to his understanding of music and musical ineffability, and use feminist philosophers’ interpretations and critiques of the figure of the feminine in his close friend and colleague Emmanuel Levinas’s work to unpack the gender politics of Jankelevitch’s book and the secondary literature on it. I focus on the figure (...) of the feminine in Time and the Other and Totality and Infinity, which are works we have evidence Jankelevitch read. There, Levinas describes the feminine as a “form of being” that is “inexhaustible, infinite” and thus “refuses thematization positively”. This is nearly identical to Jankelevitch’s definition of musical ineffability as “fertile inexplicability”. Not only is Jankelevitch’s concept of musical ineffability identical to Levinas’s concept of the feminine, it is also couched in gendered terms throughout Music and the Ineffable. “Musical ineffability” in Jankelevitch’s sense is thus a parallel to Levinas’s concept of the feminine. I then read Jankelevitch and his interpreters in musicology through feminist scholarship on Levinas to show how the former two succumb to the same ultimately patriarchal flaws as the latter. For example, just as Levinas prioritizes paternity and the reproduction of patriarchy, muiscologist Carolyn Abbate uses Jankelevitch as the white masculine other in which musicology recognizes itself as both different and the same. (shrink)

North American music education is a commodity sold to pre-service and in-service music teachers. Like all mass-produced consumables, it is valuable to the extent that it is not creative, that is, to the extent that it is reproducible. This is demonstrated in curricular materials, notably general music series textbook and music scores available from a rapidly shrinking cadre of publishers, as well as rigid and pre-determined pedagogical practices. Distributing resources and techniques that produce predicable, consistent, and (...) repeatable goods and services, the economy of music teacher preparation and development must necessarily exclude creativity, which consequently must be viewed as not only inefficient but unprofitable. More than undesirable, however, creativity is constructed as dangerous as it injects difference in a system that relies on sameness. Because of its implications for music education discourse and practices, I focus my discussion on research in general and feminist critique in particular in music education. Reading through Monique Wittig's ‘The Trojan Horse’ as literary war machine, I argue that creative writing and academic research are not mutually exclusive, and that it is only through infusing the literary or creative in scholarly writing that interlocking systems of oppression may be altered and difference implicated in music education. My analysis of Roberta Lamb's (1995) research piece, ‘Tone Deaf/Symphonies Singing: Sketches for a Musicale’ depicts it as Trojan Horse, albeit one that Lamb herself, most likely as a function of editorial imperative, hobbles. (shrink)

This article explores the relationship between music and ecofeminist theology and investigates how music and sound can advance the development of ecofeminist thought. On a physical level, the act of breathing connects humankind with the earth’s atmosphere and the element of air produces music and sound. On a theological level, traditional church teachings about the power and danger of music have reflected similar warnings about women and nature. Ecofeminist theologian Sally McFague made a persuasive case for (...) metaphorical theology that supported the arts being included in theological development. Religious Studies scholar Heidi Epstein engaged McFague’s metaphorical theology to develop a feminist theology of music and featured female composers including Hildegard of Bingen. I propose that metaphorical theology and music can also connect through the development of sonic metaphors. Sonic metaphors are created with pitch, rhythm, and sound. While most metaphors rely on the eyes to process written text and visual art, sonic metaphors are processed through the ears and offer different pathways for cognition. Sonic metaphors have been underutilized in theology and they offer potential for exploring theological concepts that can be challenging to comprehend through textual or visual means. These metaphors are particularly applicable for developing ecofeminist theology because sound and music can connect our bodies with nature in illuminating ways. I include examples from my own musical background, and I offer suggestions for non-musicians and ecofeminist theologians who want to incorporate sonic metaphors into their own creative theological reflection. (shrink)

This volume, reproducing a special issue of The Journal of Aesthetics and Art Criticism on &"The Philosophy of Music&" (Winter 1994) with a revised introduction and two new articles, is distinguished by its breadth of content, diversity of approaches, and clarity of argument, which should make it useful for classroom teaching. The topics covered include musical representation, the expression of feeling in music, the metaphysics of operatic speech and song, musical understanding, musical composition, feminist music theory, (...) class='Hi'>music and politics, music and racial identity, music in non-Western cultures, and the ontological implications of recording technology for rock music. The approaches used are philosophical, historical, social and political, feminist, and ethnomusicological. The book includes discussions of a great many styles and historical periods of music, from ancient Greek music and music theory to instrumental and operatic music in the Western classical tradition, Persian music, music of the Blackfoot Indians, rock and the blues, and the avant-garde compositions and performances of John Cage. The contributors, all eminent scholars in the field, are Philip Alperson, No&ël Carroll, Stephen Davies, Claire Detels, John Andrew Fisher, Lydia Goehr, Peter Kivy, Jerrold Levinson, James Manns, Bruno Nettl, Jenefer Robinson, Joel Rudinow, G&öran S&örbom, Francis Sparshott, and Kendall Walton. (shrink)

Some feminists have argued that the “master's tools” cannot be utilized for feminist projects. When read through the lens of non-ideal theory, Judith Butler's reevaluation of “autonomy” and “universality” and Peaches's engagement with guitar rock are instances in which implements of patriarchy are productively repurposed for feminist ends. These examples evince two criteria whereby one can judge the success of such an attempt: first, accessibility and efficacy; second, that the use is deconstructive of its own conditions.

Ever want to be famous? They didn't. It just sorta happened. Playing for friends at a pizzeria one day - full-on, massive world tour the next. Insane to a power of ten. Then, right in the middle the madness, they crash and burn. The reality of life is - stuff happens... Now, their fans are asking - what is it going to take to get pop music's latest 'phenomenon' back together? Can it even be done? In the fast paced, (...) high-pressure world that is pop music, will their passion be enough to ensure that our five accidental superstars will find their way back to doing what they were so amazingly good at? This is a story of unimaginable gain, devastating loss, and the remarkable ability of five friends, to overcome it all... (shrink)

Previous research demonstrates how activists who do not identify as feminist sometimes engage in “implicitly feminist practices.” In this paper, I extend this research by asking: Do self-identified feminists also employ such implicit strategies in the course of their activist efforts? If so, why would they “do” feminism implicitly? Based on participant observation and semistructured interviews at Girls Rock! Midwest—a week-long summer day camp program that aims to empower girls through rock music production—I develop the concept of implicit (...) feminism. I define implicit feminism as a strategy practiced by feminist activists within organizations that are operating in an anti- and postfeminist environment in which they conceal feminist identities and ideas while emphasizing the more socially acceptable angles of their efforts. My research demonstrates how feminist-identified activists employ implicitly feminist practices as a strategic response to feminist dilemmas stemming from competing organizational demands, how they envision the possibilities and drawbacks of such a strategy, and what this suggests for the shape and future of feminist politics. (shrink)

Reading Feminist Theory: From Modernity to Postmodernity interweaves classical and contemporary writings from the social sciences and the humanities to represent feminist thought from the late eighteenth century to the present. Editors Susan Archer Mann and Ashly Suzanne Patterson pay close attention to the multiplicity and diversity of feminist voices, visions, and vantage points by race, class, gender, sexuality, and global location. Along with more conventional forms of theorizing, this anthology points to multiple sites of theory production--both inside and outside (...) of the academy--and includes personal narratives, poems, short stories, zines, and even music lyrics. Offering a truly global perspective, the book devotes three chapters and more than thirty readings to the topics of colonialism, imperialism and globalization. It also provides extensive coverage of third-wave feminism, poststructuralism, queer theory, postcolonial theory, and transnational feminisms. (shrink)

Feminist approaches to art are extremely influential and widely studied across a variety of disciplines, including art theory, cultural and visual studies, and philosophy. Gender and Aesthetics is an introduction to the major theories and thinkers within art and aesthetics from a philosophical perspective, carefully introducing and examining the role that gender plays in forming ideas about art. It is ideal for anyone coming to the topic for the first time. Organized thematically, the book introduces in clear language the most (...) important topics within feminist aesthetics: * Who is an artist and why are there so few women painters? * Art, pleasure and beauty * Music, literature and painting * The role of gender in taste and food * What is art and who is an artist? * Disgust and the sublime Each chapter discusses important topics and thinkers within art and examines the role gender plays in our understanding of them. These topics include creativity, genius and the appreciation of art, and thinkers from Plato, Kant, and Hume to Luce Irigaray and Julia Kristeva. Also included in the book are illustrations from Gauguin and Hogarth to Cindy Sherman and Nancy Spero to clarify and help introduce often difficult concepts. Each chapter concludes with a summary and further reading and there is an extensive annotated bibliography. Carolyn Korsmeyer's style is refreshing and accessible, making the book suitable for students of philosophy, gender studies, visual studies and art theory, as well as anyone interested in the impact of gender on theories of art. (shrink)

Jacopo Baboni Schilingi’s interactive musical compositions Argo and Terra play with time, space, and material sound to capture a symbiotic relationship between technology and the most intimate process fundamental to life: breathing. Argo reacts to the artist’s respiration in “real time,” generating an “infinite” sequence of diverse musical arrangements that question the relation between the human body and technology and contingency and programming. Noting the egotistical tendencies of artists, Schilingi likens himself to Odysseus, the master of Argo, the name given (...) to his faithful technological invention. This theme of mastery is revisited in Terra where Schilingi’s hands, covered in sensors, manipulate both the musical composition and the dance movements of a female body, a body whose fertile tension both emerges and withdraws in a battle akin to Heidegger’s earth/world strife. This chapter provides a hermeneutic reading of Argo and Terra within a Heideggerian framework that does not, as Luce Irigaray has noted, forget air. Irigaray states, “Air does not show itself. As such, it escapes as (a) being. It allows itself to be forgotten.” Schilingi’s generative music makes air visible and hauntingly audible, as the music can only be stopped when the artist’s life comes to an end. (shrink)

ABSTRACTPopular music life is permeated by a quantitative form of male dominance, and has been for several decades. Based on a recent study this article engages with the reproduction of said male dominance by attempting to understand boys’ approaches to popular music and musicians. In particular, by making use of an interdisciplinary explanatory feminist theory the article seeks to show that interacting mechanisms at different levels make the adoption of a so-called ‘identificatory’ approach attainable for boys. The potential (...) effect of their adoption of this approach is that male dominance within popular music life is reproduced. In addition to this, however, a more general aim of this article is to illustrate the ways in which critical realism can inform empirical gender research, especially in terms of the postulation of explanatory mechanisms. (shrink)

The philosopher of religion and critic of idealism, Ludwig Feuerbach had a far-reaching impact on German radicalism around the time of the Revolution of 1848. This intellectual history explores how Feuerbach’s critique of religion served as a rallying point for radicals, and how they paradoxically sought to create a new, post-religious form of religiosity as part of the revolutionary aim. At issue for the Feuerbachian radicals was the emergence of a humanity emancipated from the constraints of mere institutions, able to (...) express itself freely and harmoniously. Caldwell also touches on Moses Hess, Louise Dittmar, and Richard Wagner in his discussion of the time. This book reconstructs the nature of Feuerbach’s radicalism and shows how it influenced early works of socialism, feminism, and musical modernism. (shrink)

Abstract:Music education holds an ambiguous relationship to social justice and social change; it is both complicit in perpetuating relations of inequality and a potential force for positive change. There is a need to turn the ambiguity of music’s social function—the simultaneous production of transformative and reproductive social processes—into the foundational premise of social analysis of music educational practice. Based on a discussion of ideas derived from social theory, feminist philosophy, and critical musicology concerning the performative constitution of (...) agency and sociality, the notion of ambiguous musical practice is put forward as an analytical lens suited for exploring music’s social significance. The notion points to three interlocking dimensions of musical practice: bidirectionality (how music making may at once lead to destabilization and consolidation of social norms); multiplicity of social meanings (how music making produces multiple social meanings and therefore also may produce [contradictory] social effects on different levels of sociality); and in-betweenness (how music making may place participants in a state ‘in-between,’ understood as a social space where multiple identities, relations, and meanings can be both performed and imposed in ways that render them indeterminate). Inthis way, the notion of ambiguous musical practice may inform critical social analyses of music educational practice. (shrink)

In order to recuperate these two representatives of medieval frauenlieder, The Wife’s Lament and Wulf and Eadwacer, a feminist poetics must acknowledge the medieval attitudes toward authority and authorship that allow the medievalist to privilege the voice of the text over the historical author or implied author. The modern concept of authorship, derived from a modern concept of the text as private property, valorizes the signature of the author and the author’s presumed control over and legal responsibility for his or (...) her text. With reference to modern literature, contemporary theory has interrogated this “author-function” quite aggressively in an attempt to pry the text away from the author and to valorize the functions of the reader, as Roland Barthes’s “Death of the Author” illustrates,13 or to reconsider the privileges of the subject, in order to “seize its functions, its interventions in discourse, and its system of dependencies,” as Michel Foucault’s essay “What Is an Author?” propoes.14 Foucault’s proposals concerning the place of the subject and the author-function directly challenge modern assumptions about the text as the property of an author: “We can easily imagine a culture where discourse would circulate without any need for an author. Discourses, whatever their status, form, or value, regardless of our manner of handling them, would unfold in a pervasive anonymity.”15 13. See Roland Barthes, “The Death of the Author,” Image, Music, Text, trans. Stephen Heath , pp. 142-48.14. Michel Foucault, “What Is an Author?” Language, Counter-Memory, Practice: Selected Essays and Interviews, trans. Donald F. Bouchard and Sherry Simon, ed. Bouchard , p. 137.15. Ibid., p. 138. Indeed, Foucault does press his argument to the limits of its implications for the subject, and he ends his essay with a question that challenges the voice of a text as well as its author: “‘What Matter who’s speaking?’” . Nancy K. Miller engages directly in the implications of this position for feminist theory. She states: “What matter who’s speaking? I would answer it matters, for example, to women who have lost and still routinely lose their proper name in marriage, and whose signature—not merely their voice—has not been worth the paper it was written on” . Marilynn Desmond is an assistant professor of English, general literature, and rhetoric at the State University of New York—Binghamton. She is the author of Reading Dido: Textuality and Sexuality in the Late Medieval Reception of Aeneid 4 ; her current work is a study of ekphrasis in late medieval literature. (shrink)

In his article 'Women in Music' Gordon Graham argues that 'women do not make composers' and 'there is good reason to believe that the composition of music will continue to be an activity largely of men'. In reply Shaw argues there is a deep inconsistency in Graham's argument or a gap which, given Graham's views, he would be hard pressed to fill. Shaw also raises objections to Graham's claim that his view that women cannot compose significant music, (...) if it were true, ought not depress feminists and other defenders of the equal worth of women. (shrink)

The Conjectural Body combines continental philosophy with musicology, popular music studies, and feminist, critical race, and postcolonial theories to offer a unique perspective on issues of gender, race, and the philosophy of music. It is one of the few books in philosophy to take popular music seriously, and is one of the few books in continental feminism to privilege music over the visual.

On Friday 17 August 2012, members of the feminist collective Pussy Riot were sentenced to two years in jail after their staging of a musical protest in a Russian Orthodox church. This article analyses Western news media responses to the Pussy Riot affair. It first examines how the event has resonated across various news media, activist, and social media networks. Focusing on the phrase, ‘We are all Pussy Riot’, which became a Twitter hashtag following the incarceration of Pussy Riot members, (...) I argue that narratives of feminist return (Hemmings, 2011) and of US exceptionalism have shaped the eventfulness of the Pussy Riot affair in the West. While not dismissing the activism of Pussy Riot, this article asserts that the discourses of transnational solidarity and feminist renewal that the arrests engendered rely on the perceived whiteness and non-Western identities of the members who were incarcerated. (shrink)

Euro Women's Independent Label Distribution (WILD) was a pan-European network of feminist music distributors active in the early 1980s. They were affiliated to WILD, the US-based Women's Music distribution network founded in 1979 to disseminate the growing corpus of Women's Music emerging from the US Women's Liberation Movement (WLM). This article presents an interpretation of archive materials that document Euro WILD's activities from the Women's Revolutions Per Minute archive, housed at the Women's Art Library, London. Constrained and (...) enabled by the archive materials on offer, I revisit some of the practical and political problems the network faced as European distributors of US Women's Music. Key issues explored include the perception of US cultural imperialism by women based in Europe and the affective politics that circulated transnationally between distributors. Finally, this article explores how the concept and practice of the Women's Music industry changed when women beyond the borders of the US engaged with it. (shrink)

Abstract:Despite a growing body of advocacy for the beneficial effects of music education upon individuals’ development and wellbeing, lived experiences in the music classroom are testament to a diversity of both positive and negative musical encounters. For some pupils, classroom music-making is characterized by opportunities, achievements, and friendships. But for others it is redolent of shortcomings, disappointments, and conflicts. This reveals an urgent need for researchers and practitioners to acknowledge pupils’ “musical vulnerability”: their inherent and situational openness (...) to being affected by the semantic and somatic properties of music. In this essay, I offer a detailed conceptualization of musical vulnerability and its place in music education. I outline Judith Butler’s seminal theory of linguistic vulnerability and evaluate how her conviction that language can cause hurt and harm may help redress the simplistic coupling of music and wellbeing lauded by music education advocacy. Drawing upon feminist vulnerability studies, I then reflect upon the distinctive experiences of inherent, situational, and pathogenic musical vulnerabilities in the classroom, and their relation to institutional, interpersonal, and individual responses to music’s particular semantic and somatic properties. I conclude by proposing how the conceptualization of musical vulnerability could transform music education through cultivating a renewed ethic of care. (shrink)

This paper describes the multi-methodological approach employed in a partial, situated, contingent and interpretive feminist political analysis of Catholic mothers and daughters. The study draws on a number of sources including transcripts of mother-daughter interviews, autobiographical anecdotes, photographs, music, icons of Catholicism and poetry. It is argued in this paper that a feminist multi-methodological approach is valuable to feminist research as it disrupts the linear and logocentric construct of traditional social science research. Moreover, a multi-methodological and multi-sourced approach opens (...) up sites so that the mothers and daughters in this study could be positioned within specific histories and contexts, and provided with a space so that as women they could reconstruct themselves as self-referential subjects. (shrink)

We consider the moral and social ingredients in physicians' relationships with patients of diminished capacity by considering certain claims made about friendship and the physician's role. To assess these claims we look at the life context of two patients as elaborated examples provided in two novels: Woman on the Edge of Time (1976) by Marge Piercy, a radical feminist; and It's Hard to Leave While the Music's Playing (1977) by I. S. Cooper, a prominent physician-researcher. At issue is how (...) the doctor-patient relationship should be structured. In question is whether the physician's friendship and professional expertise, together with the diminished capacity of the patient, authorize medical paternalism. From our examination, we find compelling insights against appealing to friendship both in good doctor-patient relationships and in more typical, not-so-good ones. (shrink)

When The Sexual Politics of Meat: A Feminist-Vegetarian Critical Theory by Carol J. Adams was published more than twenty years ago, it caused a immediate stir among writers and thinkers, feminists and animal rights activists alike. Never before had the relationship between patriarchy and meat eating been drawn so clearly, the idea that there lies a strong connection between the consumption of women and animals so plainly asserted. But, as the 21 personal stories in this anthology show, the impact of (...) this provocative text on womens lives continues to this day, and it is as diverse as it is revelatory. One writer attempts to reconcile her feminist-vegan beliefs with her Muslim upbringing; a second makes the connection between animal abuse and her own self-destructive tendencies. A new mother discusses the sexual politics of breastfeeding, while another pens a letter to her young son about all she wishes for him in the future. Many others recall how the book inspired them to start careers in the music business, animal advocacy, and food. No matter whether they first read it in college or later in life, whether they are in their late teens or early forties, these writers all credit The Sexual Politics of Meat in some way with the awakening of their identities as feminists, activists, and women. Even if you havent read the original work, youre sure to be moved and inspired by these tales of growing up and, perhaps more important, waking up to the truths around us. (shrink)

Ancient philosophy is in a bad way. Like all other academic disciplines, it is crushed by the embrace of bureaucracy. Like other parts of philosophy, it is infected by faddishness. And in addition it suffers cruelly from the decline in classical philology. There is no cure for this disease.

In lieu of an abstract, here is a brief excerpt of the content:A Response to Susan Laird, “Musical Hunger: A Philosophical Testimonial of Miseducation”Estelle R. JorgensenSusan Laird’s lament of her “musical under-education,” her youthful lack of opportunity for the sorts of experiences for which she hungered and its life-long after-effects, and her invocation of hunger as a metaphor for music education raise compelling questions. In a feminized field such as music, particularly piano playing, her hunger is particularly poignant. (...) Also, the notion of “musical taste” takes on new meaning, and the musical, educational, and ethical questions this metaphor evokes reveal its richness as a means of thinking about music education. This metaphor joins others such as Barbara Thayer Bacon’s metaphor of the quilt, Jane Roland Martin’s metaphor of the home, Iris Yob’s metaphor of pilgrimage, Elizabeth Gould’s metaphor of the nomad, Virginia Richardson’s metaphor of the steward, and Randall Allsup’s metaphor of the garage band, each of which illumines music education differently.1 Without one, we miss important insights into the thought and practice of music education; when taken together, they offer a richer view than were we to see music education in terms of one alone. [End Page 75]Although metaphor evokes imaginative thought and practice in music education, it is also limited. As Nelson Goodman aptly puts it, metaphor is a “matter of teaching an old word new tricks” and an “expedition abroad in which associations with one realm are applied in another.”2 Its power lies in its evocative and imaginative quality as it startles and surprises, challenges familiar ways of thinking and doing, and opens new possibilities for how we might think, act, and be differently. Although Laird would not want to literalize musical hunger or equate it with physical hunger—physical and spiritual realms intersect but they are not equivalent—it is possible to freeze a metaphor or literalize the vitality out of it. Testing it systematically, we enter the ground between metaphor and model, or what Iris Yob thinks of as the metaphorical model.3 While metaphor may prompt an intellectual journey, it cannot take us the entire way. In its particularistic and imaginative appeal, it opens reflection though it cannot suffice. A metaphor may also have a dark side. For example, envisaging the teacher’s role as salvific in providing bread for the hungry or preventing gluttony or food addictions may foster a paternalistic view that substitutes the teacher’s view of a student’s long term interests for the student’s directly-known and immediately perceived needs and interests, thereby subverting Laird’s expressed interest in the student’s desires. The educational “sin” of addiction may also be “redeemed” in Schefflerian fashion by pointing to important contributions of musicians who were doubtless excessive in their musical engagements.4 These possibilities suggest that we shall need to examine critically the metaphor and what it means for music education and move beyond the metaphor to its related models of music education.One of the interesting questions that Laird’s metaphor of hunger raises is the possibility of spiritual hunger, especially in a pervasively materialistic world. Matters related to spirituality have been addressed variously by writers in music education, whether it be the “healing” and ecologically-oriented approach of June Boyce-Tillman, the evolutionary and anthropologically grounded holistic approach of Anthony Palmer, the ethically-based approach of David Carr, the introspective and politically-charged writing of Cathy Benedict and Randall Allsup, the feminist perspectives of Elizabeth Gould, Charlene Morton, Roberta Lamb, and Deanne Bogdan, or the religiously grounded work of Iris Yob.5 Notions of spiritual hunger might be seen differently within the various lenses that these writers bring to music education but they all underscore the importance of knowing that goes beyond the literal, utilitarian, generalizable, and vocational to address the life of mind and body that Susanne Langer terms “feeling” and with which the arts, myths, rituals, and religions have to do.6 As such, they rebuke general education that is limited to reading, writing, and arithmetic, and driven by tests, standards, and mandates that often give short shrift to matters of human spirituality. Still, as the recent unanimous resolution in favor of... (shrink)

What is it to experience the sardonic quality of Mingus' music, the nostalgia of a street-scene, the evanescence of a light installation, or the flowingness of Virginia Woolf's prose? Aesthetic experiences make artworks what they are for us--expressive, enlightening, enjoyable. They ground aesthetic value. How can we best account for them? ;The traditional view of aesthetic perception describes a mode of disinterested contemplation, free from the cognitive and utilitarian strictures conditioning ordinary awareness. Philosophers have challenged this view on analytical, (...) marxist, feminist, pragmatist, and postmodernist grounds. Through interrelation and contextualization requirements, aestheticians have attempted to salvage the notion of an aesthetically appropriate mode of appreciation . But the nature of this kind of appreciation depends on the nature of the small-scale experiential states that form its substance, namely, the experiences of aesthetic properties. ;These experiences are peculiar. Conceptually complexer than pure sensations, and phenomenally richer than sheer imaginings and cognitions, aesthetic experiences exhibit significant parallels and differences with other states of mind. They display a rocky distribution over various sense modalities, a selective sensitivity to contextual factors, and a striking interconnectedness among themselves. Current analyses in terms of cognition, imagination, metaphorical understanding, nonaesthetic sensation, and counterfactual perception have trouble accommodating their coherence and stability. With the assistence of theoretical work on categorization, perception, and qualia , I propose to locate a more fine-grained attitude at the basis of aesthetic experience, involving perceptually driven conceptualizations, arising through processes of progressive phenomenal differentiation. I substantiate this proposal by considering a number of pertinent phenomena in aesthetics, namely the role of imaginings in pictorial and musical perception; the function of artistic categories, and the experience of seeing objects in depictions. ;This view, call it the conceptualizations view, allows us to identify the distinctive artistic functioning of aesthetic experience--its role as an intermediary between different domains of artistic meaning--while respecting its variety and its relations with other forms of mentation. Thus we can clarify its formative role within the aesthetic sphere at large, and, most importantly, its connection with value. (shrink)

This interdisciplinary book examines the work of several female artists since 1960 in the areas of dance, music, installation, photography, architecture, poetry, literature, theater, film, and performance art. Each chapter is primarily devoted to an important work by a single artist, seen within its historical context, and with particular attention to how each artist incorporated gender issues or feminist thought into her respective art form. Laurie Anderson, Gwendolyn Brooks, Jane Campion, Judy Chicago, Zaha Hadid, Pauline Oliveros, Yvonne Rainer, Cindy (...) Sherman, Amy Tan, and Paula Vogel have each made groundbreaking contributions to their fields. As a group, they represent a tremendous diversity of approaches to art making: from accessible to opaque, from overtly feminist to apolitical, from emotive to cool, from controversial to mainstream. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Naomi Greene SARTRE, SEXUALITY, AND THE SECOND SEX Few would deny that Simone de Beauvoir's analysis of female sexuality plays a very important role in her book The Second Sex, widely regarded as one of the key works of modern feminist thought. At the same time, it is precisely her view of sexuality, and many of the conclusions it gives rise to concerning female behavior, which constitute some of (...) the most problematical areas in this vast and complex work. Margaret Walters echoes the concerns of many feminists when she remarks that de Beauvoir "attacks the mystique of femininity—by accepting a masculine mystique. In the end, it is she who equates the human with the male sex, who idealizes male values, sees life from a masculine perspective." So far, however, little attention has been paid to the ways in which de Beauvoir's view of female sexuality and behavior reveals the unmistakable influence of her life-long friend and companion, Jean-Paul Sartre. It is not difficult to discern in some of Sartre's central metaphysical ideas—ideas which de Beauvoir uses to create the theoretical framework of The Second Sex—a world view which is deeply anti-sexual (perhaps even anti-life, but then life itself appears symbolized by sex) and anti-female. Sartre's anti-sexual bias is more readily apparent in the metaphors of Nausea (1938), his philosophical novel, than in his strictly philosophical work, Being and Nothingness (1943). Nausea is, in fact, alive with metaphors since it seeks to render accessible, even tangible, some of the fundamental abstractions of Being and Nothingness. The feeling of nausea itself, for example, is essentially a metaphor for man's basic experience of Being: the nausea comes when man realizes that all the distinctions and orders (in particular, language itself) he has imposed upon the world are arbitrary (there is, for example, no necessary connection between words and things) and the real nature of Being unfolds itself as a vegetal, ever-changing, viscous, engulfing matter. Deprived of a "reason" for being, man is "de trop," part of the world of matter, and his unjustified existence is contrasted both with lifeless 199 200Philosophy and Literature and unchanging forms, such as minerals and stones, and with the abstract realms of mathematics and music, realms governed by inexorable laws. Unlike these lifeless or abstract realms, the world of matter, of Being, is in perpetual movement and metamorphosis. And it is when Sartre discusses these infinite, arbitrary metamorphoses, the revelation of which provokes the nausea, that his imagery betrays a distaste for sexuality. In one famous passage, for example, we are told that when the nausea takes over, a man may well awaken in a "forest of murmuring cocks, rising red and white towards the sky like the chimneys of Jouxtebouville, with great balls half out of the earth, shaggy and bulbous like onions. And birds will fly around those cocks and peck them with their beaks and make them bleed. Sperm will flow slowly, gently, from these wounds, sperm mixed with blood, vitreous and lukewarm with small bubbles." This implied link between unpleasant sexuality and a basic fear of engulfing Being is made even clearer in one of his early philosophical tales, "The Room" (1939), in which madness, like nausea, seems to stand for what we will experience when we become aware of the nature of Being. But it can hardly be arbitrary or coincidental that the form taken by this madness is that of a pathological, sexual nature. And in still another early tale, "Intimacy," a wife actually enjoys the relationship she shares with her impotent, disturbed husband. The distaste for sexuality suggested in Sartre's early works declares itself openly in the portrait of women found in his later fiction, indicating that the sexual metaphors of Nausea, far from being chosen at random, were inspired by deep and persistent feelings. In the trilogy The Roads to Freedom (1945-49), a historical fresco of France during the crucial years preceding World War II, women seem to incarnate all the attributes which disgust Sartre in matter or unjustified Being: they embody the viscous, passive, heavy world of the en-soi ("being-in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nomadic Turns:Epistemology, Experience, and Women University Band DirectorsElizabeth GouldMusic education occupations in the U.S. have been segregated by gender and race for decades. While women are most likely to teach young students in classroom settings, men are most likely to teach older students in all settings, but most particularly in wind/percussion ensembles.1 Despite gender-affirmative employment practices, men constitute a large majority among band directors at all levels.2 At the (...) postsecondary level in the U.S., women constitute less than 10%.3 In all cases and all levels, the vast majority of band directors are white. Occupational segregation inhibits the development of individuals' careers as well as the development of the profession as individuals choose or are hired for positions based on their gender and/or race rather than their abilities.In terms of women university band directors, researchers have investigated employment trends,4 personal and occupational characteristics,5 occupational role models, and professional identity.6 Their findings generally have supported the hypotheses that historical precedent, traditional socialization, discrimination, segregation, and lack of role models contribute to their persistently low percentage as band directors. Longitudinal studies7 demonstrate that the percentage of women band directors has not increased significantly, and may be actually [End Page 147] declining after thirty years of enforcing affirmative action laws, which would suggest that these interventions have not provided the basis for enacting change in the profession. Further, change does not seem possible if members of the profession do not understand what causes the situation to persist. For example, while the College Band Directors National Association has supported the Linda A. Hartley and Deborah A. Sheldon study,8 their concern seems to be in only identifying the extent of the situation with the intention of increasing the number of women and non-white individuals who are band directors within the profession as it currently is constructed. This empirical approach is inadequate because it addresses neither the values held by members of the profession, nor its structure, which as previous research indicates, is poorly understood and must change to make possible meaningful increases in the number of women and non-white people.The profession of conducting university bands exists within the profession of music education in general, which, of course, exists within the profession of music. Clearly, one cannot be adequately understood without placing it in the context of the others. What is needed, then, are richer, more substantive, and meaningful understandings of the professions in general and of specific questions within them in particular, as they may provide the basis on which change can be possible. In addition to addressing the issue of persistent occupational gender and racial segregation, questions that may be addressed include positionalities9 of bands in the music education profession, the relationship of performance/conducting to the music profession, and the role of the musician in society in general. In order to accomplish this, I propose an analytical method that is both postmodern and feminist, and in which the philosophical figuration of the nomad, as explicated by Rosi Braidotti,10 is central.Postmodern/Feminist AnalysisDescribed variously as a "philosophical perspective,"11 a "sensibility,"12 and a historical moment,13 postmodernism resists definition. It may be understood as a way of perceiving the world that accepts and even embraces contradictions and uncertainties while rejecting commonly accepted cultural beliefs and practices, including humanist understandings of identity, representation, and the subject. This is a "postmodernism of resistance"14 that interrogates cultural practices, focusing on what is unexpected, marginalized, and silenced, opening spaces for change. In contrast, analysis based on modernism is constrained by binary oppositions that inscribe the positionalities of social groups. These oppositions are exemplified by Subject/Other (for example, male/female, reason/emotion) and consist of asymmetrical power relations in which the former is privileged over the latter, and the latter is defined in terms of not-the former. Postmodern analysis [End Page 148] reveals what these dualisms exclude, distort, or obscure, and provides flexibility for research from a variety of perspectives. Braidotti describes it as a "new kind of theoretical style"15 in terms of thinking, design, and analysis of research, a style... (shrink)