Syllabus

Download a PDF of the syllabus here. Synthesis paper guidelines can be downloaded here.

WEEKLY SCHEDULE

*This schedule is a draft, subject to change pending the interests of the class and directions we take in discussion. Please refer to the moodle site for the correct week-by-week schedule.

ONE THE BASICS

Tu 9/1        Introductions

Th 9/3        Failing Well

  • Maus, “Music, Gender, and Sexuality”
  • Halberstam, “Introduction: Low Theory.”

TWO DEFINITIONS

Tu 9/8        Music, Gender, Sex

  • Cusick, “On Musical Performances of Gender and Sex”
  • Koskoff, “From Women to Gender” and “Imaginary Conversations.”

Th 9/10      Music and Sexuality

  • Cusick, Suzanne G., Judith Peraino et. al. “Music and Sexuality.”

 

THREE — FEMININE ENDINGS      

Tu 9/15      Listening for Gender

  • McClary, “Introduction: A Material Girl in Bluebeard’s Castle”

Th 9/17      Madwomen

  • McClary, Susan, “Excess and Frame: The Musical Representation of Madwomen.”
  • Coulombe, “The Insatiable Banshee: Voracious vocalizing… Riot Grrrl… and the Blues.”

 

FOUR CLOSET QUESTIONS

Tu 9/22      Composers and their Sexual Orientations

  • Taruskin, “Pathetic Symphonist: Chaikovsky, Russia, sexuality and the study of music.”
  • Thomas, “Was George Frederic Handel Gay?: On Closet Questions and Cultural Politics.”

Th 9/24      Schubert’s Sexuality

  • Agawu, “Schubert’s Sexuality: A Prescription for Analysis?”
  • Brett, “Piano Four-Hands: Schubert and the Performance of Gay Male Desire.”
  • Oestreich, “Taking Schubert Off a Cracking Pedestal.” http://www.nytimes.com/2000/06/19/books/books-of-the-times-taking-schubert-off-a-cracking-pedestal.html
  • In-class guest: Christopher Gibbs
  • First Synthesis Paper Due IN CLASS

 

FIVE — THE GENDERED VOICE

Tu 9/29      Operatic Singing

  • Clement, “Through Voices, History.”
  • Koestenbaum, “Opera Queens.”

Th 10/1      Castrati

  • André, “Haunting Legacies: The Castrato in the Nineteenth Century.”
  • Watch (in class): excerpts from Farinelli

 

SIX GOING GAGA

Tu 10/6      On Lady Gaga

  • Apolloni, “Starstruck: On Gaga, Voice, and Disability.”
  • Halberstam, “Introduction” and “Gaga Feminism for Beginners.”

Th 10/8      The Transgendered Voice

  • Goldin-Perschbacher, “‘Not with You But of You’: ‘Unbearable Intimacy’ and Jeff Buckley’s Transgendered Vocality.”
  • Constansis, “The Changing Female-To-Male (FTM) Voice.”

        

   SEVEN — TEENS & TWEENS

Tu 10/13    ** FALL BREAK // NO CLASS **

Th 10/15    Teens & Tweens

  • Bickford, “Tween Intimacy and the Problem of Public Life in Children’s Media: ‘Having It All’ on the Disney Channel’s Hannah Montana.”
  • Hunt, “There is Only One Direction.”
  • Midterm Project Due

 

EIGHT — BLUES WOMEN

Tu 10/20    Gendered Audiotopias

  • Kun, “Life According to the Beat”
  • Halberstam, “Queer Voices and Musical Genders.”
  • Watch: “Saint Louis Blues” (1929)

Th 10/22    Bessie

  • In-class film screening of Bessie
  • Davis, “I Used to Be Your Sweet Mama: Ideology, Sexuality, and Domesticity”

 

NINE — BORN NAKED

Tu 10/27    What is Camp?

Th 10/29    Drag and the Politics of Lip-syncing

  • Kaminski, Elizabeth and Verta Taylor, “We’re Not Just Lip-Synching Up Here”: Music and Collective Identity in Drag Performance.”
  • hooks, “Is Paris Burning?” Black Looks: Race and Representation. Boston: South End Press, pp. 145-156.
  • Watch: Paris is Burning (selections) and RuPaul’s Drag Race (in class)
  • Second Synthesis Paper Due

 

TEN THE GENDERS OF GENRES

Tu 11/3      Masculinities

  • Walser, “Forging Masculinity: Heavy Metal Sounds and Images of Gender.”
  • Neal, “Kanye West is not a Feminist but I am!”
  • Morris, Mitchell. “Black Masculinity and the Sound of Wealth: Barry White in the Early 70s.”
  • Batten, Carrie. “We Invented Swag: NYC’s Queer Rap.”

Th 11/5      Rednecks, Queers & Country Music (Part I)

  • Hubbs, Part I (“Rednecks and Country Music”)
  • Final Paper Proposals Due

 

ELEVEN — EAR, NECK, THROAT

Tu 11/10    Rednecks, Queers & Country Music (Part II)

  • Hubbs, Part II (“Rednecks, Queers, and Country Music”)

Th 11/12    Queer Ears

  • Peraino, “Queer Ears and Icons: Sign Systems.”

 

TWELVE — RITUALIZED GENDER

Tu 11/17    Masquerade in Bulgaria

  • Creed, “Gender and Sexuality.”
  • Revised Proposals and Reference List

Th 11/19    Women’s Gamelan in Bali

  • Bakan, “From Oxymoron to Reality: Agendas of Gender and the Rise of Balinese Women’s Gamelan Beleganjur in Bali, Indonesia.”

 

THIRTEEN — SOCIALIST POP & GENDER

Tu 11/24    Chinese Popular Music

  • Baranovich, “Negotiating Gender in Post-Revolutionary Popular Music Culture: Reconstructing Manhood, Womanhood, and Sexuality.”
  • Third Synthesis Paper Due

Th 11/26 ** THANKSGIVING // NO CLASS **

 

FOURTEEN —   PERFROMING PIOUS FEMININITY

Tu 12/1      Performing Religion & Femininity in Egypt

  • Van Nieuwkerk, “On Religion, Gender, and Performing: Female Performers and Repentance in Egypt.”

Th 12/3      In-class workshop on final projects! Bring outlines and drafts of final papers.

 

FIFTEEN

Tu 12/8      FINAL PRESENTATIONS

Th 12/10    FINAL PRESENTATIONS

  • Portfolio Due in class!

 

SIXTEEN

Tu 12/15    FINAL PRESENTATIONS

     Th  12/17   FINAL PAPERS DUE by 5 PM. Email to msonevyt@bard.edu

 

 

REFERENCES

 

Agawu, Kofi. 1993. “Schubert’s Sexuality: A Prescription for Analysis?” 19th-Century Music 17(1): 79-82.

 

André, Naomi. 2006. “Haunting Legacies: The Castrato in the Nineteenth Century.” Voicing Gender: Castrati, Travesti, and the Second Woman in Early-Nineteenth-Century Italian Opera. Bloomington and Indianapolis: Indiana University Press, pp. 16-50.

 

Apolloni, Alexandra. 2014. “Starstruck: On Gaga, Voice, and Disability.” Lady Gaga and Popular Music: Performing Gender, Fashion, and Culture. New York and London: Routledge, pp. 190-208.

 

Bakan, Michael B. 1998. “From Oxymoron to Reality: Agendas of Gender and the Rise of Balinese Women’s Gamelan Beleganjur in Bali, Indonesia.” Asian Music 29 (1): 37-85..

 

Baranovich, Nimrod. 2003. “Negotiating Gender in Post-Revolutionary Popular Music Culture: Reconstructing Manhood, Womanhood, and Sexuality.” China’s New Voices. Berkeley and Los Angeles: University of California Press, pp. 108-189.

 

Batten, Carrie. “We Invented Swag: NYC’s Queer Rap.” Pitchfork. http://pitchfork.com/features/articles/8793-we-invented-swag/

 

Bickford, Tyler. 2015. “Tween Intimacy and the Problem of Public Life in Children’s Media: ‘Having It All’ on the Disney Channel’s Hannah Montana.” Women’s Studies Quarterly 43(1): 66-82.

 

Brett, Philip. 1997. “Piano Four-Hands: Schubert and the Performance of Gay Male Desire.” 19th-Century Music 21(2): 149-176.

 

Butler, Mark J. 2007. “‘Some of Us Can Only Live in Songs of Love and Trouble’: Voice, Genre/Gender, and Sexuality in the Music of Stephin Merritt.” Oh Boy! Masculinities and Popular Music. Ed. Freya Jarman-Ivens. New York and London: Routledge, pp. 235-259.

 

Clement, Catherine. “Through Voices, History.” Siren Songs: Representations of Gender and Sexuality in Opera. Ed. Mary Ann Smart. Princeton and Oxford: Princeton University Press, pp. 17-28

 

Coulombe, Renee T. 1999. “The Insatiable Banshee: Voracious vocalizing… Riot Grrrl… and the Blues.” Audible Traces: Gender, Identity, and Music. Eds. Elaine Barkin and Lydia Hamessley. Zurich and Los Angeles: Carciofoli Verlagshaus, pp. 257-272.

 

Constansis, Alexandros. N. 2008. “The Changing Female-To-Male (FTM) Voice.”   http://www.radical-musicology.org.uk/2008/Constansis.htm. Radical Musicology: 3, 32 pars.

 

Creed, Gerald W. 2009. “Gender and Sexuality.” Masquerade and Postsocialism: Ritual and Cultural Dispossession in Bulgaria. Bloomington and Indianapolis: Indiana University Press, pp. 70-104.

 

Cusick, Suzanne G. 1999. “On Musical Performances of Gender and Sex.” Audible Traces: Gender, Identity, and Music. Eds. Elaine Barkin and Lydia Hamessley. Zurich and Los Angeles: Carciofoli Verlagshaus, pp. 25-48.

 

Cusick, Suzanne G. and Judith Peraino. 2013. “Music and Sexuality.” Journal of the American Musicological Society, 66(3), pp. 825-872.

 

Davis, Angela. 1998. “I Used to Be Your Sweet Mama: Ideology, Sexuality, and Domesticity.” Blues Legacies and Black Feminism. New York: Pantheon Books, pp. 3-41

 

Foucault, Michel. 1994. “Preface to the History of Sexuality, Volume 2.” The Essential Foucault. Eds. Paul Rabinow and Nikolas Rose. New York and London: The New Press, Pp. 58-64.

 

Goldin-Perschbacher, Shana. 2007. “‘Not with You But of You’: ‘Unbearable Intimacy’ and Jeff Buckley’s Transgendered Vocality.” Oh Boy! Masculinities and Popular Music. Ed. Freya Jarman-Ivens. New York and London: Routledge, pp. 213-233.

 

Halberstam, J. Jack. 2012. “Introduction” and “Gaga Feminism for Beginners.” Gaga Feminism. New York: Beacon Press.

 

Halberstam, Judith. 2011. “Introduction: Low Theory.” The Queer Art of Failure. Durham and London: Duke University Press, pp. 1-27.

 

Halberstam, Judith. 2007. “Queer Voices and Musical Genders.” Oh Boy! Masculinities and Popular Music. Ed. Freya Jarman-Ivens. New York and London: Routledge, pp. 183-195.

 

Hubbs, Nadine. 2014. Rednecks, Queers, and Country Music. Berkeley: University of California Press.

 

Hunt, Samantha. 2015. “There is Only One Direction.” New York Magazine: The Cut. http://nymag.com/thecut/2015/05/there-is-only-one-direction.html

 

Kaminski, Elizabeth and Verta Taylor. 2008. “We’re Not Just Lip-Synching Up Here”: Music and Collective Identity in Drag Performance.” Identity Work in Social Movements. University of Minnesota Press, pp. 47-75.

 

Koestenbaum, Wayne. 1993. “Opera Queens.” The Queen’s Throat: Opera, Homosexuality and the Mystery of Desire. Da Capo Press, pp 9-45.

 

Koskoff, Ellen. 2014. “From Women to Gender,” “Introduction to Women and Music in Cross-Cultural Perspective” and “Imaginary Conversations” in A Feminist Ethnomusicology. Urbana, University of Illinois Press, Pp. 13-43; 180-189.

 

Kun, Josh. 2005. “Life According to the Beat.” Audiotopia: Music, Race, and America. Berkeley: University of California Press, pp. 86-112.

 

Maus, Fred E. 2011. “Music, Gender, and Sexuality.” In The Cultural Study of Music, eds. Martin Clayton, Trevor Herbert, and Richard Middleton. London: Routledge, pp. 317-329.

 

McClary, Susan. 1991. “Introduction: A Material Girl in Bluebeard’s Castle” and “Excess and Frame: The Musical Representation of Madwomen.” University of Minnesota Press, pp. 3-34, 81-111.

 

Morris, Mitchell. “Black Masculinity and the Sound of Wealth: Barry White in the Early 70s.”The Persistence of Sentiment. Berkeley: University of California Press, pp. 34-58.

 

Neal, Ronald B. 2011. “Kanye West is not a Feminist but I am!” The Feminist Wire. http://www.thefeministwire.com/2011/02/kanye-west-is-not-a-feminist-but-i-am/

 

Oestreich, James R. 2000. “Taking Schubert Off a Cracking Pedestal.” New York Times: Books of the Times. http://www.nytimes.com/2000/06/19/books/books-of-the-times-taking-schubert-off-a-cracking-pedestal.html

 

Peraino, Judith A. 2006. “Queer Ears and Icons: Sign Systems.” Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig. Berkeley: University of California Press.

 

Sontag, Susan, 1964. “Notes on Camp.” Against Interpretation: And Other Essays.

 

Taruskin, Richard. 1995. “Pathetic Symphonist: Chaikovsky, Russia, sexuality and the study of music.” The New Republic, February 6, pp. 26-40.

 

Thomas, Gary C. 2006. “Was George Frederic Handel Gay?: On Closet Questions and Cultural Politics.” Queering the Pitch. 155-204.

 

Van Nieuwkerk, Karin. “On Religion, Gender, and Performing: Female Performers and Repentance in Egypt.” Music and Gender: Perspectives from the Mediterranean. Ed. Tullia Magrini. Chicago and London: Chicago University Press, pp. 267-86.

 

Walser, Robert. 1993. “Forging Masculinity: Heavy Metal Sounds and Images of Gender.” Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Wesleyan University Press, pp. 108-136.

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