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Looking for a reading list for the current state of affairs in feminist musicology and also LGBTQ musicology or anything about sexuality and gender and musicology.

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I'm going to assign this because it's a good overview and nicely summarises the historical situation where women were directly systemically excluded from professional musical activity, but also because the binariest and essentialist thinking is a good way to segue to trans music.

I think these students are far enough along that they've previously critically engaged with resources, but it's good practice. Also, it's a good way to talk about intersectionality, because if there's a way that "women" right music and the composer is trans, or black or differs from the western ideal of middle class white womanhood.

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Ok, and I'm definitely going to assign a chapter of this online book: feministfrequencies.org/

But what chapter? I don't know. Nominate your favourite!

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And for the last good article on gender, I probably will not assign this one, but it's extremely worth a read and gets to the core of how the history of music is written and who is written in and out, which is a key aspect of understanding gender and music in terms of what we discuss and what we don't.

online.ucpress.edu/res/article

Also, this is not the point of any of these articles, but I do think the situation is improving in terms keeping women in the canon. In the bad old days, even popular women were stuffed down the memory hole shortly after their death, but the process of rediscovery and rewriting text books has all the problems discussed by Frances Morgan in the link upthread, however it does seem to be creating lasting change.

Pauline Oliveros has survived her hagiography and is now being reevaluated critically, with discussion and dissection of the ways in which she appropriated Native American ideas, which, obviously, was not cool. But this kind of continual reconsidering is how people are remembered. She was a flawed but important composer, operating within the problematic feminist norms of her period.

So exceptional white women are able to posthumously rely on the power of whiteness. It's not quite the equality that we're looking for. It's better than when women were excluded.

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Ok, I like this chapter feministfrequencies.org/by-utt

Partly because this quote contained in it is so massively prefigures social media and feels super relevant not just to music but to all of modern life:

"If you are powerful, you sometimes have the ability to silence the speech of the powerless. One way might be to stop the powerless from speaking at all. Gag them, threaten them, condemn them to solitary confinement. But there is another, less dramatic but equally effective way. Let them speak. Let them say whatever they like to whomever they like, but stop that speech from counting as an ~action~. More precisely, stop it from counting as the action it was intended to be" (Langton 1993: 299 emphasis in original).

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@celesteh I'm not a brainy prof like you are; but my personal experiences of UK pop and dance music scene from mid 80s onwards (as an aspiring DJ and producer) was that until mid 90s it was *more* diverse (especially synthpop and the rave scene) then there was a split between hardcore rave and drum and bass which not only occured partly along racial lines and unfortunately started to accentuate elements of "lad culture" (which also became a thing with Britpop) and hypermasculinity...

@vfrmedia

You have lots of interesting things to say about this period and the scene at the time and what's become of it. Which is to say, if you wrote a memoir that would be awesome and I could assign it for reading!

(Any illusions one has about lecturers being generally brainy are quickly discarded in staff meetings, alas.)

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