Towards a Twenty-First-Century Feminist Politics of Music
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aesthetics
Angry Earth
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Australian Music Centre
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Bach's Musical Offering
Bach’s Musical Offering
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centre
Chamber Festival
composer
composers
Critical Musicology
Deleuzian philosophy
Deleuzian Sense
Electronic Dance Music
Enfant Terrible
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Excessive Masculinity
female
Female Composers
feminist approaches to music composition
Feminist Musicology
gender studies
gubaidulina
Machinic Assemblage
Main Auditorium
Mainstream Musicology
Male Composer
Molar Lines
Music Analysis
musicology
neoliberalism critique
Poststructuralist Work
Practice Led Research
sofia
Sofia Gubaidulina
subjectivity theory
Tonic Dominant Relationship
Turbine Platform
women
women composers
Women's Music
Women's Music History
womens
Women’s Music
Women’s Music History
Product details
- ISBN 9781409409823
- Weight: 544g
- Dimensions: 156 x 234mm
- Publication Date: 28 Dec 2010
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Towards a Twenty-First-Century Feminist Politics of Music opens up a new way of thinking about the absence of women's music. It does not aim to find 'a solution' in a liberal feminist sense, but to discover new potentialities, new possibilities for thought and action. Sally Macarthur encourages us, with the assistance of Deleuze, and feminist-Deleuzian work, to begin the important work of imagining what else might be possible, not in order to provide answers but to open up the as yet unknown. The power of thought - or what Deleuze calls the 'virtual' - opens up new possibilities. Macarthur suggests that the future for women's 'new' music is not tied to the predictable and known but to futures beyond the already-known. Previous research concludes that women's music is virtually absent from the concert hall, and yet fails to find a way of changing this situation. Macarthur finds that the flaw in the recommendations flowing from past research is that it envisages the future from the standpoint of the present, and it relies on a set of pre-determined goals. It thus replicates the present reality, so reinforcing rather than changing the status quo. Macarthur challenges this thinking, and argues that this repetitive way of thinking is stuck in the present, unable to move forward. Macarthur situates her argument in the context of current dominant neoliberal thought and practice. She argues that women have generally not thrived in the neoliberal model of the composer, which envisages the composer as an individual, autonomous creator and entrepreneur. Successful female composers must work with this dominant, modernist aesthetic and exploit the image of the neo-romantic, entrepreneurial creator. This book sets out in contrast to develop a new conception of subjectivity that sows the seeds of a twenty-first-century feminist politics of music.
Dr Sally Macarthur, Senior Lecturer in Musicology, School of Communication Arts, University of Western Sydney, Australia
