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This volume brings together twenty-one original essays by international scholars from the fields of gender studies, cultural theory, and music studies. Covering a wide range of music genres and theoretical perspectives, the shared concern of all contributions is the underlying concept of gender and sexuality pervading music production and performance as well as its consumption. At the end of the first decade of the new millennium, at a time when once abolished gender boundaries seem to be re-established under the guise of postfeminism, there is a discernible and renewed interest in rekindling the debate about the de- and reconstruction of dichotomies with regard to gender and music as well as with regard to its academic intersections in sociology, literary and cultural studies, musicology, and music theory. Through the shared focus on the interrelation of music and gender in theory and performance, the volume comprises such seemingly disparate categories as Classical and Pop music, Gangsta Rap and Liederspiel and thus contributes to the unsettling of established boundaries and points towards the continuity of important dialogues.
Zusammenfassung
This volume brings together twenty-one original essays by international scholars from the fields of gender studies, cultural theory, and music studies. Covering a wide range of music genres and theoretical perspectives, the shared concern of all contributions is the underlying concept of gender and sexuality pervading music production and performance as well as its consumption. At the end of the first decade of the new millennium, at a time when once abolished gender boundaries seem to be re-established under the guise of postfeminism, there is a discernible and renewed interest in rekindling the debate about the de- and reconstruction of dichotomies with regard to gender and music as well as with regard to its academic intersections in sociology, literary and cultural studies, musicology, and music theory. Through the shared focus on the interrelation of music and gender in theory and performance, the volume comprises such seemingly disparate categories as Classical and Pop music, Gangsta Rap and Liederspiel and thus contributes to the unsettling of established boundaries and points towards the continuity of important dialogues.
