Feminine Endings: Music, Gender and Sexuality

When it was originally published in 1991, "Feminine Endings" was immediately controversial for its unprecedented intermingling of cultural criticism and musical studies, an approach that came to be called "the New Musicology." Through case studies of works ranging from the canonical operas by Monteverdi and Bizet to the contemporary-the performance art of Diamanda Galás and popular songs by Madonna, Susan McClary focuses on the ways music produces images of gender, desire, pleasure, and the body, and explores the gender-based metaphors that circulate in discourse about music. The now classic work features a new introduction that discusses the critical reception it received and the debates it has inspired.

CONTENIDO:

Acknowledgments

Feminine Endings in Retrospect

1. Introduction: A Material Girl in Bluebeard's Castle
2. Constructions of Gender in Monteverdi's Dramatic Music
3. Sexual Politics in Classical Music
4. Excess and Frame: The Musical Representation of Madwomen
5. Getting Down Off the Beanstalk: The Presence of a Woman's Voice in Janika Vandervelde's Genesis II
6. This Is Not a Story My People Tell: Musical Time and Space According to Laurie Anderson
7. Living to Tell: Madonnas Resurrection of the Fleshly

Notes

Index