Explore how musicologists and their colleagues in related disciplines have responded to specific issues addressed in the area listed below

Explore how musicologists and their colleagues in related disciplines have responded to specific issues addressed in the area listed below. Within this area you should refer to

AT LEAST THREE significant articles / book chapters or other texts in your essay.

 

It is important that you evaluate the arguments posited by each author, compare them against one another, and assess critically the way in which the authors have responded to previous scholarship and, where appropriate, to one other’s approaches.

 

The most important thing is how the students synthesize the articles / book chapters in the essay and come out with their own critical thinking.

 

  • Gender, sexuality, feminism and raceà This is the area

Instructions:

 

  1. Come up with your own title of the essay so that the advisor can know the main idea of the essay. For example:” Queer musicology: address and problems”

 

  1. Your essay should be a maximum of 4,000 words, including footnotes but excluding bibliography.

 

  1. Referencing number: 15-20. And remember, when writing the essay, choose 2 or 3 core articles as the axis of the essay; evaluate the arguments posited by each author, compare them against one another, and assess critically the way in which the authors have responded to previous scholarship and, where appropriate, to one other’s approaches. Then using the rest of articles as supporting arguments.

 

  1. Don’t just summarize the articles but debate and bring out your own critical thinking at the same time. Discuss and debate about their methodologies or theories.

 

  1. Use MHRA as referencing guide: https://subjects.library.manchester.ac.uk/referencing/mhra

Resources I used

  1. Auner, Joseph, ‘“Sing It For Me”: Posthuman Ventriloquism in Recent Popular Music’, Journal of the Royal Musical Association, 128 (2003), 1: 98-122.

https://drive.google.com/open?id=1MYz7kUalTB3PV0tSiJMyxMPQrzhlpISA

 

  1. Cusick, Suzanne, ‘Feminist Theory, Music Theory, and the Mind/Body Problem’, Perspectives of New Music, 32 (Winter 1994), 1: 8-27.

https://drive.google.com/open?id=1ztpMqr1GI5T7yNxbTVAYLFVz_O23tBoz

 

  1. DeNora, Tia, Ch. 4: ‘Music and the Body’, Music In Everyday Life (Cambridge: CambridgeUniversity Press, 2001), 75-108.

https://drive.google.com/open?id=1oo5hMD0CmAZxye0VF5ump4Mf0t2xLMDL

 

  1. Floyd, Samuel A., ‘Black Music and Writing Black Music History: American Music and

Narrative Strategies’, Black Music Research Journal, 28 (Spring 2008), 1: 111-121.

https://drive.google.com/open?id=1WTUQ60vp5QBLThRZUpAFizQvBWQNkVoK

 

  1. Hadlock, Heather, ‘Sonorous Bodies: Women and the Glass Harmonica’, Journal of the

American Musicological Society, 53 (2000), 3: 507-542.

https://drive.google.com/open?id=1-d4nwnrUD40nqcfZVjKG6zteRhV0wvqa

 

  1. Lewis, Rachel, ‘What’s Queer About Musicology Now?’, Women and Music: A Journal of Gender and Culture, 13 (2009), 43-53.

https://drive.google.com/open?id=1siKR3iDrSo91laP_qOL3FkFz6WfZREqc

 

  1. McClary, Susan, ‘Paradigm Dissonances: Music Theory, Cultural Studies, Feminist Criticism’,Perspectives of New Music, 32 (Winter, 1994), 1: 68-85

https://drive.google.com/open?id=1MvjA_PKz9ceM4cGL8CymEVc-J9Wt5YXZ

 

  1. Peraino, Judith, Suzanne G. Cusick et al., ‘Music and Sexuality’, Journal of the American

Musicological Society, 66 (2013), 3: 825-872.

https://drive.google.com/open?id=1MPCe4tCO5W8K_xqRlCDXwqh_cXTG1VaM

 

 

Alaghband-Zadeh, Chloë. 2015. “Sonic Performativity: Analysing Gender in North Indian Classical Vocal Music.” Ethnomusicology Forum 24 (3): 349–79.

https://drive.google.com/open?id=1kCQocDBn4dIctWwAzpotwlUrdGmsrca7

 

Mahon, Maureen. 2011. “They Say She’s Different: Race, Gender, Genre, and the Liberated Black Femininity of Betty Davis.” Journal of Popular Music Studies 23 (2): 146–65.

https://drive.google.com/open?id=1cojKr7I6Zg6gXMZkr89Z9Z6hTeUA20pR

 

Dibben, Nicola. 1999. “Representations of Femininity in Popular Music.” Popular Music 18 (3): 331–55.

https://drive.google.com/open?id=1cCN6EeaP35ncRJr6KjXvqoKw9TaEEMS9

 

MCCLARY, SUSAN. “Introduction: A Material Girl in Bluebeard’s Castle.” In Feminine Endings: Music, Gender, and Sexuality, 3-34. University of Minnesota Press, 1991. www.jstor.org/stable/10.5749/j.ctttt886.5.

https://drive.google.com/open?id=1_ETiPY0L3h16nMJRJZ1vS9dBZpiMt1iX

 

Miller, Kiri. 2014. “Gaming the System: Gender Performance in Dance Central.” New Media & Society 17 (6): 939–57.

https://drive.google.com/open?id=132MlaE8L3mHpelxMFZ0lOr6cG0pMz_h0

 

Goldin-Perschbacher, Shana. 2015. “TransAmericana: Gender, Genre, and Journey.” New Literary History 46 (4): 775–803.

https://drive.google.com/open?id=1dqhnL6K4XGRVFuCRpDpXUeXpRELJbMH0

 

Oldenburg, Veena Talwar. 1990. “Lifestyle as Resistance: The Case of the Courtesans of Lucknow, India.” Feminist Studies 16 (2): 259–87.

https://drive.google.com/open?id=1TUEnvrAV5jSIuRo3fr07O3Wfdqm0r06r

 

Weidman, Amanda J. 2003. “Gender and the Politics of Voice: Colonial Modernity and Classical Music in South India.” Cultural Anthropology 18 (2): 194–232

https://drive.google.com/open?id=1M7kj-YDudGqjuGxb30VpjH9ubwHj5cub

Weiss, Sarah. 2008. “Gender and Gender Redux: Rethinking Binaries and the Aesthetics of Old-Style Javanese Wayang.” Women and Music: A Journal of Gender and Culture 12 (1): 22–39.

https://drive.google.com/open?id=1yVqiqaEpDBIJImo1GG5gSCe7XKjKVzeu

Wong, Deborah. 2000. “Taiko and the Asian/American Body: Drums, ‘Rising Sun,’ and the Question of Gender.” The World of Music 42 (3): 67–78.

https://drive.google.com/open?id=1fUZ3KXWQ3HKdUh6NkguQjdj3Z-mlxWgX

MCCLARY, SUSAN. Feminine Endings: Music, Gender, and Sexuality. University of Minnesota Press, 1991. www.jstor.org/stable/10.5749/j.ctttt886.

KOSKOFF, ELLEN, and Suzanne Cusick. A Feminist Ethnomusicology: Writings on Music and Gender. University of Illinois Press, 2014. www.jstor.org/stable/10.5406/j.ctt7zw5tj.

 

  • The last two sources are books, if the writer wants to cite some chapters in the book:
  • The links I provided are just convenient for you to download, please don’t put them in the bibliography.
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