Gender-Centric Feminisms in Music and Sound

Through what Ellen Koskoff identifies as a ‘second-wave’ of feminist musicology and ethnomusicology, is scholarship that has sought to question productions of gender through productions of music such as Susan McClary’s Feminine Endings: Music, Gender, and Sexuality (1991), Marcia Citron’s Gender and the Musical Canon (1991) and Elaine Barkin’s and Lydia Hamessley’s Audible Traces: Gender, […]

Written into History: ‘Woman-Centric’ Feminist Musicology

Hegemonic discourses and power relations which sought to write women as a category out of musical history have been met with numerous attempts by feminist musicologists and feminist ethnomusicologists to write women into the histories they have been erased from.  Early feminist musicology, which gained momentum and recognition predominantly within Euro-American discourses in the 1980s, […]

Silenced as Noise

Excluded as she was from political intelligibility within historical continental discourses of individuality (Scott 1996), “woman” throughout Anglo-American histories of sound and music has similarly been been ignored, negated and generally written out of existence. The title of Lina Džuverovic’s and Anne Hilde Neset’s project, Her Noise, whilst for the co-curators may be an anagram […]