160057 VO Introduction to Music, Gender, and Sexuality (2024S)
Labels
An/Abmeldung
Hinweis: Ihr Anmeldezeitpunkt innerhalb der Frist hat keine Auswirkungen auf die Platzvergabe (kein "first come, first served").
Details
Sprache: Englisch
Prüfungstermine
N
Mittwoch
26.06.2024
11:30 - 13:00
Hörsaal B UniCampus Hof 2 2C-EG-02
Donnerstag
26.09.2024
16:45 - 18:15
Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
Mittwoch
27.11.2024
16:45 - 18:15
Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
Mittwoch
15.01.2025
16:45 - 18:15
Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
Lehrende
Termine (iCal) - nächster Termin ist mit N markiert
Die Lehrveranstaltung beginnt erst am 10. April; die Einheiten, die vor den Osterferien entfallen, werden geblockt nachgeholt.
Mittwoch
10.04.
11:30 - 13:00
Hörsaal B UniCampus Hof 2 2C-EG-02
Mittwoch
17.04.
11:30 - 13:00
Hörsaal B UniCampus Hof 2 2C-EG-02
Mittwoch
24.04.
11:30 - 13:00
Hörsaal B UniCampus Hof 2 2C-EG-02
Mittwoch
08.05.
11:30 - 13:00
Hörsaal B UniCampus Hof 2 2C-EG-02
Mittwoch
15.05.
11:30 - 13:00
Hörsaal B UniCampus Hof 2 2C-EG-02
Mittwoch
22.05.
11:30 - 13:00
Hörsaal B UniCampus Hof 2 2C-EG-02
Mittwoch
29.05.
11:30 - 13:00
Hörsaal B UniCampus Hof 2 2C-EG-02
N
Mittwoch
05.06.
11:30 - 13:00
Hörsaal B UniCampus Hof 2 2C-EG-02
Mittwoch
12.06.
11:30 - 13:00
Hörsaal B UniCampus Hof 2 2C-EG-02
Mittwoch
19.06.
11:30 - 13:00
Hörsaal B UniCampus Hof 2 2C-EG-02
Samstag
22.06.
13:15 - 16:30
Hörsaal B UniCampus Hof 2 2C-EG-02
Information
Ziele, Inhalte und Methode der Lehrveranstaltung
This course will introduce and examine the ways in which musics and musical discourses are implicated in the constructions of genders and sexualities and, additionally, the connections between such constructions and specifically affective, embodied forms of expressive culture. We will examine these issues through theoretical (sometimes ethnographically or sociologically based) texts, as well as audio/visual materials. Although much of the focus will be on mass-mediated “popular” musics of approximately the last century, coming from the industrialized West, we will also engage musics from other historical and geographical locations. The course will consist primarily of lectures, but with some space for discussion.
Art der Leistungskontrolle und erlaubte Hilfsmittel
Students will be assessed on their ability to critically and productively engage with the concepts and analyses explored via the course readings and lectures, as well as their ability to clearly and convincingly articulate this knowledge in written form. A final written exam comprising several essay questions will be used as the basis for assessment.
Mindestanforderungen und Beurteilungsmaßstab
A final written exam comprising several essay questions will be used as the basis for assessment. Students must achieve a minimum of 50% in order to receive a passing grade.
Prüfungsstoff
Students are responsible for materials from all assigned readings and from the lectures.
Literatur
Students will have required readings (25-40pp) to be completed before each class meeting. A representative (but not complete) reading list includes the following texts:Amico, Stephen. 2009. “Visible Difference, Audible Difference: Female Singers and Gay Male Fans in Russian Popular Music.” Popular Music and Society 32(3): 351-370.
Baitz, Dana. “Toward a Trans* Method in Musicology.” The Oxford Handbook of Music and Queerness (ed. Fred Everett Maus et al.) Oxford: Oxford University Press. 366-381.
Bloechel, Olivia and Melanie Lowe. 2015. “Introduction.” Rethinking Difference in Music Scholarship (ed. Olivia Bloechel, Melanie Lowe, and Jeffrey Kallberg). Cambridge, UK: Cambridge University Press.
Brett, Philip, Elizabeth Wood, and Nadine Hubbs. n.d. “Lesbian, Gay, Bisexual, Transgender, and Queer Music.” Grove Music Online/Oxford Music Online.
Collins, Patricia Hill. 2004. “Booty Call: Sex, Violence, and Images of Black Masculinity.” Black Sexual Politics: African Americans, Gender, and the New Racism. New York: Routledge.
Cusick, Suzanne G. 1994. “On a Lesbian Relationship with Music: A Serious Effort Not to Think Straight.” Queering the Pitch: The New Gay and Lesbian Musicology. New York: Routledge.
Edwards, Jason. 2009. “Homosocialities.” Eve Kosofsky Sedgwick. (New York: Routledge). 32-45.
Farrugia, Rebekah. 2012. “Producing Producers: Exploring Women’s Place in the Production of Electronic Dance Music.” Beyond the Dance Floor: Female DJs, Technology, and Electronic Dance Music Culture. Bristol: Intellect.
Hayes, Eileen. 2010. “‘Ideal Relationships’: Women’s Music Audiences.” Songs in Black and Lavender: Race, Sexual Politics, and Women’s Music. Urbana: University of Illinois Press.
Jen, Clare. 2017. “Feminist Hactivisms: Countering Technophilia and Fictional Promises.” Introduction to Women’s, Gender, and Sexuality Studies: Interdisciplinary and Intersectional Approaches (ed. L. Ayu Saraswati et al.) Oxford: Oxford University Press. 474-479.
Leibetseder, Doris (trans. Rebecca Carbery). 2012. “Trans* - Border Wars?” Queer Tracks: Subversive Strategies in Rock and Pop Music. Franham: Ashgate.
Lloyd, Moya. 2010. “Judith Butler.” From Agamben to Žižek: Contemporary Critical Theorists (ed. John Simons). Edinburgh: Edinburgh University Press.
McAlister, Joan Faber. 2010. “Donna J. Haraway.” From Agamben to Žižek: Contemporary Critical Theorists (ed. Jon Simons). Edinburgh: Edinburgh University Press.
Peraino, Judith. 2015. “Synthesizing Difference: The Queer Circuits of Early Synthpop.” Rethinking Difference in Music Scholarship (ed. Olivia Bloechel, Melanie Lowe, and Jeffrey Kallberg). Cambridge, UK: Cambridge University Press.
Provenzano, Catherine. 2019. “Making Voices: The Gendering of Pitch Correction and the Auto-Tune Effect in Contemporary Pop Music.” Journal of Popular Music Studies 31(2): 63-84.
Railton, Diane and Paul Watson. 2011. “Masculinity and the Absent Presence of the Male Body.” Music Video and the Politics of Representation. Edinburgh: Edinburgh University Press.
Smalls, Shanté Paradigm. 2022. “Queer Hip Hop, Queer Dissonance.” Hip Hop Heresies: Queer Aesthetics in New York City. New York: New York University Press. 123-150.
Taylor, Jodie. 2012. “Identities, Theories, and Politics.” Playing It Queer: Popular Music, Identity, and Queer World-Making. Bern: Peter Lang.
Wilbourne, Emily. 2018. “The Queer History of the Castrato.” The Oxford Handbook of Music and Queerness (ed. Fred Everett Maus et al.) Oxford: Oxford University Press. 441-454.
Baitz, Dana. “Toward a Trans* Method in Musicology.” The Oxford Handbook of Music and Queerness (ed. Fred Everett Maus et al.) Oxford: Oxford University Press. 366-381.
Bloechel, Olivia and Melanie Lowe. 2015. “Introduction.” Rethinking Difference in Music Scholarship (ed. Olivia Bloechel, Melanie Lowe, and Jeffrey Kallberg). Cambridge, UK: Cambridge University Press.
Brett, Philip, Elizabeth Wood, and Nadine Hubbs. n.d. “Lesbian, Gay, Bisexual, Transgender, and Queer Music.” Grove Music Online/Oxford Music Online.
Collins, Patricia Hill. 2004. “Booty Call: Sex, Violence, and Images of Black Masculinity.” Black Sexual Politics: African Americans, Gender, and the New Racism. New York: Routledge.
Cusick, Suzanne G. 1994. “On a Lesbian Relationship with Music: A Serious Effort Not to Think Straight.” Queering the Pitch: The New Gay and Lesbian Musicology. New York: Routledge.
Edwards, Jason. 2009. “Homosocialities.” Eve Kosofsky Sedgwick. (New York: Routledge). 32-45.
Farrugia, Rebekah. 2012. “Producing Producers: Exploring Women’s Place in the Production of Electronic Dance Music.” Beyond the Dance Floor: Female DJs, Technology, and Electronic Dance Music Culture. Bristol: Intellect.
Hayes, Eileen. 2010. “‘Ideal Relationships’: Women’s Music Audiences.” Songs in Black and Lavender: Race, Sexual Politics, and Women’s Music. Urbana: University of Illinois Press.
Jen, Clare. 2017. “Feminist Hactivisms: Countering Technophilia and Fictional Promises.” Introduction to Women’s, Gender, and Sexuality Studies: Interdisciplinary and Intersectional Approaches (ed. L. Ayu Saraswati et al.) Oxford: Oxford University Press. 474-479.
Leibetseder, Doris (trans. Rebecca Carbery). 2012. “Trans* - Border Wars?” Queer Tracks: Subversive Strategies in Rock and Pop Music. Franham: Ashgate.
Lloyd, Moya. 2010. “Judith Butler.” From Agamben to Žižek: Contemporary Critical Theorists (ed. John Simons). Edinburgh: Edinburgh University Press.
McAlister, Joan Faber. 2010. “Donna J. Haraway.” From Agamben to Žižek: Contemporary Critical Theorists (ed. Jon Simons). Edinburgh: Edinburgh University Press.
Peraino, Judith. 2015. “Synthesizing Difference: The Queer Circuits of Early Synthpop.” Rethinking Difference in Music Scholarship (ed. Olivia Bloechel, Melanie Lowe, and Jeffrey Kallberg). Cambridge, UK: Cambridge University Press.
Provenzano, Catherine. 2019. “Making Voices: The Gendering of Pitch Correction and the Auto-Tune Effect in Contemporary Pop Music.” Journal of Popular Music Studies 31(2): 63-84.
Railton, Diane and Paul Watson. 2011. “Masculinity and the Absent Presence of the Male Body.” Music Video and the Politics of Representation. Edinburgh: Edinburgh University Press.
Smalls, Shanté Paradigm. 2022. “Queer Hip Hop, Queer Dissonance.” Hip Hop Heresies: Queer Aesthetics in New York City. New York: New York University Press. 123-150.
Taylor, Jodie. 2012. “Identities, Theories, and Politics.” Playing It Queer: Popular Music, Identity, and Queer World-Making. Bern: Peter Lang.
Wilbourne, Emily. 2018. “The Queer History of the Castrato.” The Oxford Handbook of Music and Queerness (ed. Fred Everett Maus et al.) Oxford: Oxford University Press. 441-454.
Zuordnung im Vorlesungsverzeichnis
BA: ETH-V, POP-V, INT, FRE
MA (2008): M02, M03, M04, M05, M08, M11, M13, M16
MA (2022): E.ETH, E.INT, E.POP, H.ETH, H.INT, H.POP, S.ETH, S.INT, S.POP
EC: POM2
MA (2008): M02, M03, M04, M05, M08, M11, M13, M16
MA (2022): E.ETH, E.INT, E.POP, H.ETH, H.INT, H.POP, S.ETH, S.INT, S.POP
EC: POM2
Letzte Änderung: Mi 08.05.2024 10:46