TY - JOUR
AU - Hankins, Sarah
AB - THEORIZING GENDER, CULTURE, AND MUSIC Queer Relationships with Music and an Experiential Hermeneutics for Musical Meaning Sarah Hankins he 1990s saw the emergence of a queer musicology that employed the slippages and transgressions of queer experience— those authentic to our Texperience, and those ascribed to it in sociohistorical discourse— as tools in the construction of a framework for apprehending the sprawling category of “musical meaning.” There emerged a queer way of experiencing musical works, structures, and performances and a queer way of identifying music’s intersections with social structures of power. Together, these approaches ulti- mately gave rise to queer forms of relationship with music modeled on relation- ships between queer people. Musical meanings were found via processes that mirrored the body interactions, affective states, and interpretative practices that shape queer ways of being with other queers and being in the world. More than two decades on, queer musicology’s radical interventions re- tain immense salience, mapping a path through one of our discipline’s longest- standing and most complex dilemmas: How might we reconcile immediate, embodied musical experience with hermeneutics, criticism, and analysis? From the beginning, musicology has sought to balance feelings with facts, magic with science, responsive passion with analytical 
TI - Queer Relationships with Music and an Experiential Hermeneutics for Musical Meaning
JF - Women and Music: A Journal of Gender and Culture
DA - 2014-11-27
UR - https://www.deepdyve.com/lp/university-of-nebraska-press/queer-relationships-with-music-and-an-experiential-hermeneutics-for-AWRUI6ARMJ
SP - 83
EP - 104
VL - 18
IS - 
DP - DeepDyve
ER -