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Books > Arts & Architecture > Music > Western music, periods & styles > 20th century music
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Towards a Twenty-First-Century Feminist Politics of Music (Hardcover, New Ed)
Loot Price: R4,412
Discovery Miles 44 120
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Towards a Twenty-First-Century Feminist Politics of Music (Hardcover, New Ed)
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Donate to Against Period Poverty
Total price: R4,432
Discovery Miles: 44 320
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Towards a Twenty-First-Century Feminist Politics of Music opens up
a new way of thinking about the absence of women's music. It does
not aim to find 'a solution' in a liberal feminist sense, but to
discover new potentialities, new possibilities for thought and
action. Sally Macarthur encourages us, with the assistance of
Deleuze, and feminist-Deleuzian work, to begin the important work
of imagining what else might be possible, not in order to provide
answers but to open up the as yet unknown. The power of thought -
or what Deleuze calls the 'virtual' - opens up new possibilities.
Macarthur suggests that the future for women's 'new' music is not
tied to the predictable and known but to futures beyond the
already-known. Previous research concludes that women's music is
virtually absent from the concert hall, and yet fails to find a way
of changing this situation. Macarthur finds that the flaw in the
recommendations flowing from past research is that it envisages the
future from the standpoint of the present, and it relies on a set
of pre-determined goals. It thus replicates the present reality, so
reinforcing rather than changing the status quo. Macarthur
challenges this thinking, and argues that this repetitive way of
thinking is stuck in the present, unable to move forward. Macarthur
situates her argument in the context of current dominant neoliberal
thought and practice. She argues that women have generally not
thrived in the neoliberal model of the composer, which envisages
the composer as an individual, autonomous creator and entrepreneur.
Successful female composers must work with this dominant, modernist
aesthetic and exploit the image of the neo-romantic,
entrepreneurial creator. This book sets out in contrast to develop
a new conception of subjectivity that sows the seeds of a
twenty-first-century feminist politics of music.
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