[ANPPOM-L] bibliografia de new musicology (longo)

Sex Jun 4 01:57:58 BRT 2010

Obrigado ao Acácio, Rodolfo Caesar, Mónica Vermes e Tiago Carvalho, que
enviaram contribuições, que utilizei parcialmente, pelas razões abaixo.

Estou interessado na *new musicology* como movimento de ruptura localizado
no tempo e no espaço. Assim, privilegiei as discussões dos anos oitenta e
noventa, bem como discussões posteriores envolvendo autores e autoras mais
diretamente associados à defesa da *new musicology* (McClary, Brett) ou a
sua rejeição (Taruskin, Agawu, Rosen). Incluí também alguns panoramas
posteriores, mas evitei as sínteses, especialmente aquelas que associam a *new
musicology* à etnomusicologia. Incluí ainda trabalhos posteriores à *new
musicology* de autores e autoras que dela fizeram parte, e continuaram
tratando de questões polêmicas depois de o rótulo ter caído em desuso (e.g.
Suzanne Cusick e seu trabalho colateral sobre a tortura). A questão negra
está subrepresentada. Ela tem uma longa história, e me parece que os autores
que a trataram de um ponto de vista próximo ao da NM não se associaram a
esta (e.g., Paul Gilroy, Guthrie Ramsey). A questão feminina/ista está
sumariamente representada. A questão lésbica e gay ocupa o maior
espaço. Isso se deve à existência de uma longa bibliografia, de caráter
histórico, traçando a emergência da questão L&G na musicologia --- vide o o
verbete do *Grove* "Música lésbica e gay", de Philip Brett e Elizabeth Wood
--- e ao fato dessa bibliografia ter sido atualizada quando da publicação do
artigo na segunda edição de *Queering the Pitch*, em 2006. (A mesma versão,
sem os cortes do editor do *Grove*, mas também sem a atualização
bibliográfica, está disponível, em português, na *Revista eletrônica de
musicologia*). Enfim, como para se chegar ao Outro da NM a psicanálise é
mais útil do que uma canoa ou um avião da FAB, esta escolha me parece
conseqüente e representativa da disciplina.

Incluí também um ensaio de Pierre Schaefer, a introdução ao *Traité des
objets musicaux*, porque ele anuncia ali muitas das preocupações que a NM
fará suas duas décadas depois. Mas não só por isso. A NM apropriando-se dos
(pós-)estruturalistas franceses e tendo tido tão pouca repercussão nos meios
musicológicos gálicos, é interessante ver um autor francês, tão ignorado
pela musicologia francesa quanto pela NM, antecipar as preocupações desta,
notadamente no que diz respeito às críticas: à Escola de Darmstadt, à
obsessão pela "nota", à aridez e ao caráter meramente descritivo das
análises musicais.

O mais interessante é que consegui achar quase todos os artigos desse debate
no portal da CAPES, o que me levou também a valorizar os artigos em
periódicos em detrimento dos livros. Para que a bibliografia ficasse
completa, a CAPES só precisaria ter assinado ainda *Current Musicology*, *
repercussions* e *The Journal of Country Music*.

Obrigado pelo interesse e divirtam-se, porque alguns desses textos são muito
divertidos.

Carlos

--

*Bibliografia:*

* *

Abbate, Carolyn. 1991. *Unsung Voices: Opera and Musical Narrative in the
Nineteenth Century*. Princeton: Princeton University Press.

Adams, Byron. 2000. “The ‘Dark Saying’ of the Enigma: Homoeroticism and the
Elgarian Paradox”. *19th-Century Music* 23 (3): 218–235. [Portal CAPES]

Agawu, Kofi. 1997. “Analyzing Music under the New Musicological Regime”. *The
Journal of Musicology* 15 (3): 297–307. [Portal CAPES]

Amico, Stephen. 2001. “‘I Want Muscles’: House Music, Homosexuality and
Masculine Signification”. *Popular Music* 20 (3): 359–378. [Portal CAPES]

Astmann, Dana. 2003. “Freylekhe Felker: Queer Subculture in the Klezmer
Revival”. *Discourses in Music* 4 (3).

Bergeron, Kathrine. 1996. “The Castrato as History”. *Cambridge Opera
Journal* 8 (2): 167–184. [Portal CAPES]

Biddle, Ian. 2006. “On the Radical in Musicology”. *Radical Musicology* 1.

Bohlman, Philip. 1993. “Musicology as a Political Act”. *Journal of
Musicology* 11 (4): 411–436. [Portal CAPES]

Bradby, Barbara. 2002. “Oh, Boy! (Oh, Boy): Mutual Desirability and Musical
Structure in the Buddy Group”. *Popular Music* 21 (1): 63–91. [Portal CAPES]

Brett, Philip. 2006. *Music and Sexuality in Britten: Selected Essays*.
Berkeley, Los Angeles e London: University of California Press.

———. 1997. “Piano Four-Hands: Schubert and the Performance of Gay Male
Desire”. *19th-Century Music* 21 (2): 149–176. [Portal CAPES]

———. 1994. “Are You Musical? Is It Queer to Be Queer?”. *The Musical Times*,
v. 135, n. 1816, pp 370–376. [Portal CAPES]

———. 1977. “Britten and Grimes”. *The Musical Times*, v. 118, n. 1618, pp
995–997 e 999–1000. [Portal CAPES]

Brett, Philip e Elizabeth Wood. [2001]. “Música lésbica e guei”. Tradução de
Carlos Palombini. *Revista eletrônica de musicologia* 7, 2002.

Brett, Philip, Elizabeth Wood e Gary C. Thomas. 2006. *Queering the Pitch:
the New Gay and Lesbian Musicology*. New York e London: Routledge, segunda
edição.

Burnham, Scott. 1997. “Theorists and ‘The Music Itself’”. *The Journal of
Musicology* 15 (3): 216–329. [Portal CAPES]

Butler, Mark. 2003. “Taking It Seriously: Intertextuality and Authenticity
in Two Covers by the Pet Shop Boys”. *Popular Music* 22 (1): 1–19. [Portal
CAPES]

Carter, Tim. 2002. “An American in...?” (resenha de *Conventional Wisdom:
The Content of Musical Form*, de Susan McClary). *Music and Letters* 83 (2):
274–278. [Portal CAPES]

Clarke, David. 1993. “Review: Tippett in and out of 'Those Twentieth Century
Blues': The Context and Significance of an Autobiography”. *Music and
Letters* 74 (3): 399–411. [Portal CAPES]

Cook, Nicholas e Mark Everist (orgs). 1999. *Rethinking Music*. Oxford:
Oxford University Press.

Cusick, Suzanne. 2008. “‘You are in a place that is out of the world...’:
Music in the Detention Camps of the ‘Global War on Terror’”. *Journal of the
Society for American Music* 2 (1): 1–26. [Portal CAPES]

———. 2008. “Musicology, Torture, Repair”. *Radical Musicology* 3.

———. 2006. “Music as Torture / Music as Weapon”. *Transcultural Music Review
* 10.

———. 2006. “La música como tortura / La música como arma”. Tradução de
Sebastián
Cruz e Ruben Lopez Cano. *Revista transcultural de música *10.

———. 2001. “‘Eve... Blowing in Our Ears’? Towards a History of Music
Scholaship on Women in the Twentieth Century”. *Women and Music* 5: 125–139.
[Portal CAPES]

———. 1994. “Feminist Theory, Music Theory, and the Mind/Body Problem”.
*Perspectives
of New Music* 32 (1): 8–27. [Portal CAPES]

DeChaine, D. Robert. 1997. “Mapping Subvertion: Queercore Music’s Playful
Discourse of Resistance”. *Popular Music and Society* 21 (4): 7–37. [Portal
CAPES]

Geyrhalter, Thomas. 1996. “Effeminacy, Camp and Sexual Subversion in Rock:
The Cure and Suede”. *Popular Music* 15 (2): 217–224. [Portal CAPES]

Gittings, Christopher. 2001. “‘Zero Patience’, Genre, Difference, and
Ideology: Singing and Dancing Queer Nation”. *Cinema Journal* 41 (1): 28–39.
[Portal CAPES]

Grossman, Maxine L. 2002. “Jesus, Mama, and the Constraints of Salvific Love
in Contemporary Country Music”. *Journal of the American Academy of Religion
* 70 (1): 83–115. [Portal CAPES]

Head, Matthew. 1995. “‘Like Beauty Spots on the Face of a Man’: Gender in
18th-Century North-German Discourse of Genre”. *The Journal of
Musicology*13 (2): 143–167. [Portal CAPES]

Heile, Björn. 2004. “Darmstadt as Other: British and American Responses to
Musical Modernism”. *twentieth-century music* 1 (2): 161–178. [Portal CAPES]

Hicks, Michael. 1991. “The Imprisonment of Henry Cowell”. *Journal of the
American Musicogical Society* 44 (1): 92–119. [Portal CAPES]

Hindley, Clifford. 1989. “Love and Salvation in Britten's ‘Billy Budd’”. *Music
and Letters* 70 (3): 363–381. [Portal CAPES]

Holsinger, Bruce W. 1993. “The Flesh of the Voice: Embodiment and the
Homoerotics of Devotion in the Music of Hildegard of Bingen
(1098–1179)”. *Signs:
Journal of Women in Culture and Society *19 (1): 92–125. [Portal CAPES]**

Hubbs, Nadine. 2000. “A French Connection: Modernist Codes in the Musical
Closet”. *GLQ: A Journal of Lesbian and Gay Studies* 6 (3): 389–412. [Portal
CAPES]

Johnson, Bruce. 2003. “Two Paulines, Two Nations: An Australian Case Study
in the Intersection of Popular Music and Politics”. *Popular Music and
Society* 25 (1): 53–72. [Portal CAPES]

Johnson, Maria V. 2003. “‘Jelly Jelly Jellyroll’: Lesbian Sexuality and
Identity in Women’s Blues”. *Women and Music* 7: 31–52. [Portal CAPES]

Joyce, Victoria Moon. 1997. “What’s So Queer About Composing? Exploring
Attali’s Concept of Composition from a Queer Perspective”. *Popular Music
and Society* 21 (3): 35–59. [Portal CAPES]

Kerman, Joseph. 1985. *Contemplating Music: Challenges to Musicology*.
Cambridge: Harvard University Press.

———. 1980. “How We Got into Analysis, and How to Get Out”. *Critical Inquiry
* 7 (2): 311–331. [Portal CAPES]

Keyes, Cheryl L. 2000. “Empowering Self, Making Choices, Creating Spaces:
Black Female Identity via Rap Music Performance”. *Journal of American
Folklore*, v. 113, n. 449, pp 255–269. [Portal CAPES]

Koestenbaum, Wayne. 1994. “Queering the Pitch: um florilégio de definições e
personificações”. Tradução de Carlos Palombini.

———. 1993. *The Queen’s Throat: Opera, Homosexuality and the Mistery of
Desire*. New York: Vintage.

Kramer, Lawrence. 1995. *Classical Music and Postmodern Knowledge*. Los
Angeles e London: University of California Press.

——— (org.). 1993. *Schubert: Music, Sexuality, Culture*. *19th-Century Music
* 17 (1), número especial. [Portal CAPES]

———. 1990. *Music as Cultural Practice, 1800–1900*. Berkeley: University of
California Press.

Lareau, Alan. 2005. “Lavender Songs: Undermining Gender in Weimar Cabaret
and Beyond”. *Popular Music and Society* 28 (1): 15–33. [Portal CAPES]

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Academy*”. *Music Theory Spectrum* 19 (1): 107–113. [Portal CAPES]

Maus, Fred E. 1992. “Hanslick’s Animism”. *Journal of Musicology* 10
(3): 273–292.
[Portal CAPES]

McClary, Susan. 2006. “The World According to Taruskin”. *Music and
Letters*87 (3): 408–415. [Portal CAPES]

———. 2000. “Women and Music on the Verge of the New Millennium”. *Signs**:
Journal of Women in Culture and Society* 25 (4): 1283–1286. [Portal CAPES]

———. 1991. *Feminine Endings: Music, Gender, and Sexuality*. Minneapolis:
University of Minnesota Press.

———. 1989. “Terminal Prestige: The Case of Avant-Garde Music
Composition”. *Cultural
Critique* 12: 57–81. [Portal CAPES]

Mc Clatchie, Stephen. 1996. “Benjamin Britten, *Owen Wingrave* and the
Politics of the Closet; Or, ‘He Shall Be Straightened Out at
Paramore’”. *Cambridge
Opera Journal* 8 (1): 59–75. [Portal CAPES]

Metzer, David. 1997. “‘Spurned Love’: Eroticism and Abstraction in the Early
Works of Aaron Copland”. *The Journal of Musicology* 15 (3): 417–443.
[Portal CAPES]

———. 1995. “Reclaiming Walt: Marc Blitzstein’s Whitman Settings”. *Journal
of the American Musicological Society* 48 (2): 240–271. [Portal CAPES]

Morinaga, Maki. 2002. “The Gender of *Onnagata* As the Imitating Imitated:
Its Historicity, Performativity, and Involvement in the Circulation of
Femininity”. *Positions: East Asia Cultures Critique* 10 (2): 245–284.
[Portal CAPES]

Morris, Mitchell. 2004. “*Cabaret*, America’s Weimar, and Mythologies of the
Gay Subject”. *American Music* 22 (1): 145–157. [Portal CAPES]

Muxfeldt, Kristina. 1996. “Schubert, Platen, and the Myth of
Narcissus”. *Journal
of the American Musicological Society* 49 (3): 480–523 e 525–527. [Portal
CAPES]

Oliveros, Pauline e Fred E. Maus. 1994. “A Conversation about Feminism and
Music”. *Perspectives of New Music *32 (2): 174–193. [Portal CAPES]

Peraino, Judith A. 2003. “Listening to the Sirens: Music As Queer Ethical
Practice”. *GLQ: A Journal of Lesbian and Gay Studies* 9 (4): 433–470.
[Portal CAPES]

Plessis, Michael du e Kathleen Chapman. 1997. “Queercore: The Distinct
Identities of a Subculture”. *College Literature* 24 (1): 45–58. [Portal
CAPES]

Pollack, Howard. 2000. “The Dean of Gay American Composers”. *American Music
* 18 (1): 38–48. [Portal CAPES]

Robinson, Paul. 1994. “The Opera Queen: A Voice from the Closet”. *Cambridge
Opera Journal* 6 (3): 283–291. [Portal CAPES]

Rodger, Gillian. 2004. “Drag, Camp and Gender Subversion in the Music and
Videos of Annie Lennox”. *Popular Music* 23 (1): 17–29. [Portal CAPES]

Said, Edward. 1978. *Orientalism*. New York: Pantheon.

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———. 1987. “Charles Ives: Some Questions of Veracity”. *Journal of the
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Subotnik, Rose Rosengard. 1991. *Developing Variations: Style and Ideology
in Western Music*. Minneapolis: University of Minnesota Press.

Taruskin, Richard. 2005. “Speed Bumos”. *19th-Century Music* 29 (2):
185–207. [Portal CAPES]

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———. 1994. “Men With a Past: Music and the ‘Anxiety of Influence’”.
*19th-Century
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Wiley, Christopher. 2004. “‘When a Woman Speaks the Truth About Her Body”:
Ethel Smyth, Virginia Woolf, and the Challenges of Lesbian Auto/Biography”.
*Music and Letters* 85 (3): 388–414. [Portal CAPES]

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Continental Baths, 1970–1976”. *Theatre History Studies* 20: 46–65. [Portal
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