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

Sex Jun 4 14:32:42 BRT 2010

Obrigada por dividir isto com a gente Carlos!
Sonia

Em 4 de junho de 2010 01:57, Carlos Palombini <cpalombini em gmail.com>escreveu:

>
> 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]
>
>
>
> Lochhead, Judy. 1997. “Pieter C. van den Toorn. *Music, Politics, and the
> 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.
>
>
>
> Schaeffer, Pierre. 1966. “Situation historique de la musique”. *Traité des
> objets musicaux: essai interdisciplines*. Paris: Seuil, 1966, pp 15–38.
> Tradução de Igor Reyner e Carlos Palombini. “Situação histórica da música”.
>
>
>
> Schippers, Mimi. 2000. “The Social Organization of Sexuality and Gender in
> Alternative Hard Rock: An Analysis of Intersectionality”. *Gender and
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>
>
>
> Sedgwick, Eve Kosofsky. 1990. *Epistemology of the Closet*. Berkeley:
> University of California Press.
>
>
>
> Solie, Ruth A. (org.). 1993. *Musicology and Difference: Gender and
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>
>
>
> ———. 1991. “What do Feminists Want? A Reply to Pieter van den Toorn”. *Journal
> of Musicology* 9 (4): 399–410. [Portal CAPES]
>
>
>
> Solomon, Maynard. 1989. “Franz Schubert and the Peacocks of Benvenuto
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>
>
>
> ———. 1987. “Charles Ives: Some Questions of Veracity”. *Journal of the
> American Musicological Society* 40 (3): 443–470. [Portal CAPES]
>
>
>
> Stanfield, Peter. 2002. “An Excursion into the Lower Depths: Hollywood,
> Urban Primitivism, and ‘St. Louis Blues’, 1929–1937”. *Cinema Journal* 41
> (2): 84–108. [Portal CAPES]
>
>
>
> Stern, Howard. 1995. “*Developing Variations: Style and Ideology in
> Western Music* by Rose Rosengard Subotnik”. *Journal of Music Theory* 39
> (1): 139–145. [Portal CAPES]
>
>
>
> 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]
>
>
>
> Tomlinson, Gary. 1991. “Cultural Dialogics and Jazz: A White Historian
> Signifies”. *Black Music Research Journal* 11 (2): 229–264. [Portal CAPES]
>
>
>
> Toorn, Pieter van den. 1991. “Politics, Feminism, and Contemporary Music
> Theory”. *Journal of Musicology* 9 (3): 275–299. [Portal CAPES]
>
>
>
> Treitler, Leo. 1989. “The Power of Positivist Thinking: Joseph Kerman. *Contemplating
> Music: Challenges to Musicolog**y*”. *Journal of the American
> Musicological Society* 42 (2): 375–402. [Portal CAPES]
>
>
>
> Truax, Barry. 2003. “Homoeroticism and Electroacoustic Music: Absence and
> Personal Voice”. *Organised Sound* 8 (1): 117–124. [Portal CAPES]
>
>
>
> Walser, Robert. 1993. *Running with the Devil: Power, Gender, and Madness
> in Heavy Metal Music*.* *Hanover: Wesleyan University Press.
>
>
>
> Whitesell, Lloyd. 2003. “Britten’s Dubious Tryists”. *Journal of the
> American Musicological Society* 56 (3): 637–694. [Portal CAPES]
>
>
>
> ———. 1994. “Men With a Past: Music and the ‘Anxiety of Influence’”. *19th-Century
> Music* 18 (2): 152–167.
>
>
>
> 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]
>
>
>
> Williams, Alastair. 2001. *Constructing Musicology*. Aldershot: Ashgate.
>
>
>
> Winkler, Kevin. 2000. “Stars of the Tubs!: A History of Performance at the
> Continental Baths, 1970–1976”. *Theatre History Studies* 20: 46–65.
> [Portal CAPES]
>
>
>
> Wolf, Stacy. 1997. “‘Never Gonna ne A Man/Catch Me if You Can/I Won’t Grow
> Up’: A Lesbian Account of Mary Martin as Peter Pan”. *Theatre Journal* 49
> (4): 493–509. [Portal CAPES]
>
>
>
> Wood, Elizabeth. 1995. “Performing Rights: A Sonography of Women’s
> Suffrage”. *Musical Quarterly* 79 (3): 606–643. [Portal CAPES]
>
>
>
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-- 
SONIA RAY
Contrabaixo - PPG Música - Universidade Federal de Goiás
Presidente da ANPPOM (www.anppom.com.br)
Tel: 62-9249.0911
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