![]() ![]() Once a discipline limited by the rigid boundaries of empiricism and historical positivism, mainstream musicology has finally embraced-although not without years of controversy-the cultural perspectives she and others introduced three decades ago. ![]() Today, “New Musicology” is simply musicology. She has since gone on to critically reconsider Western music from a variety of perspectives, from her controversial claim on the sexual tension in Beethoven’s Ninth, to representations of gender in works by Kaija Saariaho and Beyoncé. Perhaps best known for her central role in “New Musicology”-the late-1980s push to incorporate social, political, and cultural analyses into music studies-she is certainly no stranger to criticism and controversy.Īlthough there were several other music historians and theorists associated with this movement, McClary’s 1991 book Feminine Endings: Music, Gender, and Sexuality is often considered the trailblazing text that sparked a “disciplinary explosion,” as she has described it. ![]() Since musicology’s inception as an academic discipline in the 19th century, few scholars have influenced the field as profoundly as Susan McClary. ![]()
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