Queer Relationships with Music and an Experiential Hermeneutics for Musical Meaning

Guido Adler's vintage instruction is, after all, directed toward the scholar who is also the "true friend" of music, the scientist who must bring all of his or her empirical faculties to bear upon the near-holy task of preserving music's beauty and power.2 Adler's charge rea...

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Bibliographic Details
Published in:Women & music (Washington, D.C.) D.C.), 2014, Vol.18 (1), p.83-104
Main Author: Hankins, Sarah
Format: Article
Language:English
Subjects:
Analysis
Conferences
Exegesis & hermeneutics
Field study
Gay and lesbian studies
Gender
Hermeneutics
Music
Musicology
Power
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Summary:Guido Adler's vintage instruction is, after all, directed toward the scholar who is also the "true friend" of music, the scientist who must bring all of his or her empirical faculties to bear upon the near-holy task of preserving music's beauty and power.2 Adler's charge reads as a poetic communion of experience and interpretation, yet the subsequent unfolding of musicology in theory and practice has been shaped in large measure by a tension between these categories. [...]does contemporary musicology find itself in the position of having to articulate music's sociopolitical functions and significations while frequently running up against the term "ineffable" in attempting to describe music. Because a body can be aroused, because it is conditioned by and situated within social contexts, body itself may prove to be the singularity; the order of knowledge that rejects neither actuality nor abstraction; the place of genuine intimacy with music's intersectionality, its social enmeshment, its multivalent energies of power.
ISSN:1090-7505
1553-0612
1553-0612
DOI:10.1353/wam.2014.0004