“That’s What Music Is About—It Strikes a Chord”: Proposing a Queer Method of Listening to the Lives and Music of LGBTQs

Wasserbauer, Marion

doi:10.1093/ohr/ohw021

Cited by 3 publications

(1 citation statement)

References 11 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Shamed and isolated, queer youths (and adults) listen to music that resonates with them, which "strikes a chord" (Wasserbauer 2016), cobbling together a bricolage of musical styles and artists (Taylor 2012a) to whom they are exceptionally emotionally attached (Dolan 2012;Wasserbauer 2016). So-called queerness in music historically has been associated (in the USA and Canada) with activities and sensibilities consistent with white, urban, affluent gay male culture, such as drag and camp (Jarman-Ivens 2016; Taylor 2013), as well as with stereotypes of music genres.…”

Section: Diversity Discourses In Music Educationmentioning

confidence: 99%

Where Does Diversity Go Straight? Biopolitics, Queer of Color Critique, and Music Education

Gould

2021

The Politics of Diversity in Music Education

View full text Add to dashboard Cite

Diversity discourses in music education have evolved from (white) liberalism of the 1990s that conceived difference in terms of dualisms such as insider/outsider to global neoliberalism currently in which sources of difference are interchangeable as long as the historicity of each remains occluded. In this way, so-called “diversity-relevant” groups, such as white queer people are positioned against non-white groups, straight or otherwise, in ways that support neoliberalism and contribute to violence against the latter. To ask where diversity goes straight assumes a place where it is not straight—if not exactly queer, with queer understood (in the context of race) as a “refusal to inherit” kinship relations in which queer(s) disappear(s). Whether conceived in terms of culture, race, (dis)ability, gender, and/or sexuality, diversity has become “all the rage” in music education and academic research generally. Theorizing diversity discourses in music education at their discursive limits, I argue that those limits are also where they also may be exceeded and demonstrate this through an example using queer of color critique to analyze interactions of sources of difference as a way to historicize and racialize “diversity” in music education.

show abstract

Section: Diversity Discourses In Music Educationmentioning

confidence: 99%