5/26/2023 0 Comments Mcclary feminine endings![]() ![]() 1,” I took the opportunity to interview Outcalls, the electronic opera queens from Baltimore, now comprised of Melissa Wimbish and Britt Olsen-Ecker. After the release of the new single, “ Holiday Ex-Lover,” and listening to their latest album, “ Greatest Hits, Vol. McClary points out that classical music extols the expression of “masculinity” and depreciates the expression of “femininity,” thus strengthening the construction of social gender and affecting the structure of the entire history of Western music.įor me, the Baltimore’s neo-opera duo, Outcalls, clearly evokes McClary’s gender dialectic and ideas about classical music. ![]() She uses the standpoint of feminism and cultural studies to pioneer new considerations of sex, gender, and sexuality in music, known as the birth of “new musicology,” where musical semiotics, cadence, tonality, musical theme, and cyclical structure are used as analytical tools to criticize classical musicology. In the book Feminine Endings: Music, Gender and Sexuality, author Susan McClary begins to break the myth of femininity in musicology. In musicology terminology, “feminine endings” refers to a phrase or movement that ends in an unstressed note or weak cadence. ![]()
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