I am writing a feminist theology of music. Feminist musicologists, by studying music's relation to human sexuality (a connection which theologians have neglected, suppressed, or simply ignored), contend that music has always functioned as a metaphor for sexual relations. As such, music constitutes a site where personal and social formation is negotiated and contested. Via repertoires of musical conventions, much like those in film and literature, composers arouse, manipulate, and channel our desires, thereby reinforcing (and sometimes transgressing) cultural norms of sexuality and gender construction. Their compositions become "fabrications of sexuality." (McClary) / Historically, theologians and church authorities vilified music's preeminent worth as an erotic medium, promoting instead its exemplary embodiment of ontic harmony and order. To do so, they clothed their polemic against "illicit" musical practices with the rhetoric of effeminacy, thus veiling male ambivalence toward women and the body in a politics of transcendence. After a critique of these masculinist models, and an exposition of music as a gendered, en-gendering discourse, I will redefine music theologically as abject, fleshly imitatio. To construct a feminist musico-theological model, I shall synthesise a lost trope from the tradition with insights which I have gained from the musical activities of four women musician-composers: Hildegard of Bingen, Bolognese nun Lucrezia Vizzani (and her consoeurs), Sister Rosetta Tharpe, and Diamanda Galas. Through this recuperative synthesis, music's theological significance will shift from its incarnation of harmony and order---divine, cosmic, or human to its ineradicable promiscuity, its dis-integrative powers. / My original contribution to the field is fourfold: (1) I document the rhetoric of effeminacy and virility which has influenced and shaped traditional theologies of music, and thereby undermine the latter's privileged status as musico-theological resources; (2) I portray the music of the above women composers as musical imitations of Christ; (3) I enrich revisionist accounts of women in the Christian tradition by giving greater prominence to women's musical activity, the latter previously neglected in, for example, theological studies of mediaeval women, this despite music's centrality to their daily lives; (4) I initiate mutually enriching dialogue between feminist musicology and theology. To date, a feminist theology of music has not been written.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.36766 |
| Date | January 2000 |
| Creators | Epstein, Heidi. |
| Contributors | Henderson, Ian (advisor), Morris, Mitchell B. (advisor) |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | English |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Doctor of Philosophy (Faculty of Religious Studies.) |
| Rights | All items in eScholarship@McGill are protected by copyright with all rights reserved unless otherwise indicated. |
| Relation | alephsysno: 001778512, proquestno: NQ69875, Theses scanned by UMI/ProQuest. |
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