Professor Susan McClary
Prof SUSAN MCCLARY* (Professor of Music and Associate Vice-Provost of the International Institute, UCLA; Ph.D. Harvard, 1976) teaches music analysis, history, and early-music performance. Her research focuses on the cultural criticism of music, both the European canon and contemporary popular genres. In contrast with an aesthetic tradition that treats music as ineffable and transcendent, her work engages with the signifying dimensions of musical procedures and deals with this elusive medium as a set of social practices. She is best known for her book Feminine Endings: Music, Gender, and Sexuality (1991), which examines cultural constructions of gender, sexuality, and the body in various musical repertories, ranging from early seventeenth-century opera to the songs of Madonna.
McClary is also author of Conventional Wisdom: The Content of Musical Form (2000), Georges Bizet: Carmen (Cambridge University Press, 1992; Italian edition. 2007), and coeditor with Richard Leppert of Music and Society: The Politics of Composition, Performance and Reception (1987). In her more recent publications, she explores the many ways in which subjectivities have been construed in music from the sixteenth-century onward. Modal Subjectivities: Renaissance Self-Fashioning in the Italian Madrigal (2004) won the Otto Kinkeldey Prize from the American Musicological Society in 2005, andshe is now finishing Desire and Pleasure in Seventeenth-Century Music. A collection of her most influential essays was commissioned from Ashgate with the title Reading Music: Selected Essays by Susan McClary.
Before arriving to teach at UCLA in 1994, McClary taught at the University of Minnesota (1977-91) and McGill University (1991-94). She won university-wide teaching awards at University of Minnesota (1987) and UCLA (1997). Since 1993 she has delivered the Bloch Lectures at Berkeley, the Grout Lecture at Cornell, the Hooker Lectures at McMaster, the Huang Lecture in Hong Kong, the Alfred Hook Lecture at University of Sydney, the Centre CATH Lectures in Leeds, the Faculty Research Lecture at UCLA, and the Curry Lecture at the University of Michigan; she holds a professorship at the University of Oslo and - in 2009 - a chair in music theory in the Netherlands. In 2010 she will direct a seminar at the Mannes Institute for Advanced Studies in Music Theory. Her work has been translated into at least twelve languages.
McClary has chaired the Board of Directors for the American Council of Learned Societies and served on the editorial boards of Signs, Perspectives of New Music, Black Music Research Journal, Women and Music, ECHO, Musica Humana, and Music and the Moving Image. While living in Minneapolis, she wrote and produced a music-theater piece, Susanna Does the Elders (1987). McClary received a MacArthur Foundation Fellowship in 1995.
Guitarist Sheryl Bailey is rated among the foremost bopbased guitarists to have emerged in the 1990's.
Her attack can be direct and hard swinging, but she also exudes subtlety, elegance of phrase and a pure, warm, liquid sound. Bill Milkowski has written about her: "a modernist burner with an abundance of Pat Martino-style chops, Bailey prefers angular lines, odd harmonies and the occasional touch of dissonance as she sails up and down the fretboard with fluid abandon." JazzTimes Magazine, February 2005.
A soundwalk artist, whose work includes extensive field recordings, often done in collaboration with other artists and researchers. Current research, gallery and web installations focus on the area surrounding the Lachine Canal in Montreal.
Andra is principal researcher for the "In and Out of the Studio" research project, which focuses on the working practises of women sound producers and artists in Canada. She has written extensively on soundscape composer Hildegard Westerkamp. Andra is an Associate Professor, teaching sound in media for Communication Studies at Concordia University.
For more information, and to read and listen to work, please visit andrasound.org.
Susan Fast is Professor in the Department of English and Cultural Studies at McMaster University in Ontario, Canada.
She is trained as a musicologist (Ph.D. University of Iowa). Her research interests include representations of gender and sexuality, race and ethnicity, constructions of self and other, performance and performativity, and geopolitical violence/conflict in contemporary popular music.
She is author of the book In the Houses of the Holy: Led Zeppelin and the Power of Rock Music (Oxford, 2001), a collection of essays that explores the body in musical performance, gender and sexuality, cultural appropriation/hybridity, and ritual/mythology in rock music. Her publications also include articles on Live Aid and cultural memory, constructions of authenticity in U2, performance and new technology, Tina Turner's gendered and racialized identity in the 1960's, issues of feminism and rock criticism, gendered and racialized issues surrounding back-up singing, and on the mass-mediated benefit concerts that appeared after the terrorist attacks of 9/11. She is co-editor of Music, Violence and Geopolitics (Music/Culture series, Wesleyan University Press, forthcoming in 2011).
Her current research project, funded by the Social Sciences and Humanities Research Council of Canada, investigates issues related to gender, race and normative genre boundaries in rock music; part of this study concentrates on the burgeoning scene of all-female tribute bands to hard rock and heavy metal. She is Director of the M.A. Program in Cultural Studies and Critical Theory at McMaster, and she sits on the executive of IASPM Canada.
Nadine Hubbs, Associate Professor of Women's Studies and Music and Director of Undergraduate Women's Studies at the University of Michigan (USA), is a musicologist, theorist, and historian with interests in popular and modernist music, gender and queer studies, and class studies.
Her book The Queer Composition of America's Sound (California, 2004) was recognized by the Philip Brett Award (American Musicological Society), Irving Lowens Award (Society for American Music), and John Boswell Prize (American Historical Association Committee on Lesbian and Gay History). Her writings have treated topics including Morrissey, Radiohead, homophobia in musical scholarship, and 1970s disco, and her latest research examines country music in relation to class, gender, race, and sexuality.
She received the 2009 Martin Duberman Fellowship from the Center for Lesbian and Gay Studies (New York) for her book in progress, Unmapped Country: Rednecks, Queers, and Country Music.
Dr Jacqueline Warwick
Dr. Jacqueline Warwick is a musicologist and an Associate Professor in the Department of Music, specializing in music history, feminist approaches, and popular music. She is Coordinator of the Gender and Women's Studies programme for 2007-2010.
Her research focuses particularly on the function of popular music in negotiating gender and generation identity, and her book Girl Groups, Girl Culture: Popular Music and Identity in the 1960s (Rutledge, 2007) discusses the importance of 1960s girl groups such as the Shirelles, the Ronettes and the ShangriLas, both to girl culture and to rock'n'roll history. She has published articles on topics such as the Beatles, vocal aesthetics in rock singing, bhangra in the South Asian diaspora, and expressions of anger in girls' music, as well as reviews in TheJournal of the American Musicological Society, and The Journal of American History andPopular Musicology Online. Together with Steven Baur and Raymond Knapp, she is a co-editor of Musicological Identities: Essays in Honor of Susan McClary (Ashgate Press, 2008). She is senior editor, responsible for entries on popular music since 1945, for the forthcoming new edition of the Grove Dictionary of American Music.
Dr. Warwick teaches classes on the history of rock'n'roll, music and gender, popular music analysis, music in contemporary culture, and the sequence of music history for music majors.
Updated: 04 February 2013