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	Susan McClary - Wikipedia, the free encyclopedia
		Susan McClary is a musicologist considered to be a significant figure in the "New Musicology".
		In it, she argues that the tradition musicological assumption of the existence of 'purely musical' elements, divorced from culture and meaning, the social and the body, is a conceit used to veil the social and political imperatives of the world view which produces the classical canon most prized by supposedly objective musicologists.
		Susan McClary is on the faculty in the Musicology Department at the University of California, Los Angeles, and is married to the musicologist Robert Walser.
	en.wikipedia.org /wiki/Susan_McClary (1591 words)

	Susan McClary (Site not responding. Last check: 2007-10-22)
		Susan McClary is a musicologist often associated with the " New Musicology " because of her work combining musicology and feminism in Feminine Endings (ISBN 0816641897), a once commonly used term for weak cadence s.
		The problem Beethoven has constructed for this movement is that it seems to being before the subject of the symphony has managed to achieve its identity." McClary herself admits that her analyses, though intended to deconstruct, flirt with essentialism.
		susan susan miller susan sarandon susan shah susan lucci susan jeffers susan holmes susan featherly susan sontag susan atkins susan andersonsmith susan stafford spunkmouth susan
	www.serebella.com /encyclopedia/article-Susan_McClary.html (872 words)

	Susan McClary (Site not responding. Last check: 2007-10-22)
		Susan McClary is a musicologist often associated with the " New Musicology " because of her work combining musicology feminism in Feminine Endings (ISBN 0816641897) a once commonly used term for cadences.
		McClary set the feminist arguments of her book in a broader socio-political context with Conventional Wisdom (2000 ISBN 0520232089) since this allows a less critical the book also seems more optimistic.
		In she argues that the tradition musicological assumption the existence of 'purely musical' elements divorced culture and meaning the social and the is a conceit used to veil the and political imperatives of the world view produces the classical canon most prized by objective musicologists.
	www.freeglossary.com /Susan_McClary (910 words)

	College of Letters & Science (Site not responding. Last check: 2007-10-22)
		Susan McClary, an award-winning UCLA musicologist who specializes in the cultural criticism of music from the European canon to contemporary popular genres, will discuss her scholarship in UCLA’s 92nd Faculty Research Lecture.
		McClary, who received a John D. and Catherine T. MacArthur Foundation Fellowship in 1995, is known for taking a leading role in a new view of musical scholarship.
		McClary’s current activities include work on two books, “Modal Subjectivities: Renaissance Self-Fashioning in the Italian Madrigal” and “Power and Desire in Seventeenth-Century Music.” She is also collaborating with hip-hop agent Leila Steinberg to edit and publish the lyrics of the late rap artist Tupac Shakur.
	www.college.ucla.edu /mcclary.htm (384 words)

	Feminism without Formalism: Beyond a Semiology of Musical Significaiton
		McClary takes-off from this observation towards a feminist musicology, one that she proposes should be grounded in a semiology of musical signification.
		McClary’s rather uncritical embrace of Adornoan Frankfurt School thinking in the section of her essay mentioned above is highly significant in that it exposes a particular naiveté about the role of Adornoan thinking in the perpetuation of formalism through the recent music historical discourse.
		While McClary’s work stands alone in making the case for the social significance of musical forms, her argument for a feminist musicology based on a semiology of musical signification re-inscribes a certain formalism which, as I have argued, fundamentally runs counter to her feminist agenda.
	www.angelfire.com /rebellion/mark_so/writing/mcclary.html (2403 words)

	Station Information - Susan McClary
		Susan McClary is a musicologist often associated with the "New Musicology" because of her work combining musicology and feminism in Feminine Endings, a once commonly used term for weak cadencess.
		She argues that the tradition musicological assumption of the existence of 'purely musical' elements, divorced from culture and meaning, is a conceit used to veil the social and political imperatives of the world view which produces the classical canon most prized by supposedly objective musicologists.
		However, one should not receive the impression that McClary ignores the "purely musical" in favor of cultural issues, it must still be analyzed as part of what creates cultural meaning.
	www.stationinformation.com /encyclopedia/s/su/susan_mcclary.html (266 words)

	Susan McClary - Encyclopedia.WorldSearch (Site not responding. Last check: 2007-10-22)
		She is noted for her work combining musicology and feminism.
		To McClary's credit, it should be said that some kind of metaphorical description is called for, and even necessary, but I should like to suggest that none will be satisfactory or definitive.
		It is worth noting that McClary "can say something nice about Beethoven" (1991, p.119) and discusses his Op.
	encyclopedia.worldsearch.com /susan_mcclary.htm (1614 words)

	College of Letters & Science (Site not responding. Last check: 2007-10-22)
		As a child, Susan McClary actually looked forward to her weekly piano lesson, so she just assumed she would become a concert pianist.
		On April 4, 2002, McClary presented UCLA's 92nd Faculty Research Lecture -- an honor that is the highest recognition that UCLA bestows on its scholars.
		Unlike traditional musicologists, McClary doesn't just look at the ways in which a particular time and setting influenced an era's music; she is interested in what the musical details -- note selection, meter, tone color and organizational structure -- of specific musical pieces reveal about the milieu that produced them.
	www.college.ucla.edu /mcclary2.htm (370 words)

	"Deconstructing McClary, by Elizabeth Sayrs"
		McClary has performed a valuable service by forcing mainstream music scholarship to respond to feminism, but we need to examine what her "grounding" assumptions are, both explicit or implicit, especially those borrowed from literary criticism and feminist theories.
		Similarly, McClary relies heavily on the notion of woman as Other in her use of narrative, but she then postulates a feminine sexuality outside of the phallus, which requires recognizing the binary of self and Other as phallically constrained; thus the feminine becomes the unrepresentable rather than Other.
		McClary's positing of an alternative female sexuality merely serves to uphold the male/female binary she and feminism seek to overthrow.
	ccrma-www.stanford.edu /~leigh/csw/bibliography/McClaryNoFrText.html (5513 words)

	UCLA Today: Tuning into music's cultural milieu
		Professor of Musicology Susan McClary is recognized for her originality in exploring the broader cultural meanings of music.
		As a child, Susan McClary actually looked forward to her weekly piano lessons, so much so that she assumed she would become a concert pianist.
		McClary looks at the musical details -- note selection, meter, tone color and organizational structure -- of specific pieces to find what they reveal about the milieu that produced them.
	www.today.ucla.edu /2002/020402tuning.html (498 words)

	Encyclopedia: Susan McClary
		The term deconstruction is often used in a loose way as a synonym of critical analysis, especially the kind of uncooperative critical analysis that subjects a work or a text to close scrutiny in order to expose contradictions, poor logic or unwelcome affinities with other works or cultural objects.
		The humanities are a group of academic subjects united by a commitment to studying aspects of the human condition and a qualitative approach that generally prevents a single paradigm from coming to define any discipline.
		Rosen's disagreement is simply with McClary's assessment of the music: Charles Rosen (born May 5, 1927) is an American pianist and music theorist.
	www.nationmaster.com /encyclopedia/Susan-McClary (2386 words)

	Journal of Seventeenth-Century Music \| Vol. 9 No. 1 \| Kurtzman: Deconstructing Gender in Monteverdi's L'Orfeo
		McClary notes that “the paradigms of tonality and sonata have proved effective and resilient in part because their tensions may be read in a variety of ways.
		McClary has imposed on Monteverdi the notion that the harmony underlying the opening melodic pitch sets the tonality of the piece, to which it must return at the end for there to be a sense of fulfillment and completion.
		McClary’s second assumption, strongly implied in her introduction, is that she, as a contemporary listener, finds these meanings in the music and that they are therefore objectively “there” for others to observe.
	sscm-jscm.press.uiuc.edu /jscm/v9/no1/Kurtzman.html (15052 words)

	Feminism and Musicology
		McClary, like Millet, brought feminist concerns into a field accustomed to thinking of art as abstract and universal, insisting not only on the analysis of the representation of women in canonical works and the appreciation of women composers, but also on the gendered nature of the processes of musical signification themselves.
		The extent to which McClary's reading of Vandervelde is seen as successful is an important distinguishing feature of the various reviews, since it is seen as the marker of the sophistication of her background in recent feminist theory.
		McClary recognizes the need for a theory of musical signification, but her own efforts are not adequate.
	www.geocities.com /jeff_l_schwartz/mcclary.html (2971 words)

	James Wierzbicki / gender issues (Site not responding. Last check: 2007-10-22)
		McClary is one of the new breed of musical scholars who take the so-called semiotic approach to their work.
		Almost all narrative art, McClary says, deals in one way or another with ''the organization of sexuality, the construction of gender, the arousal and channeling of desire.'' Music is problematic, she says, because although its effect is profound, its content is vague.
		If McClary's synopsis of sonata-allegro form differs quite a bit from the one I gave in the fourth paragraph of this article, that is because she approaches it from a very different point of view.
	pages.sbcglobal.net /jameswierzbicki/gender.htm (2697 words)

	Conventional Wisdom
		As one of the most influential trailblazers in contemporary musical understanding, McClary once again moves beyond the borders of the "purely musical" into the larger world of history and society, and beyond the idea of a socially stratified core canon toward a musical pluralism.
		Those who know McClary only as a feminist writer will discover her many other sides, but not at the expense of gender issues, which are smoothly integrated into the general argument.
		Susan McClary is Professor of Musicology at the University of California, Los Angeles, and author of Feminine Endings: Music, Gender, and Sexuality (1991) and Georges Bizet: Carmen (1992).
	www.ucpress.edu /books/pages/8810.html (550 words)

	Susan McClary, Musicologist [UCLA Spotlight]
		As a child, Susan McClary looked forward to her weekly piano lessons, so much so that she assumed she would become a concert pianist.
		McClary looks at the musical details — note selection, meter, tone color and organizational structure — of specific pieces to find what they reveal about the milieu that produced them.
		Since 1993, McClary has delivered several prominent public lectures, including UCLA's prestigious Faculty Research Lecture, the Bloch Lectures at UC Berkeley, the Grout Lecture at Cornell University and the Hooker Lectures at McMaster University.
	www.ucla.edu /spotlight/archive/html_2001_2002/fac0502_mcclalry.html (340 words)

	Feminine Endings (Site not responding. Last check: 2007-10-22)
		"Susan McClary's Feminine Endings is an important and unique contribution to cultural studies.
		McClary writes accessibly about musicology, persuasively about cultural theory and feminism, and passionately about music.
		"McClary's control of the total range of musical forms, from madrigals to Madonna, from the sixteenth century to the twentieth, is awesome.
	www.upress.umn.edu /Books/M/mcclary_feminine.html (309 words)

	Amazon.ca: Books: Feminine Endings: Music, Gender, and Sexuality (Site not responding. Last check: 2007-10-22)
		Susan McClary, professor of musicology at the University of California, Los Angeles, specializes in the cultural criticism of music, both the European canon and contemporary popular genres.
		McClary brings these factors to bear on musical practices, and in so doing she engages music to perform a powerful cultural critique.
		McClary received extremely harsh criticism for her rethinking of "classical" composers and musicology, the vehemence of which was, at times, shocking.
	www.amazon.ca /exec/obidos/ASIN/0816618984 (782 words)

	Modal Subjectivities (Site not responding. Last check: 2007-10-22)
		Susan McClary renovates our understanding of the genre in the most fundamental terms and in the process rewrites a key chapter in the history of early modern culture.
		Although McClary takes the lyrics into account in shaping her readings, she focuses particularly on the details of the music itself--the principal site of the genre's self-fashionings.
		Susan McClary is Professor of Musicology at the University of California, Los Angeles.
	www.ucpress.edu /books/pages/9828.html (463 words)

	AHRB CentreCATH Lecture Series 2003 (Site not responding. Last check: 2007-10-22)
		Susan McClary, an award-winning UCLA musicologist who specializes in the cultural criticism of music from the European canon to contemporary popular genres, will give three lectures in the 2003 AHRB CentreCATH Lecture Series.
		Professor McClary is known for taking a leading role in a new view of musical scholarship where, in contrast with a scholarly tradition that views music as inexpressible and transcendent, she deals with the medium as a set of social practices and treats musical compositions as historical documents.
		McClary is also the author of the 2000 book, Conventional Wisdom: The Content of Musical Form (University of California Press); the 1992 cultural history, Georges Bizet: Carmen (Cambridge University Press); and co-editor with Richard Leppert of the 1987 essay collection, Music and Society: The Politics of Composition, Performance and Reception (Cambridge University Press).
	www.leeds.ac.uk /cath/events/2003/0304 (422 words)

	Alibris: Susan McClary
		McClary's much-anticipated new book explores a wide ange of musical genres--baroque concertos, the blues, rap, classical sonatas--that are shaped by strict musical rules or conventions, and how those rules and conventions reflect the values of the societies that produced them.
		When it was originally published in 1991, Feminine Endings was immediately controversial for its unprecedented intermingling of cultural criticism and musical studies, an approach that came to be called "the New Musicology." Through case studies of works ranging from the canonical -- operas by Monteverdi and Bizet -- to the contemporary -- the...
		A study of the transition from modal to tonal music in Western Europe, and the parallel transition from pre-modern to modern sensibilities in Western Europe, using the Italian madrigal as a case study.
	www.alibris.com /search/books/author/Susan_McClary (368 words)

	susan mcclary (Site not responding. Last check: 2007-10-22)
		Susan McClary is a musicologist often associated with the "New Musicology" because of her work combining musicology and feminism in Feminine Endings (ISBN 0816641897), a once commonly used term for weak cadencess.
		She is often attributed with first suggesting or claiming that Beethoven's Fifth is a musical enactment of rape, such as Glenn Lamont (http://www.freeradical.co.nz/content/41/41fioar2.html), who quotes her as saying, in 1987: "The point of recapitulation in the first movement of the Ninth is one of the most horrifying moments in music...
		The problem Beethoven has constructed for this movement is that it seems to being before the subject of the symphony has managed to achieve its identity."
	www.yourencyclopedia.net /susan_mcclary.html (644 words)

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		McClary received her Ph.D. from Harvard, and has taught at UCLA since 1994.
		McClary is one of 13 scholars chosen to participate in Phi Beta Kappa's visiting scholar program this year.
		McClary's appearance is co-sponsored by the departments of Music, English, and Languages, Literatures and Cultures, as well as the University chapter of Phi Beta Kappa.
	www.albany.edu /pr/updates/september22/highlights.html (1269 words)

	Conventional Wisdom: The Content of Musical Form (Ernest Bloch Lectures) \| By - Susan McClary (Site not responding. Last check: 2007-10-22)
		Moreover, the sociological and feminist concepts that she brings to bear on Western art music are already old hat in literary and art criticism.
		McClary uses her usual catholic tastes to discuss everything from Vivaldi to the Blues, and you will come away understand how both of them function, and why we feel moved when listening to either one.
		Armed with her usual wit and unusual perceptivity, McClary lays bare the workings of Western music with clarity and grace.
	www.cellartastings.com /en/bookshop/0520232089.html (444 words)

	UCLA Musicology Faculty
		Susan McClary specializes in 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.
		Before arriving to teach at UCLA in 1994, McClary taught at the University of Minnesota (1977-91) and McGill University (1991-94).
	www.musicology.ucla.edu /faculty/faculty-bio.html (1587 words)

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