Queering Musicology

University of Lethbridge

Department of Music

MUSI 3850 – Queering Musicology

Fall 2025

Tuesday, 12-2:45 pm

FA730

Course Description: This course explores the intersections of queer theory and musicology. Students will engage with both art music and popular music from the eighteenth century to today and investigate how queer theory provides critical tools for challenging the established narrative of musicology and music history. The course will cover key concepts of queer theory and explore their application to musicology, examining how gender, sexuality and identity are expressed and constructed in music. Through the study of historical and contemporary artists, compositions and pedagogical frameworks, students will engage with debates surrounding the representation of queer identities in music and the impact of social conventions on musical expression.

Required Readings

Each week’s readings will be available on Moodle under the corresponding heading. Students will be expected to come to class having read the material and ready to engage in a thoughtful conversation with their classmates.

Assignments

PARTICIPATION: 15%

Attendance is mandatory. Each student will be expected to come to class having read the material and with one or two questions they would like to ask of their classmates/instructor. Participation marks will be based on consistent contribution on behalf of the student.

QUEER LISTENING: 15%

Each student will choose one of the eight weekly themes from the syllabus. You must curate a playlist of 3-5 tracks that reflect the theme you have selected. You will submit your playlist with a short reflection (300-500 words) that describes your curatorial process and explains how your playlist engages with the week’s theme and readings. You must then present your track in class, introducing your choice and connecting it to the readings. Time will be set aside at the end of each lecture. There are limited presentation slots available for each week, so be sure to sign up early to secure your preferred theme and time. Each student must sign up for one week.

REFLECTION PAPER: 35%

Students are required to write 6 reflection papers out of a possible 8. Please show that you have not only done the readings but that you understand what you have read and are able to critically engage with the material during class time. Students may choose to write more than 6 reflection papers. If they choose this option, the paper with the lowest grade will be dropped and will not be reflected in the final grade.

FINAL PAPER: 35%

The final paper aims to synthesize your understanding of queer theory and its application to musicology. Students may write a paper on the topic of their choice, provided they have received approval from the instructor. Alternatively, students may choose to do a deep dive into one of the topics discussed this semester.

COMPOSITION

(OPTIONAL): 35%

Students may choose to submit a composition in place of the final essay. This option is designed to honour queer theory’s challenge to normative academic structures through artistic practice and is therefore flexible in format. Students will create an original composition (3-5 minutes) that explores a topic, question or theme from the course. Students may choose any genre they wish; however, you must meet with the instructor once you have an idea in place to ensure it aligns with the course objectives. Each composition must be accompanied by a written component of approximately 500 words that describes how the composition engages with queer theory and the course materials.
Note: You must choose one; the composition or the final paper.

COURSE SCHEDULE

September 9: Introduction to Queer Theory in Musicology

Ahmed, S. (2006). Orientation towards objects. In Queer phenomenology: orientations, objects, others (pp. 25-64). Duke University Press.

Sara Ahmed’s chapter explores how bodies are oriented in space and time and how these orientations shape our interactions with objects and others. I chose this selection for the first reading due to its unique and nuanced approach to queer theory. Despite the theoretical complexity of Ahmed’s arguments, their writing style is engaging and accessible. I read this piece in the WGST 1000 course, and I believe it to be an effective way to change how students view queer theory, identity, spatiality and themselves. This is a longer piece that may require some re-reading, so I have paired it with a short essay.

Koestenbaum, W. (1994). Queering the pitch: A posy of definitions and impersonations. In P. Brett, E. Wood & G. C. Thomas (Eds.), Queering the pitch: The new gay and lesbian musicology. (pp. 15-18). Routledge.

Koestenbaum’s artful essay explores the act of being queer in musicology and performance. Through impersonations and personal reflections, Koestenbaum critiques the presumed heteronormativity of musicology. Through these conversations, Koestenbaum brings forward many heteronormative ideological aspects of music and musicology and the impact they have had on music scholars. I chose this piece as a way to introduce queerness into musicology as Koestenbaum presents examples of the linguistic meaning of queer and queerness through history and within the structure of music pedagogy.

September 16: Queer Theory in Musicology Continued

Brett, P. (1994). Musicality, essentialism, and the closet. In P. Brett, E. Wood, & G. C Thomas (Eds.), Queering the pitch: The new gay and lesbian musicology (pp. 9-26). Routledge.

Brett discusses essentialism in the context of homosexuality and music, providing a glimpse into queer experiences in the 1990s (AIDS, sex selection technologies, etc.). (pg. 10, para 1-2). This context is crucial for music students to consider while studying queer musicology. Brett also discusses the discourse surrounding the sexuality of historic composers. For example, Brett mentions how (in 1994, when this was written) it was acceptable to know Tchaikovsky was a homosexual but not Schubert. Brett argues this is due to “the processing of music by scholarship as a male and predominantly German art.” (pg. 15, para 2). Brett highlights the “open secrecy” of the homosexual closet in music history. Here, Brett discusses Benjamin Britten and the “tensions surrounding homosexual identity even after Stonewall” (pg. 18, para 3). Additionally, Brett discusses how music is a deviant social role and that musicians are often subjected to scrutiny under certain societal norms similar to those of other “feminized” vocations and sexualities. I selected this piece not solely to debate individual queer identities, but to explore heteronormative bias within a historical context and to explore essentialist narratives.

Treitler, L. (1993). Gender and other dualities of music history. In R. A Solie (Ed.), Musicology and difference: Gender and sexuality in music scholarship (pp. 23-45). University of California Press.

I selected Treitler’s work because it both applies and critiques a gendered analysis to musicology, specifically music history. In first demonstrating how gendered analysis has been used to characterize Western art music styles, Treitler then questions the validity of critiquing works from a gendered perspective, arguing that it is reductive. This pairs with Philip Brett’s analysis of essentialism in music. Music students at the 3000 level will have had to take music history classes up until at least the end of the 19th century. They are instructed in how to understand and apply gendered analysis to music, particularly in the Romantic period. In introducing Treitler’s analysis, I hope to challenge that instruction.

September 23: Queer Composers, Performers and Aesthetics

McGeary, T. (2016). Handel in Rome: The homosexual context reconsidered. Early Music, 44(1), 59-75.

Within music history academia, there is much debate over whether or not the composer George Frideric Handel (1685-1759) was queer. This reading deconstructs some of these claims and argues that modern sexual categorizations cannot retroactively be applied to 18^th-century social contexts. I have selected this reading less for its desire to determine one way or another the sexuality of Handel, and more as a vehicle to showcase how sexuality and sexual identity is approached within music history discourse. Through this reading, students can participate in some methodological critique.

Cusick, S. G. (1993). On a lesbian relationship with music: A serious effort not to think straight. In P. Brett, E. Wood, & G. C Thomas (Eds.), Queering the pitch: The new gay and lesbian musicology (pp. 67-83). Routledge.

Through personal reflection, Cusick realizes that for her “lesbianism” is not an identity “but rather a way I prefer to behave, to organize my relationship to the world in a power/pleasure/intimacy triad.” (pg. 73, para 2). This triad is Cusick’s way of exploring how these concepts are connected in the context of lesbian sexuality. Cusick argues that it is this triad, these alternative definitions and their relationship to one another that can be detected in music aesthetics as opposed to any individual queer identity markers. I selected this piece to not only demonstrate the intersectionality of queerness but also how that impacts composition and listening practices in queer music discourse. It also offers a more contrasting style of interpretation to McGeary’s traditionalist approach.

Peraino, J. A. (2003). Listening to the sirens: Music as queer ethical practice. GLQ: A Journal of Lesbian and Gay Studies, 9(4): 433-470.

I chose this reading for its historical context of queer theory and music but also for its suggestions of how queer theory redefines musical expression and thereby aesthetic. Peraino discusses how music participates in both “the normalizing and the abnormalizing of the subject” (pg. 434, para 2) and how music invites individuals to challenge compulsory heterosexuality. Peraino explores the role which music plays in queer identity formation and how it serves as a powerful tool for configuring and representing queer subjectivity. (pg. 434, para 2). I chose this piece for its perspective as it focuses more on the effect of music on queerness than the impact of queerness on music.

September 30: National Day for Truth and Reconciliation – No Classes

October 7: Trans Visibility

Baitz, D. (2021). Towards a trans method in musicology. In F.E. Maus & S. Whiteley (Eds.), The Oxford handbook of music and queerness (pp. 366-381). Oxford University Press.

Week 4 addresses the intersection of trans experiences with musicology and builds upon the theories presented in the previous readings. This source highlights musicians such as vocalist Alexandros N. Constansis, pop artist Ryan Cassata, and rapper Big Freedia, who actively reject gender binaries and biological determinism in their work. Baitz further explores the concept of “ephemeral fields” in music, defining them as transient and fluid areas that exist outside the traditional, rigid structures of musicality. These fields are constantly evolving and contribute to broader conversations about identity and expression, paralleling the temporary and shifting nature of musical expression itself. Baitz mentions Philip Brett’s discussion of anti-essentialism that students will have read in week 2. Baitz advocates for an anti-essentialist approach to musicality, encouraging musicologists to embrace innovative methodologies. I have included this chapter in particular because it fosters critical thinking around methodology in musicology while simultaneously exposing students to trans experiences in music.

Pearce, R., & Lohman, K. (2019). De/constructing DIY identities in a trans scene. Sexualities, 22(1-2), 97-113.

This article credits the rise of the trans social and political movement as a catalyst for the formation of a new music scene in the United Kingdom. In terms of methodology, Pearce and Lohman’s case study focuses on the identities of individuals rather than on traditional music genres. They discuss the deconstructive strategy of genre-evasion, the intentional avoidance or subversion of established structures and identifiers within conventional genres. Pearce and Lohman discuss the “cut-and-paste” approach, where musicians blend elements from various genres, styles and media together for a multifaceted representation of the fluidity of sexuality and gender. Pearce and Lohman argue that “trans” exists in the space between deconstructive strategies (grounded in genre evasion) and constructive strategies (grounded in the cut-and-paste approach).” (pg. 111, para 1). I have positioned this piece here because, at week 4, being the halfway point, it can be used to reflect on the previous weeks and identify recurring themes such as the interconnectedness of music, gender and sexuality. It also provides a fluid transition into queer music and activism that will be discussed in the following week’s readings.

October 14: Music as Queer Activism

Stanfill, M. (2022). Can’t nobody tell me nothin’: “Old Town Road,” resisting musical norms, and queer remix reproduction. Popular Music, 40(3-4), 347-363.

This reading showcases how popular genre songs can be used for queer activism. Stanfill discusses the background and significance of the song ‘Old Town Road’ by Lil Nas X, released in 2018. Stanfill addresses how the song challenges traditional music genre boundaries and the impact that has had on recognizing racial segregation in music, particularly the country genre. Stanfill argues that Musician Billy Ray Cyrus was added to the remix version of the song to give it country “authenticity.” I selected this piece because it showcases how genre boundaries and often arbitrary restrictions impact queer music in mainstream culture.

Smith, M. R. (2014). “Or a real, real bad lesbian”: Nicki Minaj and the acknowledgement of queer desire in hip-hop culture. Popular Music and Society, 37(3), 360-370.

Smith’s reading deconstructs the typically hyper-masculine genre of hip-hop/rap in their reading centred on Nicki Minaj. They delve into the importance of Minaj’s expression of queer desire in her music as a woman in rap, especially as hip-hop and rap culture have historically shown limited acceptance of homosexuality. Smith analyzes Nicki Minaj’s alter ego, Roman Zolanski, and how Minaj uses this identity to subvert hip-hop/rap language conventions. I chose this reading to showcase another musician who engages in activism by composing and releasing music as well as highlight the impact songs can have on a community.

October 21: Music Scenes of Queer Activism

Hilder, T. R. (2023). Stories of songs, choral activism and LGBTQ+ rights in Europe. Music & Minorities 2, 1-26.

Hilder’s paper discusses the rise of activist choral in Europe since 1982, the largest of which has 250 members. (pg. 12, para 1). I selected this piece for the week on activism as it offers a glimpse into a type of music activism that is not always expected. It uses choral music, the traditions of which are steeped in religious colonial narratives, to advocate for the LGBTQ+ community. Hilder discusses choral activism during the AIDS epidemic and how they actively resisted the Thatcher-led conservative party in the UK. (pg. 10, para 3). I believe this piece would be interesting to music students as it utilizes a form of music that is central to first- and second-year study, only it offers a repurposing narrative.

Leyser, Y. (Director). (2017). Queercore: How to punk a revolution [Film]. Desire Productions.

I chose to put these two selections together because the contrasting aesthetics and structures that are presented by queercore and choral activism offer two very different approaches to queer activism. Queercore is a punk adjacent genre of music that emerged in the 1980s. It is an important addition to this course not only because it tackles heterocentric narratives in mainstream culture but the homophobic sentiments in punk music itself. This film shows how Queercore influenced and intersected with other movements such as Riot Grrl and the DIY ethos of punk resistance.

October 28: Queer Ethnomusicology

Moon, S. (2020). Queer theory, ethnomusicology, and the disorientation of the field. Current Musicology, 106, 9-34.

Moon’s article is at the intersection of queer theory and ethnomusicology. By this point in the course, students will have engaged with enough material to have a basic foundation of queer theory in relation to music practices and should therefore be able to add the intersectionality of ethnomusicology. Moon presents key theoretical shifts in ethnomusicology, such as social constructivist approaches as opposed to behavioural models and the feminist challenge to biological determinism that have allowed for music to be considered a site for performing gender relations. (pg. 13, para 1). This is especially important as ethnomusicology within the Western art music discipline deals with cultures that have a different approach to gender and kinship than what is often observed in Western culture. Moon’s article shares many of the same perspectives as the article by Zoe Sherinian that students will also read this week, so each piece informs the other.

Sherinian, Z. (2023). Interdisciplinary enqueeries from India: Moving toward a queer ethnomusicology. In F. E. Maus & S. Whiteley (Eds.), The Oxford handbook of music and queerness (pp. 524-538). Oxford University Press.

In their article, Sherinian states that “we cannot assume that the Western meanings of ‘queer’ will match the ways of living and musicking that exist throughout the world.” (pg. 849, para 1). They ask us to “conceive of a cross-cultural queer theory that allows for the consideration of the widest diversity and inclusive conceptualization of the relationship of performing arts to human desire, intimate behaviour, and identity.” (pg. 849, para 1). Sherinian offers eight rules for queer ethnomusicology that serve as guidelines for those in the field to approach ethnomusicology with a queer lens and through the exploration of these rules, Sherinian asks the reader to adhere to decolonial perspectives, cultural relativity, indigenous conceptualizations and the holistic study of aesthetics. Sherinian discusses the Hijras (a third gender community in South Asia) and Majaprasad (a form of ritual friendship in South Asia). This reading encourages a deeper understanding of the complexities of identity, expression and gender in ethnomusicology. I have selected this piece to end week 7 and to prepare students for week 8. This week’s topic is second to last, partly to lead into decolonization and partly due to the complexity queering ethnomusicology presents to music students. Through this structuring, I hope the student will understand the heteronormative structure of Western music as well as the theories behind queer musicology to fully appreciate the restructuring of ethnomusicology that Sherinian presents.

November 4: Decolonization of Music Through Music

Shepherd, J. (1993). Difference and power in music. In R. A. Solie (Ed.), Musicology and difference: Gender and sexuality in music scholarship (pp. 46-65). University of California Press.

Shepard discusses the key differences involving power as class, age, ethnicity and gender. (pg. 47, para 1). It is his position that musicology has failed to seriously address these differences in music and that understanding music requires dismantling the discursive authority that maintains differences. (pg. 65, para 1). Shepard maintains that musicology has historically examined differences without fully exploring power implications. (pg. 46, para 1). I had originally intended to include this piece in week 2 for the discussion on queer theory in musicology, however, I ultimately decided that a discussion on power in music would be a good introduction to the concepts of decolonization.

Attas, R., & Walker, M. E. (2019). Exploring decolonization, music, and pedagogy. Intersections, 39(1), 3-20.

I chose this reading for many reasons, but primarily because it insists that settler colonialism is a present-tense, institutional concern and that music studies remain fundamentally embedded in white colonial origins. By the end of the course, students will have explored in depth the pedagogical frameworks of musicology and the transformative impact queer identity has had on musicians themselves, aesthetics, and music scenes. However, Western art music as its own discipline is still entrenched in white colonial ideals and it often treats settler colonialism as a historic event. Attas and Walker recognize and expose Eurocentric values in music education and advocate for transformative methodologies that would help music academia to move beyond conceptual discussions of decolonization. They explore what musicology considers to be “legitimate field[s] of academic study” (pg. 10, para 2), why that is, and why we should move away towards pedagogies that have the potential to do decolonizing work.

Woloshyn, A. (2020). Reclaiming the ‘contemporary’ in indigeneity: The musical practices of Cris Derksen and Jeremy Dutcher. Contemporary Music Review, 30(2), 206-230.

This article discusses Indigenous musical resistance and innovation through musicians Cris Derksen and Jeremy Dutcher. It explores decolonization as active resistance against colonial narratives. I chose this piece primarily for its inclusion of Jeremy Dutcher, a highly acclaimed tenor and composer. This work examines how Dutcher has used settler colonial institutions to expand his creative tools and reach critical acclaim while remaining actively resistant within the same system. This method of decolonial musicianship challenges Audrey Lorde’s notion of The Master’s Tools. Dutcher uses ethnomusicological recordings of traditional Indigenous music throughout his modern compositions. It is important to note that there is a common misconception in musicology, especially ethnomusicology, that Indigenous music is inherently traditionalist in nature. It is more accurately defined as music from anyone who is Indigenous. It is a broad category that spans many genres. This reading is an efficient way to demonstrate this to music students while witnessing decolonial theory in practice.

Acknowledgments

I would like to express my gratitude to my instructor, Dr. Suzanne Lenon, for her dedication to fostering a classroom atmosphere that encourages critical thinking and open expression and for her insights, as they have been instrumental in shaping my work throughout the semester and for this project. Special thanks to Dr. Caroline Hodes, whose instruction has been crucial to my development within the WGST department. Additionally, I am grateful to my classmates whose intellectual discussions have enriched my academic experience in my final year.