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Homosexual Subject(ivitie)s in Music (Education): Deconstructions of the Disappeared

Elizabeth Gould
Philosophy of Music Education Review
Vol. 20, No. 1 (Spring 2012), pp. 45-62
Published by: Indiana University Press
DOI: 10.2979/philmusieducrevi.20.1.45
Stable URL: http://www.jstor.org/stable/10.2979/philmusieducrevi.20.1.45
Page Count: 18
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Homosexual Subject(ivitie)s in Music (Education): Deconstructions of the Disappeared
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Abstract

It is difficult to overstate music's persistent and uneasy relationship with homosexuality in Western society. Associated with femininity for centuries, particularly in North America, participation in music has been believed to emasculate and thus homosexualize men and boys. The linking of music to women and emotion (as opposed to men and reason) contributes to the conflation of misogyny and homophobia in North American society generally and music and music education particularly. One effect of music's conflicted relationship with and to homosexuality for lesbians and gay men is to “disappear” them in both professions. As a function of disappeared positionalities, subject positions of homosexualities and potentialities of creating lives worth living are also disappeared. I explore ontological effects of disappeared in the world and music and music education, and reconceptualize “disappeared” in terms of Jacques Derrida's concept of “under erasure”—sous rature—in ways that may signal other ontological potentialities.

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