Drawing on ethnographic research and often deeply personal experiences with musical cultures, Queering the Field: Sounding out Ethnomusicology unpacks a history of sentiment that veils the treatment of queer music and identity within the field of ethnomusicology. The thematic structure of the volume reflects a deliberate cartography of queer spaces in the discipline-spaces that are strongly present due to their absence, are marked by direct sonic parameters, or are called into question by virtue of their otherness. As the first large-scale study of ethnomusicology's queer silences and queer identity politics, Queering the Field directly addresses the normativities currently at play in musical ethnography (fieldwork, analysis, performance, transcription) as well as in the practice of musical ethnographers (identification, participation, disclosure, observation, authority). While rooted in strong narrative convictions, the authors frequently adopt radicalized voices with the goal of queering a hierarchical sexual binary. The essays in the volume present rhetorical and syntactical scenarios that challenge us to read in prescient singular ways for future queer writing and queer thought in ethnomusicology.

This open access book explores the disciplinary, disciplined, and recent interdisciplinary sites and productions of ethnomusicology and queerness, arguing that both academic realms are founded upon a destructive masculinity—indissolubly linked to coloniality and epistemic hegemony—and marked by a monologic, ethnocentric silencing of embodied, same-sex desire. Ethnomusicology’s fetishization of masculinizing fieldwork; queerness’s functioning as Anglophone master category; and both domains’ devaluation of sensuality and experience, concomitant with an adherence to provincial, Western conceptions of knowledge production, are revealed as precluding the possibilities for equitable, dialogic pluriversality. Enlisting the sonic as theoretical intervention, the disciplined/disciplining ethno and queer are reimagined in relation to negative emotions and intractable affect, ultimately vanquished, and replaced by explorations of sound, sex/uality, and experiential somaticity within a protean, postdisciplinary space of material/epistemic equity. This uncompromising, long-overdue critique will be of interest to researchers and students from numerous theoretical backgrounds, including music, sound, gender, queer, and postcolonial/decolonial studies.

While the growing field of scholarship on heavy metal music and its subcultures has produced excellent work on the sounds, scenes, and histories of heavy metal around the world, few works have included a study of gender and sexuality. This cutting-edge volume focuses on queer fans, performers, and spaces within the heavy metal sphere, and demonstrates the importance, pervasiveness, and subcultural significance of queerness to the heavy metal ethos. Heavy metal scholarship has until recently focused almost solely on the roles of heterosexual hypermasculinity and hyperfemininity in fans and performers. The dependence on that narrow dichotomy has limited heavy metal scholarship, resulting in poorly critiqued discussions of gender and sexuality that serve only to underpin the popular imagining of heavy metal as violent, homophobic and inherently masculine. This book queers heavy metal studies, bringing discussions of gender and sexuality in heavy metal out of that poorly theorized dichotomy. In this interdisciplinary work, the author connects new and existing scholarship with a strong ethnographic study of heavy metal’s self-identified queer performers and fans in their own words, thus giving them a voice and offering an original and ground-breaking addition to scholarship on popular music, rock, and queer studies.

This handbook is currently in development, with individual articles publishing online in advance of print publication. At this time, we cannot add information about unpublished articles in this handbook, however the table of contents will continue to grow as additional articles pass through the review process and are added to the site. Please note that the online publication date for this handbook is the date that the first article in the title was published online.

In late nineteenth-century England, “mannish” women were considered socially deviant but not homosexual. A half-century later, such masculinity equaled lesbianism in the public imagination. How did this shift occur? Citizen, Invert, Queer illustrates that the equation of female masculinity with female homosexuality is a relatively recent phenomenon, a result of changes in national and racial as well as sexual discourses in early twentieth-century public culture.Incorporating cultural histories of prewar women’s suffrage debates, British sexology, women’s work on the home front during World War I, and discussions of interwar literary representations of female homosexuality, Deborah Cohler maps the emergence of lesbian representations in relation to the decline of empire and the rise of eugenics in England. Cohler integrates discussions of the histories of male and female same-sex erotics in her readings of New Woman, representations of male and female suffragists, wartime trials of pacifist novelists and seditious artists, and the interwar infamy of novels such as Radclyffe Hall’s The Well of Loneliness and Virginia Woolf’s Orlando.By examining the shifting intersections of nationalism and sexuality before, during, and after the Great War, this book illuminates profound transformations in our ideas about female homosexuality.

The SAGE Encyclopedia of Music and Culture presents key concepts in the study of music in its cultural context and provides an introduction to the discipline of ethnomusicology, its methods, concerns, and its contributions to knowledge and understanding of the world's musical cultures, styles, and practices. The diverse voices of contributors to this encyclopedia confirm ethnomusicology's fundamental ethos of inclusion and respect for diversity. Combined, the multiplicity of topics and approaches are presented in an easy-to-search A-Z format and offer a fresh perspective on the field and the subject of music in culture. Key features include: Approximately 730 signed articles, authored by prominent scholars, are arranged A-to-Z and published in a choice of print or electronic editions Pedagogical elements include Further Readings and Cross References to conclude each article and a Reader’s Guide in the front matter organizing entries by broad topical or thematic areas Back matter includes an annotated Resource Guide to further research (journals, books, and associations), an appendix listing notable archives, libraries, and museums, and a detailed Index The Index, Reader’s Guide themes, and Cross References combine for thorough search-and-browse capabilities in the electronic edition