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Start > Leuphana Bachelor (B.A./B.Eng./B.Sc./LL.B.) -> Minor Popular Music Studies -> Researching Popular Music

Lehrveranstaltungen

Researching Music: (Un)doing Gender (Vorlesung)

Dozent/in: Ema Stapleton

Termin:
 Einzeltermin | Fr, 11.04.2025, 14:00 - Fr, 11.04.2025, 18:00 | C 16.310 Musik | C 16.310
Einzeltermin | Fr, 25.04.2025, 14:00 - Fr, 25.04.2025, 18:00 | C 16.310 Musik | C 16.310
Einzeltermin | Fr, 09.05.2025, 14:00 - Fr, 09.05.2025, 18:00 | C 16.310 Musik | C 16.310
Einzeltermin | Fr, 06.06.2025, 14:00 - Fr, 06.06.2025, 18:30 | C 16.310 Musik | C 16.310
Einzeltermin | Fr, 27.06.2025, 14:00 - Fr, 27.06.2025, 18:30 | C 16.310 Musik | C 16.310

Inhalt: Gender, to the academic world, has long been synonymous with the sex assigned at birth, but since the 1990s academics have acknowledged that gender is more than a mere facet of biology (Butler, 1990). Gender is a performance; it is an aspect of identity which can be put on or taken off. It is something we do, not something we are. Unlike academia, the music industry has a longstanding history of understanding gender as an element of performance. Think of Ma Rainey’s bold 1928 claim against conforming to gender norms in ‘Prove it on me Blues’, Bowie’s iconic androgynous Ziggy Stardust persona of the 1960s, or the gender-bending glam rock and hair metal genres in the 1980s. Recently, too, music artists have embraced the notion that gender is a performance. It is not uncommon in today’s music industry for an artist to play with notions of gender by donning traits of the opposite sex (Christine and the Queens’ ‘iT’), parodying elements of their own assigned sex (King Princess’ ‘1950’), or making overt commentary on gender as a performative aspect of identity (SOPHIE’s ‘Faceshopping’).

Researching Popular Music (Tutorium)

Dozent/in: N. N.