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Susan McClary

Susan Kaye McClary (born October 2, 1946)[1] is an American musicologist associated with "new musicology". Noted for her work combining musicology with feminist music criticism, McClary is professor of musicology at Case Western Reserve University.

Susan McClary

(1946-10-02) October 2, 1946
St. Louis, Missouri, U.S.

Musicologist

Southern Illinois University (BA)
Harvard University (MA, PhD)

Music, feminism

Feminine Endings: Music, Gender, & Sexuality

Robert Walser

Early life and education[edit]

McClary was born in St. Louis, Missouri, and received her BA in 1968 from Southern Illinois University. She attended graduate school at Harvard University where she received her MA in 1971 and her PhD in 1976. Her doctoral dissertation was on the transition from modal to tonal organization in Monteverdi's works. The first half of her dissertation was later reworked and expanded in her 2004 book, Modal Subjectivities: Self-fashioning in the Italian Madrigal. She taught at the University of Minnesota (1977–1991), McGill University (1991–1994), University of California, Berkeley (1993), and University of California, Los Angeles (1994–2011), before becoming a Professor of Musicology at Case Western Reserve University. She has also held a five-year professorship at the University of Oslo (2007–2012).

Personal life[edit]

McClary is married to musicologist Robert Walser.[30][31]

McClary, Susan (1987). "The Blasphemy of Talking Politics during Bach Year". In Leppert, Richard; McClary, Susan (eds.). Music and Society: The Politics of Composition, Performance and Reception. Cambridge, Massachusetts: Cambridge University Press. pp. 13–62.  0521327806.

ISBN

— (1989), "Terminal Prestige: The Case of Avant-Garde Music Composition", Cultural Critique, 12 (12): 57–81, :10.2307/1354322, JSTOR 1354322

doi

— (1992). Georges Bizet: Carmen. Cambridge, Massachusetts: Cambridge University Press.  9780521398978.

ISBN

— (2002). Feminine Endings: Music, Gender, & Sexuality (2nd ed.). Minneapolis: University of Minnesota Press.  9780816641895.

ISBN

— (2006), "Constructions of Subjectivity in Franz Schubert's Music", in Brett, Philip; Wood, Elizabeth; Thomas, Gary (eds.), Queering the Pitch: The New Gay and Lesbian Musicology, New York: Routledge,  0-415-97884-X

ISBN

— (2000), Conventional Wisdom: The Content of Musical Form, Ernest Bloch Lectures, Berkeley, California: University of California,  0-520-23208-9

ISBN

— (2004), Modal Subjectivities: Self-Fashioning in the Italian Madrigal, Berkeley and Los Angeles, California: University of California,  9780520234932

ISBN

— (2012), Desire and Pleasure in Seventeenth-Century Music, Berkeley and Los Angeles, California: University of California,  9780520247345

ISBN

Bal, Mieke, ed. (2004). . London: Taylor & Francis. ISBN 0-415-31661-8.

Narrative Theory: Critical Concepts in Literary and Cultural Studies

Holland, Bernard (February 17, 1992). . The New York Times.

"Dr. Freud, Can Tea Really Just Be Tea?"

Hatten, Robert S. (2004). . Bloomington, Indiana: Indiana University Press. ISBN 0-253-34459-X.

Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert

Horowitz, Joseph (January 19, 1992). . The New York Times.

"Schubert: Eternally Feminine?"

(2003). Franz Schubert: Sexuality, Subjectivity, Song. Cambridge studies in music theory and analysis. Vol. 13. Cambridge, Massachusetts: Cambridge University Press. ISBN 0-521-54216-2.

Kramer, Lawrence

McClary, Susan (2019). . Acta Musicologica. 91 (1): 5–20.

"Lives in Musicology: A Life in Musicology—Stradella and Me"

Mitchell, Mark Lindsey (2000). . Bloomington, Indiana: Indiana University Press. ISBN 0-253-33757-7.

Virtuosi: A Defense and a (sometimes Erotic) Celebration of Great Pianists

Peraino, Judith Ann (2006). . Berkeley: University of California Press. ISBN 0-520-21587-7.

Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig

(2000). Critical Entertainments: Music Old and New. Cambridge, MA: Harvard University Press. ISBN 0-674-17730-4.

Rosen, Charles

(June 27, 1994). "The Gay Connection in Music and in a Festival". The New York Times.

Ross, Alex

(February 16, 1992). "And If You Play 'Bolero' Backward ..." The New York Times.

Rothstein, Edward

Rothstein, Edward (August 6, 1995). . The New York Times.

"Was Schubert Gay? If He Was, So What? Debate Turns Testy"

Tellenbach, Marie Elisabeth (2000). "Franz Schubert and Benvenuto Cellini: One Man's Meat". . 141 (1870): 50–52. doi:10.2307/1004370. JSTOR 1004370.

The Musical Times

(August 6, 1995). "'Outing' Some 'In' Composers". The New York Times.

Tommasini, Anthony

Tommasini, Anthony (October 24, 2004). . The New York Times.

"What's So Gay About American Music?"

Miller, Leta E.; Lieberman, Frederic (1998). Lou Harrison: Composing a World. New York: Oxford University Press.  0-19-511022-6.

ISBN

Sleeman, Elizabeth, ed. (2003). "McClary, Susan K(aye)". International Who's Who of Authors and Writers. Routledge. p. 348.  1-85743-179-0.

ISBN

(1989). "Franz Schubert and the Peacocks of Benvenuto Cellini". 19th-Century Music. 12 (3): 193–206. doi:10.2307/746501. JSTOR 746501.

Solomon, Maynard

Susan McClary - Curriculum Vitae (as of August 2013)

Quotations related to Susan McClary at Wikiquote

(2011), Celebrating the 20th anniversary of Feminine Endings by Susan McClary: Special issue dedicated to Gender Studies, Feminism, and Music.

TRANS 15

UCLA Department of Musicology,

Biography of Susan McClary

Susan McClary, , Keynote Address, Society for Music Theory 2009 Annual Meeting, Montréal, Canada

"In Praise of Contingency: The Powers and Limits of Theory"

Lawrence Kramer with reply by , "Music à La Mode", The New York Review of Books, Volume 41, Number 15, September 22, 1994

Charles Rosen

La Susanna, opera by Alessandro Stradella (part 1) as performed by the College of Music, Case Western Reserve University, production directed by Susan McClary (2018)