"A Gendered Discourse"

Head’s article brings our concept of music into a whole new realm: that of gendered discourse. We have previously discussed music as being defined by its time and place, even its method of performance, but not by such intangible and constantly evolving traits as class or gender. Head uses quotes and text from North-German critics to present the idea that the supposed gender of a piece was now as inherent a part of its identity as its form or function. In fact, the gender of certain musical styles, such a rondos and minuets, are in fact trapped within the boundaries of certain gender stereotypes because of their natural musical disposition.

If “the effeminate minuet” is a “transgression of symphonic unity and seriousness” (Head, 144), does the minuet have a place in music at all? What is Head implying composers thought about effeminate work as a whole?

Head places a great deal of emphasis upon “effeminate” versus “feminine”. What’s the difference? If effeminate work was a transgression, was feminine music one as well?

Head comments on how the sublime was associated more with masculine work than feminine. Does this imply worthiness upon masculine work rather than feminine? What does it imply as to where feminine work should be performed, how it should be discussed, etc?

How did C.P.E. Bach seem to skirt by this notion of impropriety even though he included a tempo di minuetto section in some of his work?