It seems like there is implicit feminist content, but why can’t that content be labeled as such? Looking more specifically at the panels on music, none are even remotely political at all there’s not even that “implicit” influence of feminism. There has been some progress, both in the field as a whole and in aesthetics, since I began my doctoral program back in 2000, but looking at the American Society for Aesthetics’ 2011 program, you will find panels that demonstrate the influence of feminist work in aesthetics (e.g., the panels on beauty and on cooking), but there is only one paper about “sex” (and presumably gender-and it’s by none other than the fabulous Sherri Irvin), and there are no other papers or panels that label themselves as explicitly about feminism, gender, sexuality, or race. Second (2), philosophy as a whole continues to marginalize feminist philosophy, and this is especially true in philosophical aesthetics. But why aren’t there more feminist philosophers of music? Sure, there’s me, but one person does not a subfield make.
Notably, there is, as far as I can tell, no feminist philosophy of music, at least in the Anglophone world (by which I mean both “analytic” philosophy, and “continental philosophy” as practiced in the English-speaking world). But feminist musicology, while itself often interdisciplinary, has not really been taken up by scholars outside musicology and popular music studies. Similarly, feminist art historians have been influential in feminist philosophical aesthetics, and in feminist theory generally. Feminist film theory-especially the psychoanalytic stuff-has been widely and deeply influential on feminist theory generally, and in feminist philosophy more narrowly. I’d speculate that this is due to the fact that feminist musicology has not made much of an impact outside of musicology-not unlike feminist philosophy, it is still struggling to be taken seriously within the broader discipline of musicology.
While the latter release is being widely commemorated, there’s not much noise being made outside of feminist musicology about the former anniversary. Susan McClary’s landmark book Feminine Endings: Music, Gender, and Sexuality was released in 1991-the same year that Nirvana broke on pop radio. Feminist musicology as we know it is only 20 years old.
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