![]() McClary received a MacArthur Foundation “Genius” Fellowship in 1995. McClary s reading of the Fourth Symphony in Feminine Endings follows the usual pattern: seeing a homosexual protagonist in the hypersensitive, vulnerable. Her work has been translated into at least twenty languages, and she has advised more than fifty dissertations. ![]() Best known for her book Feminine Endings: Music, Gender, and Sexuality (1991), she is also author of Georges Bizet: Carmen (1992), Conventional Wisdom: The Content of Musical Form (Bloch Lectures, 2000), Modal Subjectivities: Renaissance Self-Fashioning in the Italian Madrigal (2004), Reading Music: Selected Essays (2007), Desire and Pleasure in Seventeenth-Century Music (2012), The Passions of Peter Sellars: Staging the Music (2019), co-editor of Music and Society: The Politics of Composition, Performance and Reception (1987), and editor of Structures of Feeling in Seventeenth-Century Expressive Culture (2012). In contrast with an aesthetic tradition that treats music as ineffable and transcendent, her work engages with the signifying dimensions of musical procedures and deals with this elusive medium as a set of social practices. Susan McClary - Curriculum Vitae (as of August 2013) Quotations related to Susan McClary at Wikiquote TRANS 15 (2011), Celebrating the 20th anniversary of Feminine Endings by Susan McClary: Special issue dedicated to Gender Studies, Feminism, and Music. Her research focuses on the cultural analysis of music, both the European canon and contemporary popular genres. ![]() Kulas Professor of Music at Case Western Reserve University she has also held professorships at the University of Minnesota, McGill University, UCLA, and University of Oslo. ![]() Susan McClary (B Mus, SIU PhD, Harvard) is Fynette H. ![]()
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