Music for Girls: Feminist Epistemologies of Popular Music

女孩音乐：流行音乐的女权主义认识论

• 批准号: AH/W00349X/1
• 负责人: Mimi Haddon
• 金额: $ 3.19万
• 依托单位: University of Sussex
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FW00349X%2F1
• 关键词: Music; Girls; Feminist; Epistemologies; Popular

In the public imaginary the figure of the popular music expert is nearly always male. So strong is the male expert stereotype that it has been successfully and humorously parodied in popular culture from Nick Hornby's High Fidelity to the "mansplaining" proprietor of the guitar shop to the sneering judge of the television talent contest. Using this as our point of departure, Feminist Epistemologies of Popular Music (FEPM) aims to challenge preconceived understandings of what it is to "know" about music. Indeed, FEPM takes seriously a question raised by musicologist Steve Waksman in a 2017 essay collection. He asked, "what happens if we consider a 12-year-old girl's collection of N'Sync albums and other items as a significant form of recording collecting" and, we might add, of knowledge acquisition?By employing feminist archiving practices and drawing from ethnographies of musical taste, our network brings together scholars from a range of disciplines, members of the public, curators, and music industry personnel to foreground and analyse women's knowledge cultures of popular music. We will be creating space for women to articulate their relationships to music, illuminating what Michel Foucault would call "subjugated knowledges" -- that is, ways of listening to and knowing about popular music that have been rendered silent in academic conversations, in the media, and in our own experiences in the classroom. Our intellectual offering is therefore twofold. We will: foreground women's listening to and modes of engagement with popular music, which are currently poorly understood; and we intervene epistemologically, challenging the very idea of knowledge, by moving from notions of rational knowledge about music (lists, dates, trivia) into embodied knowledge (dance, narrative, mediation).Our collaborative work (with the Museum of Ordinary People, our music industry advisor Glenn McDonald, who works for the online streaming service Spotify, the Sussex Humanities Lab, and the Attenborough Centre for the Creative Arts) will ensure that research questions are co-created and relevant beyond the academy. The network will serve as a locus for activities in research, development, and education. The network includes leading international scholars but has a strong UK base at the School for Media, Arts and Humanities at the University of Sussex in collaboration with the University of Leeds. FEPM will engage in a range of activities (including producing an edited collection), but our main focus will be three key events: two community workshops resulting in a pop-up- and online exhibition, a research symposium, and an international conference.To be clear, FEPM proposes using the words "women" and "feminist" in a way that is strategically essentialist in order to give voice to hitherto subjugated stories, and as categories that encompass trans and non-binary persons. This project does not therefore proffer ways of knowing about and listening to popular music that are biologically determined. Rather, we are interested in knowledge, relationships, interactions, events that have been left out of the dominant discourse for their lack of "serious-ness" as linked to femininity.

在公众想象中，流行音乐专家的形象几乎总是男性。男性专家的刻板印象如此强烈，以至于它在流行文化中被成功而幽默地戏仿，从尼克·霍恩比的《高保真》到吉他店的老板，再到电视才艺大赛的嘲讽评委。以此为出发点，女性主义流行音乐认识论(FEPM)旨在挑战关于音乐是什么的先入为主的理解。事实上，FEPM认真对待音乐学家史蒂夫·韦克斯曼在2017年的散文集中提出的一个问题。他问道：“如果我们把一个12岁女孩收集的N‘Sync专辑和其他物品视为一种重要的录音收集形式”，我们还可以加上一句，是获取知识的一种重要形式，会发生什么？通过采用女权主义存档做法，并借鉴音乐品味的民族志，我们的网络汇集了来自一系列学科的学者、公众成员、策展人和音乐行业人员，以突出和分析女性流行音乐的知识文化。我们将为女性创造空间，让她们清楚地表达她们与音乐的关系，阐明米歇尔·福柯所说的“被征服的知识”--即聆听和了解流行音乐的方式，这些音乐在学术对话、媒体和我们自己在课堂上的经历中都是沉默的。因此，我们的智力贡献是双重的。我们将：展望女性对流行音乐的倾听和参与模式，这些音乐目前还鲜为人知；我们从认识论上介入，挑战知识的概念，从关于音乐的理性认识(列表、约会、琐事)转移到实实在在的知识(舞蹈、叙事、调解)。我们的合作(与普通人博物馆、我们的音乐行业顾问格伦·麦克唐纳，她在在线流媒体服务Spotify、苏塞克斯人文实验室和阿滕伯勒创意艺术中心工作)将确保研究问题在学院之外共同创造和相关。该网络将成为研究、开发和教育活动的场所。该网络包括顶尖的国际学者，但与利兹大学合作，在苏塞克斯大学媒体、艺术和人文学院拥有强大的英国基地。FEPM将参与一系列活动(包括制作编辑后的合集)，但我们的主要重点将是三个关键活动：两个社区研讨会，导致一个弹出式和在线展览，一个研究研讨会，以及一个国际会议。明确地说，FEPM建议以一种具有战略重要性的方式使用“女性”和“女权主义者”一词，以便向迄今被征服的故事发声，并将其作为涵盖跨性别者和非二元者的类别。因此，这个项目不提供了解和收听生物决定的流行音乐的方式。相反，我们对知识、关系、互动和事件感兴趣，因为它们缺乏与女性气质相关的“严肃性”而被排除在主流话语之外。