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1 repercussionsrepercussions special issue: CROSSING OVER guest editors managtng editor editors editorial board advisory board design & typesetting John Shepherd Jocelyne Guilbault P. Murray Dineen Holly Watkins Gregory Bloch Melina Esse Robert Fallon A. Nalini Gwynne Beth E. Levy Alyson Ahern Laura Basini Daruelle Fosler-Lussier Steven Lessard Susie Lim Katherine Bergeron Phillip Brett J. Peter Burkholder Joseph Kerman Lawrence Kramer Susan McClary Jann Pasler Gregory Bloch David Paul Francesca Rivera Kimberly Parke David Paul Francesca Rivera Christina A. Schiffner Heather Wiebe Roger Moseley Peter Schmelz Anya Suschitzky Silvia Yee Christopher Reynolds Ellen Rosand Rose R. Subotnik Richard Taruskin Gary Tomlinson Robert Winter

2 repercussions repercussions Published twice a year (spring and fall) by repercussions, University of California at Berkeley, Department of Music, 107 Morrison Hall #1200, Berkeley, CA \nnual subscription rates (two issues) are S18.00 (U.S.) for students, for individuals, and for institutions. Back issues are available at the same rates. Subscribers outside North.\merica should add to cover postage. Single copies of the journal are $10.00/ students, Sl1.00/individuals, and $15.00/institutions. Checks should be made payable to repercussions and sent to the above address. Subscription orders, change of address notification, and business correspondence (including requests for permissions and advertising orders) should be sent to the Editors, repercussions, at the above address. Submissions Information repercussions invites submission of essays that take critical or experimental approaches to music or that address any aspect of music, culture, or critical theory. There are no set formats for contributions; we welcome articles with personal, hortatory, or polemic perspectives, as well as those unconventional in structure or voice. We welcome reports, reviews, and explorations of music-critical topics. Proposals for interviews, bulletins, or roundtables will also be considered; please send a short description to the above address. Prospective contributors should submit two (2) copies of their manuscripts. Submissions are reviewed anonymously, so authors are asked not to include their names on each page. \li manuscripts must be double spaced, including footnotes, quotations, and extracts. Upon acceptance, contributors will be asked to send copy in an electronic fonnat. i\lusical examples, tables, text for music examples, captions, and footnotes are to be typed at the end of the text on separate pages. Contributors are responsible for obtaining all permissions to quote extracts or to reproduce photographs. Permissions and photo acknowledgements should be included in caption copy. Forward all copies of pennissions granted to repercussions. repercussions follows the style guidelines given in the Chicago Manual of Style, 14th ed. (University of Chicago Press, 1993). For other style matters, contributors should consult W riling about Music A Style Sheet I:Y the Editors of "19th-Century Music, " by D. Kern Holoman (University of California Press, 1988). Submissions and books for review should be addressed to the Editors at the above address. For more infonnation call (510) , fax (510) repercussions is printed on recycled paper. all text 2001 repercussions. ISSN:

3 repercll sionsrepercussions spring-fall , volumes 7 & 8 CROSSING OVER John Shepherd, JocelYne Guilbault, P. Murrqy Dineen 7 Introduction PART I: INSTITUTIONS, IDEOLOGIES, POSITIONS, AND POWER David Gramit P. Murrqy Dineen Richard Middleton John Shepherd and Peter Wicke 29 The Roaring Lion: Critical Musicology, the Aesthetic Experience, and the Music Department 55 Adorno, Jitterbug, and the Adequate Listener 77 Who May Speak? From a Politics of Popular Music to a Popular Politics of Music 105 Re-Thinking Music: Disciplinary Implications PART II: MUSIC AND ECONOMIES OF EXCHANGE Will Straw 147 Music as Commodity and Material Culture

4 Rcll'ia Burckhardt Qureshi 173. Confronting the Social: Mode of Production and the Sublime in Hindustani Music Gary Tomlinson 209 Montaigne's Cannibals' Songs PART HI: PERFORMING SEXUALITY AND GENDER Phtlip Brett Lori Bums 237 Piano Fout Hands: Schubert and the Performance of Gay Male Desire 299 Genre, Gender, and Convention Revisited: k. d.lang's Cover of Cole Porter's "So in Love" PART IV: SOLIDARITIES AND IDENTITIES THROUGH MUSIC George Lipsitz Line Grenier and Jocejyne Guilbault Beverlry Diamond 327 The History of the Present is Not Being Written: Music and Memory in the Transnational Economy 351 Cnolili and Francophonie in Music: Socio-Musical Repositionings Where It Matters 397 Theory from Practice: First Nations Popular Music in Canada Contn butors 432

5 The editors would like to express their gratitude to the publishers and editors of the Jollowing pubiications Jor allowing these ess'!ys to appear here. A version of David Gramit's 'The Roaring Lion: Critical Musicology, the Aesthetic Experience, and the Music Department" was published in Canadian Universi!JMusic Review 19, no. 1 (1998). A version of Richard Middleton's '''W'ho May Speak? From a Politics of Popular Music to a Popular Politics of Music" was published in Popular Music Studies in Seven Acts: Coiference Proceedings of the Fourth Annual Conference of the Finnish Society Jor Ethnomusicology, 1995, ed. T arja Hautamiki and Tarja Rautiainen (Tampere: Department of Folk Tradition; Seinajoki: Institute of Rhythm Music, 1996). A version of Regula Burckhardt Qureshi's "Confronting the Social: Mode of Production and the Sublime in Hindustani Music" was published in Ethnomusicology 44, no. 1 (2000). A version of Philip Brett's ''Piano Four Hands: Schubert and the Perfonnance of Gay 1fale Desire" was published in 19th-Century Music 21, no. 2 (1997). A version of Line Grenier and Jocelyne Guilbault's "Creoliti and Francophonie in Music: Socio-Musical Repositionings \Xlhere It Matters" was published in Cultural 5 fudies 11, no. 2 (1997). Lori Bums's "Genre, Gender, and Convention Revisited: k. d.lang's cover of Cole Porter's 'So in Love,'" contains quotations from "So in Love," words and music by Cole Porter, copyright 1948 by Cole Porter; copyright renewed, assigned to John F. 'W'harton, trustee of the Cole Porter Musical and Library Property Trusts. Chappel and Co. is owner of publication and allied rights throughout the world. International copyright secured..all ~ohts reserved. Used by pennission. The editors of repercussions would like to thank the Doreen B. Townsend Center for the Humanities and the Music Department of the University of California at Berkeley for their generous support. We also acknowledge technical support from the Publications Office of the Associated Students of the University of Califomla. repercussions is not an official publication of the University of California at Berkeley, or the Associated Students of the University of California. The content of this publication does not necessarily reflect the views of the University of California or the ASUC.

6 Acknowledgments The essays in this volume are by scholars invited to an occasional international conference, Border Crossings: New Directions in Music Studies, organized by the School for Studies in Art and Culture at Carleton University, Ottawa, and the Department of Music at the University of Ottawa, and hosted by the Department of Music, Univer-. sity of Ottawa, in March, The editors would like to thank the fonowing institutions and individuals for the financial support that made this conference possible: The Aid to Occasional Conferences Program of the Social Sciences and Humanities Research Council of Canada; G. Stuart Adam, Dean of the Faculty of Arts, Carleton University; John ApSimon, Dean of the Faculty of Graduate Studies and Research, Carleton University; and Jean-Louis Major, Associate Dean (Research), Faculty of Arts, University of Ottawa. The editors would also like to thank the Music Department of the University of Ottawa for hosting the conference, and Annette Chretien for her assistance in organizing and running it. Bringing together, editing and arranging papers for the publication of a volume as wide-ranging as this has been a challenging undertaking. The editors of this special publication would like to express their sincere thanks to the editorial team of repercussions for their enthusiasm and.commitment in bringing this project to fruition.