Susan McClary

McClary suggests that sonata form may be interpreted as sexist or misogynistic and imperialistic, and that, "tonality itself – with its process of instilling expectations and subsequently withholding promised fulfillment until climax – is the principal musical means during the period from 1600 to 1900 for arousing and channeling desire."

She interprets the sonata procedure for its constructions of gender and sexual identity.

The primary, "masculine" key (or first subject group) represents the male self, while the secondary, "feminine" key (or second subject group), represents the other, a territory to be explored and conquered, assimilated into the self and stated in the tonic home key.

Following evidence that Solomon's conclusions may have been flawed and largely based on his own psychoanalytic reading of a dream narrative Schubert set down in 1822, McClary revised the paper again.

Susan Kaye McClary (born October 2, 1946) is an American musicologist associated with "new musicology".

Noted for her work combining musicology with feminist music criticism, McClary is professor of musicology at Case Western Reserve University.

McClary was born in St. Louis, Missouri, and received her BA in 1968 from Southern Illinois University.

She attended graduate school at Harvard University where she received her MA in 1971 and her PhD in 1976.

Her doctoral dissertation was on the transition from modal to tonal organization in Monteverdi's works.

She taught at the University of Minnesota (1977–1991), McGill University (1991–1994), University of California, Berkeley (1993), and University of California, Los Angeles (1994–2011), before becoming a Professor of Musicology at Case Western Reserve University.

In the January 1987 issue of Minnesota Composers Forum Newsletter, McClary wrote of Ludwig van Beethoven's Ninth Symphony:

The point of recapitulation in the first movement of the Ninth is one of the most horrifying moments in music, as the carefully prepared cadence is frustrated, damming up energy which finally explodes in the throttling murderous rage of a rapist incapable of attaining release.

This sentence elicited and continues to elicit a great range of responses.

McClary subsequently rephrased this passage in Feminine Endings:

'[...] [T]he point of recapitulation in the first movement of Beethoven's Ninth Symphony unleashes one of the most horrifyingly violent episodes in the history of music.

The problem Beethoven has constructed for this movement is that it seems to begin before the subject of the symphony has managed to achieve its identity.

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At the time McClary was influenced by Maynard Solomon's claim in his 1989 paper "Franz Schubert and the Peacocks of Benvenuto Cellini" that Schubert was homosexual.

McClary's paper explored the relevance of Solomon's research to what she termed the uninhibited, "hedonistic" luxuriance of Schubert's "Unfinished" Symphony. The symposium paper elicited some mild controversy.

"Constructions of Subjectivity in Franz Schubert's Music" first appeared as a paper delivered at the American Musicological Society in 1990 and then in a revised version as a symposium presentation during the 1992 Schubertiade Festival in New York City.

One of her best known works is Feminine Endings (1991).

"Feminine ending" is a musical term once commonly used to denote a weak phrase ending or cadence.

The work covers musical constructions of gender and sexuality, gendered aspects of traditional music theory, gendered sexuality in musical narrative, music as a gendered discourse, and discursive strategies of women musicians.

Its definitive version was printed in the 1994 edition of the book Queering the Pitch: The New Gay and Lesbian Musicology edited by Philip Brett, Elizabeth Wood, and Gary Thomas.

According to McClary, Schubert, in the second movement of his Unfinished Symphony, foregoes the usual narrative of the sonata form by "wandering" from one key area to another in a manner which does not consolidate the tonic, but without causing its violent reaffirmation:

"What is remarkable about this movement is that Schubert conceives of and executes a musical narrative that does not enact the more standard model in which a self strives to define identity through the consolidation of ego boundaries...in a Beethovian world such a passage would sound vulnerable, its tonal identity not safely anchored; and its ambiguity would probably precipitate a crisis, thereby justifying the violence needed to put things right again."

While maintaining that attempting to read Schubert's sexuality from his music would be essentialism, she proposes that it may be possible to notice intentional ways in which Schubert composed in order to express his "difference" as a part of himself at a time when "the self" was becoming prominent in the arts.

Schubert's music and often the man himself and the subjectivity he presented have been criticized as effeminate, especially in comparison to Beethoven, the model and aggressive master of the sonata form (Sir George Grove, after Schumann: "compared with Beethoven, Schubert is as a woman to a man"; Carl Dahlhaus: "weak" and "involuntary").

However, McClary notes: "what is at issue is not Schubert's deviance from a "straight" norm, but rather his particular constructions of subjectivity, especially as they contrast with many of those posed by his peers."

Some of the ideas about composition as subjective narrative proposed in "Constructions" were developed by McClary in her 1997 article, "The Impromptu that trod on a loaf", which applies this analysis to Schubert's Impromptu Op. 90, Number 2.

"Constructions of Subjectivity in Franz Schubert's Music" and the ideas in it continue to be discussed, sometimes critically.

McClary set the feminist arguments of her early book in a broader sociopolitical context with Conventional Wisdom (2000).

In it, she argues that the traditional musicological assumption of the existence of "purely musical" elements, divorced from culture and meaning, the social and the body, is a conceit used to veil the social and political imperatives of the worldview that produces the classical canon most prized by musicologists.

She examines the creation of meanings and identities, some oppressive and hegemonic, some affirmative and resistant, in music through the referencing of musical conventions in the blues, Vivaldi, Prince, Philip Glass, and others.

While seen by some as extremely radical, her work is influenced by musicologists such as Edward T. Cone, gender theorists and cultural critics such as Teresa de Lauretis, and others who, like McClary, fall in between, such as Theodor Adorno.

McClary herself admits that her analyses, though intended to deconstruct, engage in essentialism.

However, the article influenced a number of queer theorists, and in 2003 was described by the musicologist, Lawrence Kramer, as still an important paper in the field.

The paper, and the reactions to it are also discussed in Mark Lindsey Mitchell's Virtuosi: A Defense and a (sometimes Erotic) Celebration of Great Pianists.

The first half of her dissertation was later reworked and expanded in her 2004 book, Modal Subjectivities: Self-fashioning in the Italian Madrigal.

She has also held a five-year professorship at the University of Oslo (2007–2012).