ABSTRACT
This chapter marks a moment of dynamic change: it weaves several dissonant ideas into the richly textured fabric of women's new art music. It explores the kinds of transformations that become possible when music is rethought as a mapping that is theoretically based and politically situated. The chapter discusses three female composers and their music the Russian Sofia Gubaidulina, the expatriate Uzbekistanian Elena Kats-Chernin and the Australian Anne Boyd and their music, utilising, in a feminist-Deleuzian analysis, two dynamic senses of movement. It explores the ways in which music by the female composer grafts onto the dominant musical aesthetic while at the same time spreading itself across multiple aesthetical sites, dramatising the processes of becoming. Drawing on Deleuze and Guattari, Grosz views the arts, including music, as the plane of composition. The chapter suggests that a radical shift in thinking in tertiary music education is needed.
