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Abstract
This article seeks to problematize the anthropological tendency to view music as an autonomous force, suggesting that it may be better viewed as a discursive medium. It draws on existing anthropological, sociological, and musicological literature to argue that analogously to language and sound, the locus of the power of music lies less in its form and more in the various ways in which it is produced, circulated, consumed, and performed in culturally specific ways. Gendered ideology is located in these concrete, material actions of musical production, circulation, consumption, and performance; hence these musical activities serve to constitute the gendered subject in relation to dominant ideological power structures. Ultimately, by suggesting a way in which anthropologists could think productively with issues of music, gender, power, and agency, the article highlights the need to narrow the perceived disciplinary distance between anthropology and ethnomusicology.
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