A cisgender, heterosexual gaze is prevalent in Western art music. It is ingrained in our academia, and almost unquestioningly accepted in composition, performance, and listening practices. It extends into other arts and academic disciplines, and into all areas of life (this last point should, hopefully, surprise no-one). Sadly, even when the topic of ‘queerness’ is brought up, it is still discussed in binaries: male/female, heterosexual/homosexual, transgender/cisgender, portraying these terms as the sole points of interest within a vast spectrum of identities, or conflating more subtle issues into an obsolete framework.
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