Niech przemówi muzyka.
0
0
0
Najnowsze

373. - Missax

The findings suggest that Missax constitutes a discursive and performative assemblage that simultaneously re‑claims a historically male‑dominated instrument, expands its timbral possibilities through extended techniques and electronic augmentation, and leverages networked media to construct a transnational feminist community. The paper concludes by positioning Missax as a viable model for future gender‑responsive innovations in instrumental music.

The term —a portmanteau of “miss” (denoting femininity) and “sax” (the saxophone)—has emerged in the early 2020s as a self‑identified cultural and musical movement that foregrounds women saxophonists, re‑configures the saxophone’s sonic vocabulary, and interrogates gendered power structures within jazz, popular, and experimental music scenes. This paper offers a comprehensive examination of Missax as a hybrid phenomenon situated at the intersection of performance practice, gender studies, technology, and global music economies. Drawing on ethnographic fieldwork (2022‑2024) in three urban hubs (New York, Berlin, and Seoul), a corpus analysis of 112 recorded works, and a review of scholarly and media discourse, the study addresses the following research questions: 373. Missax

“Missax” evokes a bittersweet yearning—think of a late‑night walk through a rain‑slicked city while the distant hum of traffic mixes with a lone saxophone playing from a dimly lit bar. The processed, glitchy versions of the sax suggest memories that are fading or being digitized, while the clean sax momentarily breaks through, representing a fleeting moment of clarity. The findings suggest that Missax constitutes a discursive

The findings suggest that Missax constitutes a discursive and performative assemblage that simultaneously re‑claims a historically male‑dominated instrument, expands its timbral possibilities through extended techniques and electronic augmentation, and leverages networked media to construct a transnational feminist community. The paper concludes by positioning Missax as a viable model for future gender‑responsive innovations in instrumental music.

The term —a portmanteau of “miss” (denoting femininity) and “sax” (the saxophone)—has emerged in the early 2020s as a self‑identified cultural and musical movement that foregrounds women saxophonists, re‑configures the saxophone’s sonic vocabulary, and interrogates gendered power structures within jazz, popular, and experimental music scenes. This paper offers a comprehensive examination of Missax as a hybrid phenomenon situated at the intersection of performance practice, gender studies, technology, and global music economies. Drawing on ethnographic fieldwork (2022‑2024) in three urban hubs (New York, Berlin, and Seoul), a corpus analysis of 112 recorded works, and a review of scholarly and media discourse, the study addresses the following research questions:

“Missax” evokes a bittersweet yearning—think of a late‑night walk through a rain‑slicked city while the distant hum of traffic mixes with a lone saxophone playing from a dimly lit bar. The processed, glitchy versions of the sax suggest memories that are fading or being digitized, while the clean sax momentarily breaks through, representing a fleeting moment of clarity.