[Smt-talk] Raised Issues with the so-called "Sensitive Female Chord Progression"

[Ildar Khannanov]

Dear Colleagues,

I have listened to the suggested link and have found the progression I-V-vi-IV quite enjoyable. Pop music, sometimes, provides insightful innovations to the classical models. The phrases in classical paradigm normally end either with dominant, or with tonic. The phrase that contains the dialectic of tonic and dominant but suddenly ends on subdominant is quite intriguing and fresh. As if a singer ends each phrase with thoughtful and multivalent gesture that calls for continuation. Beautiful logic!

Best wishes,

Ildar Khannanov
Peabody Institute, Johns Hopkins University
solfeggio7 at yahoo.com
On Tuesday, April 29, 2014 8:00 AM, Stefanie Acevedo <stefanie at stefanieacevedo.com> wrote:
  
I agree with Devin et al.: We, as the "authority" of this field SHOULD eschew the expression. Otherwise, we are only promoting the sexist stereotyping. Like Devin said, the mere fact that someone brought the term up as a "category" is problematic. 

In either case, I urge everyone to visit and familiarize themselves with the SMT guidelines for non-sexist language: http://societymusictheory.org/administration/committees/csw/non-sexist-language

Thanks for bringing this up, Devin!

Another "sensitive" female, 
Stefanie

MW Morse wrote:


"We," the collected wisdom, could eschew the expression "SFCP"; what
>>
that would or would not contribute to social gender roles is not entirely
>
clear.
>

>
Well, it would avoid the sexist stereotyping inherent in the term.


I doubt this expression is of significance to the music theory community
>in the first place.

Except that at least some of us find it offensive...but perhaps I'm just
being too "sensitive"!

Nicole Biamonte
McGill University


Stefanie Acevedo, M.M.
Ph.D. Student, Music Theory - Yale University
<stefanie.acevedo at yale.edu>
http://www.stefanieacevedo.com/
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