The "Amen" Breakbeat as Fratriarchal Totem

Abstract

It is generally accepted that music signifies'. "that it can sound happy, sad, sexy, funky, silly, 'American,' religious, or whatever" (McClary 20- 21). Notably, music is engendered; it is read as signifying specific embodied subjectivities, and also hails an audience it constitutes as so positioned: it "inscribes subject positions" (Irving 107). Thus rock music in the West is invariably considered a "male culture comprising male activities and styles" (Cohen l7). Musical genres and gestures, however, a.re not inherently "male" or "female"; they are produced as such, or more precisely, coproduced (Lohan and Faulkner 322). Music is a key resource in the constitutive performance of gender, and vice versa.

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