Building on an implicit ethical critique of music theory in the writings of Marion A. Guck and other feminist music theorists, this paper seeks to displace an implicitmoralcommitment that pervades music-theoretical practice in favor of anethicsin the Deleuzian sense of the term. First, I demonstrate how established music-theoretical approaches remain focused on defining and policing a musical morality—a strict delineation of what ought to count as proper ways of doing music theory, of lovingly engaging with music professionally. Second, taking up Guck’s call for an open-ended and diverse disciplinary ethics centered on music loving, I explore how the Deleuzian ethical concept of love as a positive and productive force might intervene in our discipline’s moralistic investments and facilitate the creation of new feminist music-theoretical concepts and practices.
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