This article reports from a two-phase study that involved an analysis of the extant literature followed by a three-part survey answered by seventy-one women composers. Through these theoretical and empirical data, the authors explore the relationship between gender and music’s symbolic and cultural capital. Bourdieu’s theory of the habitus is employed to understand the gendered experiences of the female composers who participated in the survey. The article suggests that these female composers have different investments in gender but that, overall, they reinforce the male habitus given that the female habitus occupies a subordinate position in relation to that of the male. The findings of the study also suggest a connection between contemporary feminism and the attitudes towards gender held by the participants. The article concludes that female composers classify themselves, and others, according to gendered norms and that these perpetuate the social order in music in which the male norm dominates.

中文翻译：

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女性主义音乐研究的兴衰与再次崛起：“四处走走”

本文来自一项分为两个阶段的研究报告，该研究包括对现有文献的分析，然后是由71位女性作曲家回答的三部分调查。通过这些理论和经验数据，作者探索了性别与音乐象征文化资本之间的关系。布迪厄的惯性理论被用来理解参与调查的女性作曲家的性别体验。文章认为，这些女性作曲家在性别上有不同的投入，但总体而言，鉴于女性的习惯相对于男性处于从属地位，它们会强化男性的习惯。该研究结果还表明，当代女性主义与参与者对性别的态度之间存在联系。