Musicology (from Greek μουσική (mousikē), meaning "music", and -λογία (-logia), meaning "study of-") is the scholarly study of music. A person who studies music is a musicologist. The word is used in narrow, broad and intermediate senses. In the narrow sense, musicology is confined to the music history of Western culture. In the intermediate sense, it includes all relevant cultures and a range of musical forms, styles, genres and traditions, but tends to be confined to the humanities - a combination of historical musicology, ethnomusicology, and the humanities of systematic musicology (philosophy, theoretical sociology, aesthetics). In the broad sense, it includes all musically relevant disciplines (both humanities and sciences) and all manifestations of music in all cultures, so it also includes all of systematic musicology (including psychology, biology, and computing). The broad meaning corresponds most closely to the word's etymology, the entry on "musicology" in Grove's dictionary, the entry on "Musikwissenschaft" in Musik in Geschichte und Gegenwart, and the classic approach of Adler (1885).

In the broad definition, the parent disciplines of musicology include history; cultural studies and gender studies; philosophy, aesthetics and semiotics; ethnology and cultural anthropology; archeology and prehistory; psychology and sociology; physiology and neuroscience; acoustics and psychoacoustics; and computer/information sciences and mathematics. Musicology also has two central, practically oriented subdisciplines with no parent discipline: performance practice and research, and the theory, analysis and composition of music. The disciplinary neighbors of musicology address other forms of art, performance, ritual and communication, including the history and theory of the visual and plastic arts and of architecture; linguistics, literature and theater; religion and theology; and sport. Musical knowledge and know-how are applied in medicine, education and music therapy, which may be regarded as the parent disciplines of Applied Musicology.

Traditionally, historical musicology has been considered the largest and most important subdiscipline of musicology. Today, historical musicology is one of several large subdisciplines. Historical musicology, ethnomusicology, and systematic musicology are approximately equal in size - if numbers of active participants at international conferences is any guide. Systematic musicology includes music acoustics, the science and technology of acoustical musical instruments, physiology, psychology, sociology, philosophy and computing. Cognitive Musicology is the set of phenomena surrounding the computational modeling of music.

Subdisciplines[link]

Historical musicology[link]

Music history or historical musicology studies the composition, performance, reception, and criticism of music over time. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres (e. g. baroque concertos), the social function of music for a particular group of people (e. g. court music), or modes of performance at a particular place and time (e. g. Johann Sebastian Bach's choir in Leipzig). Like the comparable field of art history, different branches and schools of historical musicology emphasize different types of musical works and different approaches to music. There are also national differences in the definition of historical musicology. In theory, "music history" could refer to the study of the history of any type or genre of music (e.g., the history of Indian music or the history of rock). In practice, these research topics are more often considered within ethnomusicology (see below) and "historical musicology" is assumed to imply Western Art music.

The methods of historical musicology include source studies (esp. manuscript studies), paleography, philology (especially textual criticism), style criticism, historiography (the choice of historical method), musical analysis (the analysis of music in order to find "inner coherence"),^[1] and iconography. The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory. Music historians create a number of written products, ranging from journal articles describing their current research, new editions of musical works, biography of composers and other musicians, or book-length studies. Music historians may examine issues in a close focus, as in the case of scholars who examine the relationship between words and music for a given composer. On the other hand, some scholars take a broader view, and assess the place of a given type of music in society using techniques drawn from other fields, such as economics, sociology, or philosophy.

New musicology is a term applied since the late 1980s to a wide body of work emphasizing cultural study, analysis, and criticism of music. Such work may be based on feminist, gender studies, queer theory, or postcolonial theory, or the work of Theodor Adorno. Although New Musicology emerged from within historical musicology, the emphasis on cultural study within the Western art music tradition places New Musicology at the junction between historical, ethnological and sociological research in music.

New musicology was a reaction against traditional historical musicology, which according to Susan McClary, "fastidiously declares issues of musical signification off-limits to those engaged in legitimate scholarship." Charles Rosen, however, retorts that McClary "sets up, like so many of the 'new musicologists', a straw man to knock down, the dogma that music has no meaning, and no political or social significance".^[2] (I doubt that anyone, except perhaps the nineteenth-century critic Hanslick, has ever really believed that, although some musicians have been goaded into proclaiming it by the sillier interpretations of music with which we are often assailed.)' (Rosen 2000).Today, many musicologists no longer distinguish between musicology and New Musicology, since many of the scholarly concerns that used to be associated New Musicology have now become mainstream, and the term "new" clearly no longer applies.

Ethnomusicology[link]

Ethnomusicology, formerly comparative musicology, is the study of music in its cultural context. It is often considered the anthropology or ethnography of music. Jeff Todd Titon has called it the study of "people making music". Although it is most often concerned with the study of non-Western musics, it also includes the study of Western music from an anthropological or sociological perspective, cultural studies and sociology as well as other disciplines in the social sciences and humanities. Though some ethnomusicologists primarily conduct historical studies, the majority are involved in long-term participant observation. Therefore, ethnomusiological work can be characterized as featuring a substantial, intensive ethnographic component. Closely related to ethnomusiology is the emerging branch of sociomusicology.

Popular music studies[link]

Popular music studies, known, "misleadingly," (Moore 2003, p. 2) as popular musicology, emerged in the 1980s as an increasing number of musicologists, ethnomusicologists, and other varieties of historians of American and European culture began to write about popular musics past and present. The first journal focusing on popular music studies was Popular Music, which began publication in 1981. It was not until 1994 that an academic society solely devoted to the topic was formed, the International Association for the Study of Popular Music. The Association's founding was partly motivated by the interdisciplinary agenda of popular musicology though the group has been characterized by a polarized 'musicological' and 'sociological' approach also typical of popular musicology (Moore ibid, p. 4).

Music theory, analysis and composition[link]

Music theory is a field of study that describes the elements of music and includes the development and application of methods for composing and for analyzing music through both notation and, on occasion, musical sound itself. Broadly, theory may include any statement, belief, or conception of or about music (Boretz, 1995). A person who studies or practices music theory is a music theorist.

Some music theorists attempt to explain the techniques composers use by establishing rules and patterns. Others model the experience of listening to or performing music. Though extremely diverse in their interests and commitments, many Western music theorists are united in their belief that the acts of composing, performing, and listening to music may be explicated to a high degree of detail (this, as opposed to a conception of musical expression as fundamentally ineffable except in musical sounds). Generally, works of music theory are both descriptive and prescriptive, attempting both to define practice and to influence later practice. Thus, music theory generally lags behind practice in important ways, but also points towards future exploration, composition, and performance.

Musicians study music theory in order to be able to understand the structural relationships in the (nearly always notated) music, and composers study music theory in order to be able to understand how to produce effects and to structure their own works. Composers may study music theory in order to guide their precompositional and compositional decisions. Broadly speaking, music theory in the Western tradition focuses on harmony and counterpoint, and then uses these to explain large scale structure and the creation of melody.

Music psychology and cognition[link]

There is considerable overlap between the fields of music psychology, music cognition, and the cognitive neuroscience of music. Music psychology applies the content and methods of all subdisciplines of psychology (perception, cognition, motivation, personality and so on) to all aspects of musical behaviour and experience (performance, listening, composition). Music cognition is the study of music as information, from the viewpoint of cognitive science. The discipline shares the interdisciplinary nature of fields such as cognitive linguistics. Cognitive musicology emphasizes the use of computational models for human musical abilities. The cognitive neuroscience of music studies the way that music appreciation and ability is implemented in the brain and uses a methodology similar to cognitive neuroscience.

Performance practice and research[link]

Performance practice draws on many of the tools of historical musicology to answer the specific question of how music was performed in various places at various times in the past. Although previously confined to early music, recent research in performance practice has embraced questions such as how the early history of recording affected the use of vibrato in classical music, or instruments in Klezmer.

Within the rubric of musicology, performance practice tends to emphasize the collection and synthesis of evidence about how music should be performed. The important other side, learning how to sing authentically or perform a historical instrument is usually part of conservatory or other performance training. However, many top researchers in performance practice are also excellent musicians.

Music performance research (or music performance science) is strongly associated with music psychology. It aims to document and explain the psychological, physiological, sociological and cultural details of how music is actually performed (rather than how it should be performed). The approach to research tends to be systematic and empirical, and to involve the collection and analysis of both quantitative and qualitative data. The findings of music performance research can often be applied in music education.

Critiques[link]

Exclusion of disciplines and musics[link]

In its most narrow definition, historical musicology is the music history of Western culture. Such a definition arbitrarily excludes disciplines other than history, cultures other than Western, and forms of music other than "classical" ("art", "serious", "high culture") or notated ("artificial"). A somewhat broader definition incorporating all musical humanities is still problematic, because it arbitrarily excludes the relevant (natural) sciences (acoustics, psychology, physiology, neurosciences, information and computer sciences, empirical sociology and aesthetics) as well as musical practice.

Within historical musicology, scholars have been reluctant to adopt postmodern and critical approaches that are common elsewhere in the humanities. According to Susan McClary (2000, p. 1285) the discipline of "music lags behind the other arts; it picks up ideas from other media just when they have become outmoded." Only in the 1990s did historical musicologists, preceded by feminist musicologists in the late 1980s, begin to address issues such as gender, sexualities, bodies, emotions, and subjectivities which dominated the humanities for twenty years before (ibid, p. 10). In McClary's words (1991, p. 5), "It almost seems that musicology managed miraculously to pass directly from pre- to postfeminism without ever having to change - or even examine - its ways." Furthermore, in their discussion on musicology and rock music, Susan McClary and Robert Walser also address a key struggle within the discipline: how musicology has often "dismisse[d] questions of socio-musical interaction out of hand, that part of classical music's greatness is ascribed to its autonomy from society." (1988, p. 283). Since the 1990s, however, musicology has increasingly turned to socio-cultural methods.

Exclusion of popular music[link]

According to Richard Middleton, the strongest criticism of (historical) musicology has been that it by and large ignores popular music. Though musicological study of popular music has vastly increased in quantity recently, Middleton's assertion in 1990—that most major "works of musicology, theoretical or historical, act as though popular music did not exist" -- holds true. Academic and conservatory training typically only peripherally addresses this broad spectrum of musics, and many (historical) musicologists who are "both contemptuous and condescending are looking for types of production, musical form, and listening which they associate with a different kind of music...'classical music'...and they generally find popular music lacking. He cites three main aspects of this problem (p.104-6). The terminology of historical musicology is "slanted by the needs and history of a particular music ('classical music')." He acknowledges that "there is a rich vocabulary for certain areas [harmony, tonality, certain part-writing and forms], important in musicology's typical corpus"; yet he points out that there is "an impoverished vocabulary for other areas [rhythm, pitch nuance and gradation, and timbre], which are less well developed" in Classical music. Middleton argues that a number of "terms are ideologically loaded" in that "they always involve selective, and often unconsciously formulated, conceptions of what music is."

See also[link]

Music portal

Notes[link]

References[link]

• Adler, Guido (1885). Umfang, Methode und Ziel der Musikwissenschaft. Vierteljahresschrift für Musikwissenschaft, 1, 5-20.
• Babich, Babette (2003) "Postmodern Musicology" in Victor E. Taylor and Charles Winquist, eds., Routledge Encyclopedia of Postmodernism, London: Routledge, 2003. pp. 153–159. ISBN 978-0-415-30886-1.
• Honing, Henkjan (2006). "On the growing role of observation, formalization and experimental method in musicology. " Empirical Musicology Review.
• Kerman, Joseph (1985). Musicology. London: Fontana. ISBN 0-00-197170-0.
• McClary, Susan, and Robert Walser (1988). "Start Making Sense! Musicology Wrestles with Rock" in On Record ed. by Frith and Goodwin (1990), pp. 277–292. ISBN 0-394-56475-8.
• McClary, Susan (1991). Feminine Endings. Music, Gender, and Sexuality. University of Minnesota Press. ISBN 0-8166-1899-2 (pbk).
• McClary, Susan (2000). "Women and Music on the Verge of the New Millennium (Special Issue: Feminists at a Millennium)", Signs 25/4 (Summer): 1283-1286.
• Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.
• Moore, Allan, ed. (2003). Analyzing Popular Music, p. 2. ISBN 978-0-521-77120-7. p. 2n2 reads: "'Popular musicology' should be read as the musicological investigation of popular music, rather than the accessible investigation of music!"
• Parncutt, Richard. (2007). "Systematic musicology and the history and future of Western musical scholarship", Journal of Interdisciplinary Music Studies, 1, 1-32.
• Pruett, James W., and Thomas P. Slavens (1985). Research guide to musicology. Chicago: American Library Association. ISBN 0-8389-0331-2.
• Randel, Don Michael, ed. (4th ed. 2003). Harvard Dictionary of Music, pp. 452–454. The Belknap Press of Harvard University Press. ISBN 0-674-01163-5.
• Rosen, Charles (2000). "The New Musicology", in Critical Entertainments: Music Old and New, pp. 255–272. Harvard University Press.
• Tagg, Philip (1979, ed. 2000). Kojak - 50 Seconds of Television Music: Toward the Analysis of Affect in Popular Music, pp. 38–45. The Mass Media Music Scholar's Press. ISBN 0-9701684-0-3.

Further reading[link]

Constructs such as ibid., loc. cit. and idem are discouraged by Wikipedia's style guide for footnotes, as they are easily broken. Please improve this article by replacing them with named references (quick guide), or an abbreviated title. (January 2011)

• Winkler, Peter (1978). "Toward a theory of pop harmony", In Theory Only, 4, pp. 3–26., cited in Moore (2003), p. 9.
• Tagg, Philip (1982). "Analysing Popular Music: Theory, Method and Practice", Popular Music, Vol. 2, Theory and Method, pp. 37–67., ibid.
• van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth Century Popular Music. ISBN 0-19-816305-3 (1992)., ibid.
• Middleton, Richard (1990) Studying Popular Music. ISBN 0-335-15275-9., ibid. and van der Merwe (2007), p. 515.
• Brackett, David (1995). Interpreting Popular Music. ISBN 0-520-22541-1., ibid.
• Everett, Walter, ed. (2000). Expression in Pop-Rock Music. ISBN 0-8153-3160-6., ibid.
• Moore, A.F. (2001). Rock: The Primary Text, 2nd edn., ISBN 0-7546-0298-2., ibid.

External links[link]

• The American Musicological Society (Wikipedia entry)
• Doctoral Dissertations in Musicology Online
• AMS: Web sites of interest to Musicologists
• The Society for American Music
• Graduate Programs in Musicology
• Conference on Interdisciplinary Musicology
• International Association for the Study of Popular Music
• Society for Ethnomusicology
• Wikiquote - quotes about musicology
• Répertoire International des Sources Musicales (RISM) - database of musical sources from around the world

On-line Journals[link]

Although many musicology journals are not available on-line, or are only available through pay-for-access portals, a sampling of peer reviewed journals in various subfields gives some idea of musicological writings:

• JIMS: Journal of Interdisciplinary Music Studies
• Echo: a music centered journal
• Empirical Musicology Review
• Ethnomusicology Review
• Journal of Interdisciplinary Music Studies
• JMM: The Journal of Music and Meaning
• Music Theory Online
• Journal of Seventeenth-Century Music^{[dead link]}
• Ethnomusicology OnLine
• Min-Ad: Israel Studies in Musicology Online
• Music and Politics
• Volume ! The French journal of popular music studies all articles available for free download up to n-2.

The following musicology journals can be accessed on-line through JSTOR (requires subscription for full access). Many of them have their latest issues available on-line via publisher portals (usually requiring a fee for access).

• 19th-Century Music (1977–2004)
• Acta Musicologica (1931–2002) (current organ of the International Musicological Society)
• American Music (1983–2005) (Society for American Music)
• Asian Music (1968–2002)
• Black Music Research Journal (1980–2004) (Center for Black Music Research)
• British Journal of Ethnomusicology (1992–2002)
• Early Music History (1981–2002)
• Ethnomusicology (1953–2003) (Society for Ethnomusicology)
• Journal of Music Theory (1957–2002)
• The Journal of Musicology (1982–2004)
• Journal of the American Musicological Society (1948–2004) (American Musicological Society)
• Music Educators Journal (1934–2007)
• Music Theory Spectrum (1979–2003) (Society for Music Theory)
• The Musical Quarterly (1915–1999)
• Perspectives of New Music (1962–2000)
• Popular Music (1981–2003)
• Yearbook for Traditional Music (1981–2003)

Wikimedia Commons has media related to: Musicology

Paul Wyatt Dick, PC (born October 27, 1940) is a lawyer and former Canadian politician.^[1]

He was born in Kapuskasing, Ontario, the son of Wyatt Dick and Constance Grace Harrison, and educated in Arnprior, Port Hope, at the University of Western Ontario and the University of New Brunswick. Dick was called to the Ontario bar in 1969. He served as assistant crown attorney for Carleton County from 1969 until 1972, when he entered private practice in Ottawa. In 1981, he was named Queen's Counsel.^[2]

Dick was first elected to the Canadian House of Commons in the 1972 general election as the Progressive Conservative Member of Parliament for Lanark—Renfrew—Carleton. In 1983, he became Deputy House Leader of the parliamentary Opposition Tory party.^[1]

He was appointed a parliamentary secretary following the Tory victory in the 1984 general election under Prime Minister Brian Mulroney. In 1986, Dick was promoted to Cabinet as Associate Minister of National Defence.^[1]

He was re-elected as an MP in the 1988 election for the redistributed riding of Lanark—Carleton, and was moved to the position of Minister of Supply and Services in 1989.^[1]

When Kim Campbell succeeded Mulroney as prime minister in June 1993, she retained Dick as Supply and Services minister, while adding an appointment as Minister of Public Works. However, both Dick and the Campbell government were defeated in the subsequent 1993 election, which ended his political career.^[1]

At 53 and with most of his adult life having been consumed by politics, Dick found himself out of work and with his political experience counting for little in job interviews. After being turned down for executive or management level positions, Dick found entry-level work at a stock brokerage firm. Dick was successful and now earns a six-figure salary. The story of Dick's life after politics is one of those profiled in the 2003 book The Dark Side: The Personal Price of a Political Life by Steve Paikin ISBN 0-670-04328-1.

References[link]

v t e Cabinet of Prime Minister Kim Campbell (1993) Perrin Beatty • Pierre Blais • Pauline Browes • Kim Campbell • Jean Charest • Mary Collins • Jean Corbeil • Paul Dick • Jim Edwards • Tom Hockin • Monique Landry • Doug Lewis • Gilles Loiselle • Peter McCreath • Charles Mayer • Lowell Murray • Rob Nicholson • Ross Reid • Larry Schneider • Tom Siddon • Bobbie Sparrow • Garth Turner • Bernard Valcourt • Pierre H. Vincent • Gerry Weiner

v t e   Ministers of Defence Ministers of Militia and Defence (1867–1923) Cartier · Langevin (acting) · McDonald  · Ross · Vail · Jones · Masson · Campbell · Caron · Bowell · Patterson · Dickey · Bowell · Desjardins · Tisdale · Borden · Hughes · Kemp · Mewburn · Calder (acting) · Guthrie · G. Graham Ministers of National Defence (1923–) G. Graham · E. Macdonald · Guthrie · Robb (acting) · Ralston · Sutherland · Stirling · Mackenzie · Rogers · Power (acting) · Ralston · McNaughton · Abbott · Claxton · Campney · Pearkes · Harkness · Churchill · Hellyer · Cadieux · Drury (acting) · D. Macdonald · Benson · Dubé (acting) · Drury (acting) · Richardson · Danson · McKinnon · Lamontagne · Blais · Coates · Clark (acting) · Nielsen · Beatty · McKnight · Masse · Campbell · Siddon · Collenette · Young · Eggleton · McCallum · Pratt · B. Graham · O'Connor · MacKay Associate Ministers of National Defence (1953–2006) Power · Campney · Hellyer · Sévigny · Cardin · Cadieux · Andre · Dick · Collins · Guarnieri · Bélanger Ministers of the Naval Service (1910–1922) Brodeur · Lemieux · Hazen · Ballantyne · G. Graham World War I Ministers of the Overseas Military Forces (1916–1920): Perley · Kemp World War II Ministers of National Defence for Air (1940–1946): Power · Macdonald (acting) · Gibson Ministers of National Defence for Naval Services (1940–1946): Macdonald · Abbott Ministers of National War Services (1940–1948): Gardiner · Thorson · Laflèche · McCann

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Susan McClary (born 2 October 1946) is a musicologist associated with the "New Musicology". Noted for her work combining musicology and a feminist music criticism, McClary is Professor of Musicology at Case Western Reserve University.

Biography[link]

McClary was born in St Louis, Missouri and received her BA in 1968 from Southern Illinois University. She attended graduate school at Harvard University where she received her MA in 1971 and her PhD in 1976. Her doctoral dissertation was on the transition from modal to tonal organization in Monteverdi's works. The first half of her dissertation was later re-worked and expanded in her 2004 book, Modal Subjectivities: Self-fashioning in the Italian Madrigal. Before becoming Professor of Music at UCLA in 1994, she taught at the University of Minnesota (1977–91) and McGill University (1991–94). She is also a professor at the University of Oslo. McClary is married to the musicologist Robert Walser.

[edit] Feminine Endings

One of her best known works is Feminine Endings (1991; ISBN 0-8166-4189-7). ("Feminine ending" is a musical term once commonly used to denote a weak phrase ending or cadence.) The work covers these topics:

1. Musical constructions of gender and sexuality.
2. Gendered aspects of traditional music theory.
3. Gendered sexuality in musical narrative.
4. Music as a gendered discourse.
5. Discursive strategies of women musicians.

This work combines musicology within feminism. McClary suggests that sonata form may be interpreted as sexist or misogynistic and imperialistic, and that, "tonality itself - with its process of instilling expectations and subsequently withholding promised fulfillment until climax - is the principal musical means during the period from 1600 to 1900 for arousing and channeling desire." She interprets the sonata procedure for its constructions of gender and sexual identity. The primary, "masculine" key (or first subject group) represents the male self, while the allegedly the secondary, "feminine" key (or second subject group), represents the other, a territory to be explored and conquered, assimilated into the self and stated in the tonic home key.

"Constructions of Subjectivity in Franz Schubert's Music"[link]

"Constructions of Subjectivity in Franz Schubert's Music" first appeared as a paper delivered at the American Musicological Society in 1990 and then in a revised version as a symposium presentation during the 1992 Schubertiade Festival in New York City. At the time McClary was influenced by Maynard Solomon's allegations of Schubert's homosexuality in his 1989 paper "Franz Schubert and the Peacocks of Benvenuto Cellini." McClary's paper explored the relevance of Solomon's research to what she termed the uninhibited, "hedonistic" luxuriance of Schubert's "Unfinished" Symphony. The symposium paper elicited in some mild controversy .^[1] Following evidence that Solomon's conclusions may have been flawed^[2] and largely based on his own psychoanalytic reading of a dream narrative Schubert set down in 1822,^[3] McClary revised the paper again. Its definitive version was printed in the 1994 edition of the book Queering the Pitch: The New Gay and Lesbian Musicology edited by Philip Brett, Elizabeth Wood, Gary Thomas.

According to McClary, Schubert, in the second movement of his Unfinished Symphony, foregoes the usual narrative of the sonata form by "wandering" from one key area to another in a manner which does not consolidate the tonic, but without causing its violent reaffirmation:

"What is remarkable about this movement is that Schubert conceives of and executes a musical narrative that does not enact the more standard model in which a self strives to define identity through the consolidation of ego boundaries...in a Beethovian world such a passage would sound vulnerable, its tonal identity not safely anchored; and its ambiguity would probably precipitate a crisis, thereby justifying the violence needed to put things right again."^[4]

While maintaining that attempting to read Schubert's sexuality from his music would be essentialism, she proposes that it may be possible to notice intentional ways in which Schubert composed in order to express his "difference" as a part of himself at a time when "the self" was becoming prominent in the arts. Schubert's music and often the man himself and the subjectivity he presented have been criticized as effeminate, especially in comparison to Beethoven, the model and aggressive master of the sonata form (Sir George Grove, after Schumann: "compared with Beethoven, Schubert is as a woman to a man"; Carl Dahlhaus: "weak" and "involuntary").^[5] However, McClary notes:

"what is at issue is not Schubert's deviance from a "straight" norm, but rather his particular constructions of subjectivity, especially as they contrast with many of those posed by his peers."^[6]

Some of the ideas about composition as subjective narrative proposed in "Constructions" were developed by McClary in her 1997 article, "The Impromptu that trod on a loaf", which applies this analysis to Schubert's Impromptu Op. 90, Number 2.^[7] "Constructions of Subjectivity in Franz Schubert's Music" and the ideas in it continue to be discussed, sometimes critically.^[8] However, the article influenced a number of queer theorists,^[9] and in 2003 was described by the musicologist, Lawrence Kramer, as still an important paper in the field.^[10] The paper, and the reactions to it are also discussed in Mark Lindsey Mitchell's Virtuosi: A Defense and a (sometimes Erotic) Celebration of Great Pianists.^[11]

Other work[link]

McClary set the feminist arguments of her early book in a broader sociopolitical context with Conventional Wisdom (2000, ISBN 0-520-23208-9). In it, she argues that the traditional musicological assumption of the existence of "purely musical" elements, divorced from culture and meaning, the social and the body, is a conceit used to veil the social and political imperatives of the worldview that produces the classical canon most prized by supposedly objective musicologists. But McClary does not ignore the "purely musical" in favor of cultural issues, incorporating it into her analysis. She examines the creation of meanings and identities, some oppressive and hegemonic, some affirmative and resistant, in music through the referencing of musical conventions in the blues, Vivaldi, Prince, Philip Glass, and others.

While seen by some as extremely radical, her work is influenced by musicologists such as Edward T. Cone, gender theorists and cultural critics such as Teresa de Lauretis, and others who, like McClary, fall in between, such as Theodor Adorno. McClary herself admits that her analyses, though intended to deconstruct, flirt with essentialism.^{[citation needed]}

The Beethoven and rape controversy[link]

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In the January 1987 issue of Minnesota Composers Forum Newsletter, McClary wrote of Ludwig van Beethoven's Ninth Symphony:

The point of recapitulation in the first movement of the Ninth is one of the most horrifying moments in music, as the carefully prepared cadence is frustrated, damming up energy which finally explodes in the throttling murderous rage of a rapist incapable of attaining release.

This sentence elicited and continues to elicit a great range of responses. McClary subsequently rephrased this passage in Feminine Endings:

The point of recapitulation in the first movement of Beethoven's Ninth Symphony unleashes one of the most horrifyingly violent episodes in the history of music. The problem Beethoven has constructed for this movement is that it seems to begin before the subject of the symphony has managed to achieve its identity. (128)

She goes on to conclude that "The Ninth Symphony is probably our most compelling articulation in music of the contradictory impulses that have organized patriarchal culture since the Enlightenment" (129). The critiques of McClary discussed below refer primarily to the original version of the passage.

Readers sympathetic to the passage may be connecting it to the opinion that Beethoven's music is in some way "phallic" or "hegemonic," terms often used in modern feminist studies scholarship. These readers may feel that to be able to enjoy Beethoven's music one must submit to or agree with the values expressed, or that it requires or forces upon the listener a mode or way of listening that is oppressive, and that these are overtly expressed, as rape, in the Ninth. For related views, see discussion above, as well as the article "Criticism and sonata form".

Several commentators have objected to McClary's characterizations. Four examples are:

• "Painter Jailed for Committing Masterpieces" by Robert Anton Wilson (also Wilson, Robert A. (1998). Everything Is Under Control: Conspiracies, Cults, and Cover-ups, p. 64. ISBN 0-06-273417-2.)
• Historical Review Press: "The Godfather of the Multi-Cult Nightmare" by Robert Stacy McCain
• "The Feminist Interpretations Debate, Concluded" by Glenn Lamont.

Leaving aside readers whose main interest is political, there are other reasons readers might take offense at McClary's sentence. The passage could be construed as unfair to Beethoven if one assumes that the "throttling murderous rapist's rage" putatively expressed in the music is supposed to have come from Beethoven's own habitual thoughts and feelings, which McClary does not suggest. Scholars and historians have found no evidence that Beethoven ever committed a rape or harbored an intense urge to do so.

Numerous musicological academics, however, have raised more serious and substantial objections to McClary’s scholarship, including (but not limited to) her notorious remark about rape. Four examples are:

• Music theorist Pieter van den Toorn has complained that McClary's polemics negate the asocial autonomy of absolute music; he is concerned with Schenker-style formal analysis. Van den Toorn complains, for example, that “Fanned by an aversion for male sexuality, which it depicts as something brutal and contemptible, irrelevancies are being read into the music.”^[12] Van den Toorn's complaint was rebutted by musicologist Ruth Solie,^[13] but van den Toorn responded with a whole book on these issues.^[14]
• Composer Elaine Barkin, in another extended critique, complained that “McClary’s voice tone, language, attitudes all too resoundingly perpetuate and reinstantiate those very ‘patriarchal practices’ she is deploring.”^[15] McClary briefly dismissed Barkin's critique as "a caricature."^[16]
• Musicologist Paula Higgins, in another robust critique of McClary's work, has observed that “one wonders… if [McClary] has not strategically co-opted feminism as an excuse for guerrilla attacks on the field.”^[17] Higgins complains of McClary's “truculent verbal assaults on musicological straw men”,^[18] and observes that “For all the hip culture critique imported from other fields, McClary has left the cobwebs of patriarchal musicological thought largely intact.” ”^[19] Higgins is also critical of McClary's citation practice as it concerns other scholars in the area of feminist musical criticism.
• Ethnomusicologist Henry Kingsbury has criticized McClary’s inattention to the Friedrich Schiller poem set in the fourth movement of the Ninth Symphony; he also lists numerous works by Beethoven and Schubert that he says contradict McClary’s claims regarding violence in Beethoven as well as her argument about the construction of gender in music.^[20]

Another source of controversy is the possibility that McClary's passage trivializes the horrific experience of actual rape victims by reducing it to mere metaphor. Even readers sympathetic to criticism of Beethoven's music may find that pinpointing a vague, unintended colonial program as "rape" is inaccurate.

The pianist and critic Charles Rosen has also commented on the famous passage. He avoids taking offense on any of the grounds mentioned above, and is willing to admit sexual metaphors to musical analysis. Rosen's disagreement is simply with McClary's assessment of the music:

We have first her characterization of the moment of recapitulation in the first movement of Beethoven’s Ninth Symphony:

[passage appears here]

The phrase about the murderous rage of the rapist has since been withdrawn [as noted above], which indicates that McClary realized it posed a problem, but it has the great merit of recognizing that something extraordinary is taking place here, and McClary's metaphor of sexual violence is not a bad way to describe it. The difficulty is that all metaphors oversimplify, like those entertaining little stories that music critics in the nineteenth century used to invent about works of music for an audience whose musical literacy was not too well developed. I do not, myself, find the cadence frustrated or dammed up in any constricting sense, but only given a slightly deviant movement which briefly postpones total fulfillment.

To continue the sexual imagery, I cannot think that the rapist incapable of attaining release is an adequate analogue, but I hear the passage as if Beethoven had found a way of making an orgasm last for sixteen bars. What causes the passage to be so shocking, indeed, is the power of sustaining over such a long phrase what we expect as a brief explosion. To McClary's credit, it should be said that some kind of metaphorical description is called for, and even necessary, but I should like to suggest that none will be satisfactory or definitive.^[21]

McClary also notes that she "can say something nice about Beethoven",^[22] saying of his String Quartet, Op. 132, "Few pieces offer so as vivid an image of shattered subjectivity the opening of Op. 132."^{[citation needed]}

Quotes[link]

• "Most people have music in the center of their lives. I believe my work sheds light on how music affects us and why it is so influential."^[23]

• "Rather than protecting music as a sublimely meaningless activity that has managed to escape social signification, I insist on treating it as a medium that participates in social formation by influencing the ways we perceive our feelings, our bodies, our desires, our very subjectivities - even if it does so surreptitiously, without most of us knowning how. It is too important a cultural force to be shrouded by mystified notions of Romantic transcendence."^[24]

• "My history of Western music contains Bach, Mozart, and Beethoven, but it also includes Stradella and the Swan Silvertones, Bessie Smith and Eric Clapton, k.d. lang, Philip Glass, and Public Enemy. And it treats all of them as artists who have negotiated with available conventions and in particular historical circumstances to produce musical artifacts of exceptional power and cultural resonance. If I can no longer privilege any one tradition, I find myself perpetually in awe of the countless ways societies have devised for articulating their most basic beliefs through the medium of sound."^[25]

Selected bibliography[link]

Works by Susan McClary

• "The Blasphemy of Talking Politics during Bach Year." In Music and Society: The Politics of Composition, Performance and Reception. Ed. Leppert and McClary. Cambridge: Cambridge University Press, 1987. 13-62.
• "Terminal Prestige: The Case of Avant-Garde Music Composition." Cultural Critique 12 (1989): 57-81.
• Georges Bizet: Carmen. Cambridge: Cambridge University Press, 1992.
• "Constructions of Subjectivity in Franz Schubert's music." In Queering the Pitch. Ed. Brett, Wood, and Thomas. New York: Routledge, 1994. 205-33.
• Feminine Endings: Music, Gender, & Sexuality. 2nd. ed. Minneapolis: University of Minnesota Press, 2002 (1991).
• Conventional Wisdom: The Content of Musical Form. Berkeley: University of California Press,, 2001
• Modal Subjectivities: Self-Fashioning in the Italian Madrigal. Berkeley and Los Angeles: University of California Press, 2004.

See also[link]

• Early Music

Notes and references[link]

Sources[link]

• Bal, Mieke (ed) Narrative Theory: Critical Concepts in Literary and Cultural Studies, Taylor & Francis, 2004. ISBN 0-415-31661-8
• Hatten, Robert S. Hatten Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert, Indiana University Press, 2004. ISBN 0-253-34459-X
• Holland, Bernard, "Dr. Freud, Can Tea Really Just Be Tea?", New York Times, February 17, 1992
• Horowitz, Joseph "Schubert: Eternally Feminine?", New York Times, January 19, 1992.
• Kramer, Lawrence, Franz Schubert: Sexuality, Subjectivity, Song, Cambridge University Press, 2003. ISBN 0-521-54216-2
• Maynard Solomon, "Franz Schubert and the Peacocks of Benvenuto Cellini" in 19th-Century Music, April 1989, Vol. 12, No. 3, Pages 193–206.
• McClary, Susan, "Constructions of Subjectivity in Franz Schubert's Music" in Queering the Pitch: The New Gay and Lesbian Musicology (Philip Brett, Elizabeth Wood, Gary Thomas (eds.), CRC Press, 2006 ISBN 0-415-97884-X
• McClary, Susan, Feminine Endings: Music, Gender, & Sexuality. 2nd. ed. Minneapolis: University of Minnesota Press, 2002 (1991).
• Mitchell, Mark Lindsey, Virtuosi: A Defense and a (sometimes Erotic) Celebration of Great Pianists, Indiana University Press, 2000. ISBN 0-253-33757-7
• Miller, Leta E. and Lieberman, Frederic (1998). Lou Harrison: Composing a World. Oxford University Press. ISBN 0-19-511022-6.
• Peraino, Judith Ann, Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig, University of California Press, 2006. ISBN 0-520-21587-7
• Rosen Charles, Critical Entertainments, Chapter 15 (2000) Cambridge, MA: Harvard University Press. ISBN 0-674-17730-4.
• Ross, Alex, "The Gay Connection in Music and in a Festival", New York Times, June 27, 1994.
• Rothstein, Edward, "And If You Play 'Bolero' Backward ...", New York Times, February 16, 1992.
• Rothstein, Edward, "Was Schubert Gay? If He Was, So What? Debate Turns Testy", New York Times, August 6, 1995
• Sleeman, Elizabeth (ed.) "McClary, Susan K(aye)", International Who's Who of Authors and Writers, Routledge, 2003, p. 348. ISBN 1-85743-179-0
• Tellenbach, Marie-Elisabeth, "Franz Schubert and Benvenuto Cellini: One Man's Meat" in The Musical Times, Vol. 141, No. 1870, Spring 2000, pp. 50–52
• Tommasini, Anthony, "'Outing' Some 'In' Composers", New York Times, August 6, 1995.
• Tommasini, Anthony, "What's So Gay About American Music?", New York Times, October 24, 2004.

External links[link]

Wikiquote has a collection of quotations related to: Susan McClary

• TRANS 15 (2011) Celebrating the 20th anniversary of "Feminine Endings" by Susan McClary: Special issue dedicated to Gender Studies, Feminism, and Music. [1] [NEWS ON: http://www.facebook.com/event.php?eid=133667046665880]
• UCLA Department of Musicology, Biography of Susan McClary
• Susan McClary, "In Praise of Contingency: The Powers and Limits of Theory", Keynote Address, Society for Music Theory 2009 Annual Meeting, Montréal, Canada
• Lawrence Kramer with reply by Charles Rosen, "Music à La Mode", The New York Review of Books, Volume 41, Number 15, September 22, 1994

Justin Timberlake
Timberlake at the premiere of Shrek The Third in 2007.
Background information
Birth name	Justin Randall Timberlake
Born	(1981-01-31) January 31, 1981 (age 31) Memphis, Tennessee
Origin	Shelby Forest, Tennessee, United States
Genres	Pop, dance, R&B
Occupations	Singer-songwriter, musician, record producer, dancer, actor, businessman
Instruments	Vocals, keyboards, guitar, beatboxing
Years active	1993–present
Labels	Jive, RCA
Associated acts	'N Sync, The Y's, Timbaland, Nelly Furtado
Website	justintimberlake.com

Justin Randall Timberlake (born January 31, 1981)^[1] is an American singer, actor, and businessman. He achieved early fame when he appeared as a contestant on Star Search, and went on to star in the Disney Channel television series The New Mickey Mouse Club, where he met future bandmate JC Chasez. Timberlake became famous in the late 1990s as the lead singer and youngest member of the boy band 'N Sync, whose launch was financed by Lou Pearlman.

In 2002, he released his debut solo album, Justified, which sold more than seven million copies worldwide. The album was a commercial success, spawning the hits "Cry Me a River" and "Rock Your Body". Timberlake continued his success with his second solo album, FutureSex/LoveSounds (2006), debuting at number one on the Billboard 200 chart, and produced the US number-one hit singles "SexyBack", "My Love", and "What Goes Around... Comes Around".

Timberlake has won six Grammy Awards and four Emmy Awards. His first two albums made him one of the most commercially successful singers in the world, each selling in excess of 7 million copies. He also has an acting career, having starred in films such as The Social Network, Bad Teacher and Friends with Benefits. His other ventures include record label Tennman Records, fashion label William Rast, and the restaurants Destino and Southern Hospitality.

Early life[link]

Timberlake was born in Memphis, Tennessee, the son of Lynn Harless (née Bomar) and Randall Timberlake.^[1] Timberlake is of almost entirely English descent, however he has some very distant German and Native American ancestry.^[2][3][4] His paternal grandfather, Charles L. Timberlake, was a Baptist minister, and Timberlake was raised Baptist, though now considers himself more "spiritual than religious".^[5]

Timberlake's parents divorced in 1985, and both have remarried. His mother, who now runs an entertainment company called Just-in Time Entertainment, remarried to Paul Harless, a banker, when her son was five. His father, a choir director at a Baptist church, has two children, Jonathan (born c. 1993) and Steven Robert (born August 14, 1998), from his second marriage to Lisa Perry. Timberlake's half-sister, Laura Katherine, died shortly after birth on May 14, 1997, and is mentioned in his acknowledgments in the album *NSYNC as "My Angel in Heaven."^[6] Timberlake grew up in Shelby Forest, a small community between Memphis and Millington. His first attempts at a singing career were country music songs on Star Search as "Justin Randall."^[7]

In 1993, Timberlake joined the cast of The Mickey Mouse Club. His castmates included future girlfriend and pop superstar Britney Spears, future tourmate Christina Aguilera, future bandmate JC Chasez, and future movie actor Ryan Gosling.^[8] The show ended in 1994, but late in 1995 Timberlake recruited Chasez to be in an all-male singing group organized by boy band manager Lou Pearlman^[9] that eventually became 'N Sync.

Entertainment career[link]

1995–2002: 'N Sync[link]

Timberlake and JC Chasez were the two lead singers of the popular 1990s boy band 'N Sync.^[10] The group formed in 1995, started its career 1996 in Europe, and hit it big in the United States in 1998 with the U.S. release of its debut album *NSYNC, which sold 11 million copies.^[11] The album included a number of hit singles, including "Tearin' Up My Heart". For the next two years, encouraged by similar developments with the Backstreet Boys, 'N Sync engaged in a lengthy legal battle with manager Lou Pearlman. Eventually the band signed with Jive Records.^[12] In March 2000, 'N Sync released a long-awaited album, No Strings Attached, which became the fastest-selling album of all time with 2.4 million copies sold in its first week^[13] and produced a #1 single, "It's Gonna Be Me". The release was followed by the band's third album, Celebrity, which was the second-fastest selling album of all time. In 2002, after the completion of a Celebrity Tour and the release of "Girlfriend", the third single from Celebrity, the group decided to take time off, at which point Timberlake began work on his first solo album and the group went into a hiatus. In its lifetime, 'N Sync was internationally famous and performed at the Academy Awards,^[14] the Olympics,^[15] and the Super Bowl,^[16] as well as selling more than 50 million copies worldwide,^[17] becoming the third-best selling boy band in history.^[18]

In late 1999, Timberlake made his acting debut in the Disney Channel movie Model Behavior. He played Jason Sharpe, a model who falls in love with a waitress after mistaking her for another model. It was released on March 12, 2000.^[19]

As a member of 'N Sync, Timberlake developed into a major celebrity in his own right in addition to achieving respect as a musician, since he was the writer or co-writer of all three singles from Celebrity. The rise of his own stardom and the general decline in the popularity of boy bands led to the dissolution of 'N Sync. Band member Lance Bass has stated that he believes the group is finished,^[20] and is openly critical of Timberlake's actions in his memoir Out of Sync. On the other hand, Chris Kirkpatrick remarked in August 2008 that the five remain friends, and he believed a reunion was possible:^[21] he repeated that opinion in October 2009.^[22] In September 2008, Bass also made conciliatory comments.^[23] However, in 2011 and 2012, JC Chasez said that a reunion will probably never happen.^[24][25][26]

[edit] 2002–04: Justified and Super Bowl

In August 2002, after months of recording Justified, his debut solo album, Timberlake performed at the 2002 MTV Video Music Awards. He premiered his first single, "Like I Love You", a sparse dance track produced by The Neptunes.^[27] The song reached #11 on the Billboard Hot 100.^[28] Following the single, Timberlake released Justified on November 5, 2002.^[29] The album sold fewer copies than previous 'N Sync efforts. It debuted at #2 on the Billboard 200 album chart, selling 439,000 copies in its first week of release. It eventually went on to sell more than three million copies in the U.S. and more than seven million copies worldwide.^[30] The album also received critical acclaim, thanks to its heavy R&B influence provided by hip-hop producers The Neptunes and Timbaland.^[31] It spun off hits throughout late 2002 and 2003, including the top ten singles "Cry Me a River" and "Rock Your Body".^[28] Timberlake supported the album by co-headlining the Justified/Stripped Tour with Christina Aguilera in the summer of 2003.^[32] At the end of the year, Timberlake recorded a song entitled "I'm Lovin' It". It was used by McDonald's as the theme to its "I'm Lovin' It" campaign. The deal with McDonald's earned Timberlake an estimated $6 million. A tour entitled Justified and Lovin' It Live was included with the deal as well.^[33] Timberlake was featured on Nelly's song, "Work It", which was remixed and included on Nelly's 2003 remix album.^[34]

In February 2004, during the halftime show of the Super Bowl XXXVIII broadcast on the CBS television network, Timberlake performed with Janet Jackson before a television audience of more than 140 million viewers. At the end of the performance, as the song drew to a close, Timberlake tore off a part of Jackson's black leather costume in a "costume reveal" meant to accompany a portion of the song lyrics. According to CBS, "both Jackson and Timberlake had confirmed they planned it 'independently and clandestinely' without informing anyone."^[35] Part of the costume detached, and Jackson's breast was briefly exposed.^[36] Timberlake apologized for the incident, stating he was "sorry that anyone was offended by the wardrobe malfunction during the halftime performance of the Super Bowl...."^[37] The phrase "wardrobe malfunction" has since been used by the media to refer to the incident and has entered pop culture.^[38] As a result of the controversy, Timberlake and Jackson were threatened with exclusion from the 2004 Grammy Awards unless they agreed to apologize on screen at the event.^[39] Timberlake attended and issued a scripted apology when accepting the first of two Grammy Awards he received that night (Best Pop Vocal Album for Justified and Best Male Pop Vocal Performance for "Cry Me a River").^[40] He had also been nominated for Album of the Year for Justified, Record of the Year for "Cry Me a River", and Best Rap/Sung Collaboration for "Where Is the Love?" with The Black Eyed Peas.^[41] In 2004 American Idol judge Simon Cowell described Timberlake in People Magazine as "just some white kid who's tried to act black over the last several years".

2004–06: Collaborations and acting[link]

After the Super Bowl controversy, Timberlake put his recording career on hold to act in several films, having starred in a few feature films earlier in his music career.^[8] The first role he took during this time was as a journalist in the thriller Edison Force, which was filmed in 2004 and received a direct-to-video release on July 18, 2006.^[42] He also appeared in the films Alpha Dog, Black Snake Moan, Richard Kelly's Southland Tales, and voiced Prince Artie Pendragon in the animated film Shrek the Third, released on May 18, 2007.^[43] He also appeared as a young Elton John, in the video for John's song "This Train Don't Stop There Anymore".^[44] Timberlake was considered to play the role of Roger Davis in the film version of the rock musical Rent, but director Chris Columbus had insisted that only the original Broadway members could convey the true meaning of Rent.^[45]

He continued to record with other artists. After "Where Is the Love?", he again collaborated with the Black Eyed Peas on the 2005 track "My Style" from their album Monkey Business.^[46] When recording the 2005 single "Signs" with Snoop Dogg, Timberlake discovered a throat condition.^[47] Nodules were subsequently removed from his throat in an operation that took place on May 5, 2005.^[48] He was advised not to sing or speak loudly for at least a few months.^[49] In the summer of 2005, Timberlake started his own record company, JayTee Records.^[50]

Timberlake made a cameo in the video for Nelly Furtado and Timbaland's single "Promiscuous", released on May 3, 2006.

[edit] 2006–07: FutureSex/LoveSounds

Timberlake at a concert in St. Paul, Minnesota (2007)

Timberlake released his second solo album, FutureSex/LoveSounds, on September 12, 2006.^[51] The album, which Timberlake created from 2005 to 2006, debuted at number one on the Billboard 200 album chart, selling 684,000 copies its first week.^[51] It is the biggest album for pre-orders on iTunes, and beat Coldplay's record for the biggest one-week sales of a digital album.^[52] The album was produced by Timbaland and Danja (who produced a bulk of the album), will.i.am, Rick Rubin and Timberlake himself, and features guest vocals by Snoop Dogg, Three 6 Mafia, T.I. and will.i.am.^[53] A studio representative described it as being "all about sexiness" and aiming for "an adult feel".^[48]

The album's lead single, "SexyBack", was performed by Timberlake at the opening of the 2006 MTV Video Music Awards and reached number one on the Billboard Hot 100, where it remained for seven consecutive weeks.^[54] "My Love", the album's second single, also produced by Timbaland and featuring rapper T.I., reached number one on the Hot 100, as did third single "What Goes Around.../...Comes Around Interlude". The song is reported to have been inspired by the break-up of his childhood friend and business partner, Trace Ayala, with actress Elisha Cuthbert.^[55] In October 2006, Timberlake said that he would focus on his music career rather than his film roles, specifying that leaving the music industry would be a "dumb thing to do at this point".^[54] He was the special guest performer at the 2006 Victoria's Secret Fashion Show for being where he sang SexyBack. In January 2007, Timberlake embarked on the FutureSex/LoveShow tour. "Summer Love/Set the Mood Prelude" was the fourth U.S. single off the album, and the next single in the UK was "LoveStoned/I Think She Knows Interlude". The song "Give It to Me", a Timbaland single on which Timberlake guests with Nelly Furtado, reached the Hot 100 number-one spot.^[56]

In February 2008, Timberlake was awarded two Grammy Awards. At the 50th Grammy Awards ceremony, Timberlake won the Male Pop Performance Award for "What Goes Around...Comes Around", and the Dance Recording Award for "LoveStoned/I Think She Knows".^[57]

2007– present: Last music appearance, return to acting[link]

The song "4 Minutes", was first played by Timbaland at Philadelphia's Jingle Ball on December 17, 2007.^[58] When released on March 17, 2008, "4 Minutes" was revealed to be a duet between Timberlake and Madonna, with backing vocals by Timbaland. It was lead single from Madonna's eleventh studio album Hard Candy, which featured four other song-writing collaborations with Timberlake. The single was an international hit, topping the charts in over 21 countries worldwide.^[59] Timberlake also appears in the music video, which was directed by Jonas & François. On March 30, 2008, Timberlake performed the song at Madonna's Hard Candy Promo Show at Roseland Ballroom in New York City.^[60] On November 6, 2008, Timberlake performed the song with Madonna on the Los Angeles stop of her Sticky & Sweet Tour.^[61]

Timberlake on his Justified World Tour

Around June 2007 Timberlake co-wrote, produced and provided vocals for the songs "Nite Runner" and "Falling Down" for Duran Duran's album Red Carpet Massacre, released on November 13, 2007. "Falling Down" had been released as a single in the UK on the previous day.^[62]

Also in 2007, Timberlake made an appearance on 50 Cent's third album, Curtis. Timberlake, along with Timbaland, is featured on a track called "Ayo Technology", which was the album's fourth single. Also, another possible collaboration was to occur with Lil Wayne for his album Tha Carter III with Nelly Furtado and Timbaland.^[63]

With the wrapping up of the FutureSex/LoveSounds tour of Australasia and the Middle East in November 2007, Timberlake resumed his film career. Projects underway early in 2008 were starring roles in Mike Myers' comedy The Love Guru (released June 20, 2008) and Mike Meredith's drama The Open Road (released August 28, 2009). In March 2008 it was announced that he was to be an executive producer in an American adaptation of the hit Peruvian comedy My Problem with Women for NBC.^[64]

On November 20, 2008, TV Guide reported that Timberlake’s next single, "Follow My Lead", which also featured vocals by Timberlake’s protégée, former YouTube star Esmee Denters, would be available for exclusive download through MySpace. All proceeds would go to Shriners Hospitals for Children, a charity dedicated to improving pediatric care for sick children.^[65]

In 2008 a collaboration between Timberlake and T.I., "Dead and Gone" featured on T.I.'s sixth studio album, Paper Trail, and was released as its fourth single late in 2009. In November 2008, it was confirmed that Timberlake would make a guest appearance and produce some tracks on R&B/pop singer Ciara's upcoming album Fantasy Ride due out May 5, 2009. Timberlake featured on Ciara's second single "Love Sex Magic", the video being shot on February 20, 2009.^[66] The single became a worldwide hit, reaching the top ten in numerous countries and peaking at number one in several countries including Taiwan, India, and Turkey. The single was nominated for Best Pop Collaboration with Vocals at the 52nd Grammy Awards.

Timberlake and his production team The Y's, along with Mike Elizondo, produced and co-wrote the song "Don't Let Me Down" for Leona Lewis's second studio album, Echo, released (in the US) on November 17, 2009.

Timberlake also co-wrote and performed on "Carry Out", the third single from Timbaland's album Shock Value II, released on December 1, 2009.^[67]

From 2010, Timberlake increased his acting work. He played Sean Parker, the founder of Napster, in the acclaimed film The Social Network (2010). He also appeared at the 2010 MTV VMAs on Sept. 12, 2010.^[68]

In 2011, he starred alongside Cameron Diaz in Bad Teacher and then alongside Mila Kunis in Friends with Benefits, and played Will Salas, the protagonist of In Time, a science fiction film by Andrew Niccol.^[69] He directed and made a cameo in the Free Sol music video "Hoodies On, Hats Low" which was released in August 2011.^[70]

On October 7, RCA Music Group announced it was disbanding Jive Records along with Arista Records and J Records. With the shutdown, Timberlake (and all other artists previously signed to these three labels) will release his future material on the RCA Records brand.^[71][72]

Other work[link]

Near the end of 2002, Timberlake was the first celebrity to appear on Punk'd, a "candid camera" type show created by Ashton Kutcher to trick celebrities.^[73] Timberlake, who cried during the episode, later admitted to being under the influence of marijuana when he was pranked.^[74] Three episodes later, he set up Kelly Osbourne to be "punk'd", thus making him the first celebrity to appear on the show more than once.^[75] Timberlake later spoofed Ashton Kutcher and Punk'd in a 2003 episode of NBC's Saturday Night Live.^[76]

Timberlake has hosted many music events, including the European MTV Music Awards in 2006. On December 16, 2006, Timberlake hosted Saturday Night Live, doing double duty as both host and musical guest for the second time. During this appearance, he and Andy Samberg performed an R&B song for a skit entitled "Dick in a Box", which some radio stations have aired as an unofficial single from Timberlake and has become one of the most viewed videos on YouTube. On May 9, 2009, he appeared in another SNL Digital Short opposite Samberg, Susan Sarandon and Patricia Clarkson entitled "Motherlover", a quasi-sequel to "Dick in a Box".^[77]

Timberlake appeared on Jimmy Fallon's debut as host of Late Night with Jimmy Fallon on March 2, 2009.^[78]

In 2004, ABC hired Timberlake to write a song for its NBA coverage.

Timberlake is the executive producer on the MTV reality series The Phone, which premiered on April 21, 2009. According to People Magazine, the series "thrusts contestants into a heart-stopping action adventure worthy of a summer blockbuster. In six hour-long episodes, a mysterious stranger on the phone invites four strangers into the dangerous game. If they accept, they're paired into two teams and dared to perform physical and mental challenges reminiscent of Matt Damon's The Bourne Identity or Shia LaBeouf's Eagle Eye."^[79]

Other ventures[link]

Business[link]

Timberlake has co-owned or provided celebrity endorsement for three restaurants in the United States: "Chi" opened in West Hollywood, California in 2003,^[80] and "Destino" and "Southern Hospitalty" in New York opened in 2006 and 2007, respectively.^[81] He also has his own brand of tequila called 901; the name comes in part from the area code of his hometown of Memphis.^[82]

In 2005, Timberlake launched the William Rast clothing line with childhood friend Juan ("Trace") Ayala. The 2007 line contained cord jackets, cashmere sweaters, jeans and polo shirts.^[83] The pair reports inspiration from fellow Memphis native Elvis Presley: "Elvis is the perfect mixture of Justin and I," Ayala says. "You can go back and see pictures of him in cowboy boots and a cowboy hat and a nice button-down shirt, but then again you can see him in a tux and a collared shirt with rhinestones on it and slacks. We like to think 'If he was alive today, what would he be wearing?'"^[84] Target has announced that a William Rast collection, including denim, outerwear and sportswear for men and women, would launch in December and be available for a month.^[85]

Timberlake provides celebrity endorsement for many commercial products, this aspect of his business being managed by IMG Sports & Entertainment since April 2008.^[86] Major endorsements in 2009 included Sony electronic products,^[87] Givenchy's men's fragrance "Play",^[88] Audi's "A1",^[89] Callaway Golf Company products,^[90][91] and in 2011, MySpace.^[92][93]

An avid amateur golfer, in 2007 Timberlake purchased the run-down Big Creek Golf Course in his home town of Millington, Tennessee, which he redeveloped as the eco-friendly Mirimichi Golf Course at a cost of some $US16 million. It was reopened on 25 July 2009 but closed again on 15 January 2010 for further improvements expected to take six months.^[94] In October 2011, Timberlake received the Futures Award at the Environmental Media Awards for his green-conscious golf course.^[95]

Charitable causes[link]

Timberlake has been active in several charitable pursuits, initially through 'N Sync's "Challenge for the Children" aimed at a range of charities, and since 2001 through his "Justin Timberlake Foundation," which initially funded music education programs in schools, but now has a much broader agenda.^[96] In October 2005, the Grammy Association presented Timberlake with an award for his humanitarian efforts in Tennessee, alongside writer/director Craig Brewer, also a Memphis native.^[97]

In November 2007 he donated $A100,000 from takings from his Australian tour to Wildlife Warriors founded by Steve Irwin.^[98] On March 23, 2008, he donated $100,000 to the Memphis Rock 'n' Soul Museum and another $100,000 to the Memphis Music Foundation.^[99]

Timberlake golfing in 2006.

On November 12, 2007, the PGA Tour announced that Timberlake, an avid golfer who plays to a 6 handicap,^[100] would become the host of the tour's Las Vegas tournament starting in 2008. With Timberlake's agreement to host the tournament, its name was changed to the Justin Timberlake Shriners Hospitals for Children Open. He played in the celebrity pro-am on the day before the competitive tournament and hosted a charity concert during the week of the tournament.^[101] The activity was a success, and was repeated in 2009. A review of the value of celebrities to fundraising concluded that Timberlake's contribution to Shriners Hospitals for Children was the single most valuable celebrity endorsement in the US during 2009, and worth over $US9 million.^[102]

Personal life[link]

Relationships[link]

Early in 1999, Timberlake began what eventually became a high-profile celebrity relationship with fellow pop singer Britney Spears, with whom he had worked on the New Mickey Mouse Club. This ended abruptly in March 2002. Lynn Harless says as a mother she too was devastated regarding the break-up, but to this day speaks warmly of Spears, "Britney grew up on my living room floor. I still love her to death. They (Justin and Britney) were together 10 or 11 years and had, from day one, instant chemistry between them. She's a sweet girl. I just hate what she's going through now." The breakup influenced the lyrics and theme of Timberlake's hit "Cry Me a River", one of the most popular singles from Justified.^[103]

Post-Spears, Timberlake has generally refused to discuss his personal life with the media, as a result of which his relationships have been the subject of much speculation in the tabloid and celebrity press. Prior to Spears, he was briefly romantically involved with Beyonce Knowles^[104] and singer-actress Stacy Ferguson.^[105] He was romantically linked with Janet Jackson (in July 2002),^[106] actress-dancer Jenna Dewan (in mid-2002),^[106] and actress-singer Alyssa Milano (between September and October 2002).^[106] Timberlake began dating actress Cameron Diaz soon after they met at the Nickelodeon Kids' Choice Awards in April 2003. Regular rumours of break-ups reported in the tabloid press were either ignored or occasionally denied.^[107][108] On the December 16, 2006 episode of Saturday Night Live, Diaz introduced Timberlake as the night's musical guest, and the couple officially split shortly afterwards. After the tabloid press alleged an affair between Timberlake and Scarlett Johansson, with whom he had shot the video for his single "What Goes Around.../...Comes Around Interlude",^[109] Diaz and Timberlake issued a joint statement on January 11, 2007:^[110]

Later in January 2007 Timberlake was linked to Jessica Biel when pictures surfaced of the two snowboarding in Park City, Utah during the Sundance Film Festival. On May 12, 2007 romantic pictures of Timberlake and Biel on multiple dates were published.^[112][113] In the August 9–15, 2008 edition of Heat magazine, when Timberlake was asked to describe his perfect woman, he replied "About 5ft.7in.-5ft.8in., nice butt, Midwestern American, kind-of-German last name, green eyes, big pouty lips, fair skin, ahhh....sinewy bod..."^[114] However, during an appearance on The Tonight Show with Jay Leno on June 11, 2008 when Jay Leno questioned him about anything related to rumors of engagement and pregnancy, Timberlake jokingly responded that he "is engaging in a conversation with Leno" and "everybody in general can get pregnant."^[115] After four years together, the couple announced their split in March 2011.^[116][117] However, by fall 2011 the couple appeared to have reunited, and in late December 2011, Timberlake proposed to Biel in the mountains of Jackson, Wyoming.^{[118][119][120]}

Other interests[link]

Timberlake was given Sexiest Man titles by Teen People and Cosmopolitan magazines.^[121] On February 17, 2009, Timberlake was named the "Most Stylish Man in America" by GQ magazine.^[122] In 2011, he ranked No. 46 on AskMen's annual rundown of the 49 Most Influential Men.^[123]

Timberlake is a fan of English football club Manchester United.^[124][125]

Justin Timberlake was asked to take a fan to her unit's annual ball in July 2011 via YouTube, and he attended the Marine Corps Ball with her (Kelsey De Santis) on Sunday, November 13, 2011 in Richmond, Virginia.^[126][127]

Discography[link]

Studio albums[link]

• 2002: Justified
• 2006: FutureSex/LoveSounds

Extended plays[link]

• 2003: Justin & Christina

DVDs[link]

• 2003: Justified: The Videos
• 2003: Live from London
• 2007: Futuresex/Loveshow – Live from Madison Square Garden

Tours[link]

Headlining

• Justified and Lovin' It Live (2003–04)
• FutureSex/LoveShow (2007)

Co-headlining

• Justified/Stripped Tour (2003) (with Christina Aguilera)

Filmography[link]