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It is difficult to overstate music's persistent and uneasy relationship with homosexuality in Western society. Associated with femininity for centuries, particularly in North America, participation in music has been believed to emasculate and thus homosexualize men and boys. The linking of music to women and emotion (as opposed to men and reason) contributes to the conflation of misogyny and homophobia in North American society generally and music and music education particularly. One effect of music's conflicted relationship with and to homosexuality for lesbians and gay men is to 'disappear' them in both professions. As a function of disappeared positionalities, subject positions of homosexualities and potentialities of creating lives worth living are also disappeared. I explore ontological effects of disappeared in the world and music and music education, and reconceptualize 'disappeared' in terms of Jacques Derrida's concept of 'under erasure'--sous rature--in ways that may signal other ontological potentialities., It is difficult to overstate music's long, persistent, and uneasy relationship with homosexuality (1) in Western society. Associated with femininity for centuries, particularly in North America, participation in music has [...]

An essay is presented on the practical and conceptual realities of how some homosexual people disappeared in music education. It focuses on the plight of these people in music education and music as whole. It explores how things may differ when it comes to music education. It also discusses the nature of discourses between and among music teachers and students.

The article examines the profession of conducting university bands based on the experience of women university band directors. Researchers found that historical precedent, traditional socialization, discrimination, segregation, and lack of role models contribute to their persistently low percentage as band directors. The presence of women in the profession of conducting university bands commits violence against the modern power relations that have defined their subjectivity. The basis on which women university band directors are known in the profession is seeing. The nomadic subject provides a basis for examining the music education profession. This may uncover aspects that have been obscured by structural obstructions and geographical formations within the profession.