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Taking it in the ear

On musico-sexual synergies and the (queer) possibility that music is sex

Bibliographic Data

ID12342147
AuthorsJodie Taylor (0000-0002-1270-4318, Queensland Conservatorium Research Centre, Griffith University, Brisbane, Australia, corresponding author)
Year2012
Volume26
Issue4
Pages603-614
Publication date2012-07-27
Open AccessNo
TypeARTICLE
VenueContinuum (JOURNAL)
Journal identifiersISSN: 1030-4312 • E-ISSN: 1469-3666
PublisherTaylor & Francis (PUBLISHER • GB)
DOI10.1080/10304312.2012.698039
OpenAlexW2058786073
LanguageEN
Citations received5
References cited21

Across ages and cultures, music's relationship to sexual allure and its adept capacity for invoking pleasure, eroticism, and desire are well established. Music's ability to arouse and channel sexual urges and desires renders it both a dynamic mode of gender and sexual signification and a putative agent of moral corruption. Music can convey coded sexual innuendo, give shape to a person's erotic agency, or constitute a significant part of their sexual identity. For some, listening to music may, in fact, be considered an erotically pleasurable or even a sexual act. Drawing selectively on music's erotic history, on queer erotic possibilities, as well as on contemporary accounts of musically-mediated eroticism and identity situated across a broad range of popular genres, this paper will examine the way music can be used to catalyze and negotiate erotic pleasures. Specifically, it will examine this in terms of what the author names as ‘musico-sexual synergies’. These include: music as a stylistic marker of sexual identity; music as a structuring device for sexual action; and the fetishization of music and/or sound – that is, the sexual fetish known as ‘auralism’

Aesthetics · Agency (philosophy · Art · Eroticism · Human sexuality · Identity (music · Pleasure · Psychoanalysis · Queer · Sexual identity · Sociology · Gender Studies · Music History and Culture · Musicology and Musical Analysis · Psychology · Theater, Performance, and Music History

  • Transaurality

    ANTON L BLACKBURN•Contemporary Music Review•2025

  • Dialogue Over Stigmatization

    Open Access•Nick J Mulé, A K Zealley et al.•Sexuality Research and Social…•2026

  • Immoral music

    Open Access•Reba A Wissner•The Journal of American Culture•2024

  • Queer punx

    Megan Sharp, Pam Nilan•Journal of Youth Studies•2014

  • The "End" of Orgasm

    Kj Cerankowski•Studies in Gender and Sexuality•2021

  • Impossible dance

    Fiona Buckland•Impossible dance•2002

  • Rock and Sexuality

    Simon Frith•Taking Popular Music Seriously•2017

  • Music in Everyday Life

    Open Access•Tia Denora•Music in Everyday Life•2000

  • An Introduction

    L E Weiss, Lionel Weiss et al.•Preferred orientation in deformed…•1985

  • Sexing the Groove

    Sheila Whiteley•Sexing the Groove•2013

  • On the Fetish Character of Sound and the Progression of Technology

    Shuhei Hosokawa, Hideaki Matsuoka•Sonic Synergies•2017

  • Capital

    Open Access•Karl Marx•On Violence•2020

  • Queering the Pitch

    Edward David Miller, Philip Brett et al.•TDR/The Drama Review•1994

  • The queerest of the queer

    Jodie Taylor•Continuum•2008

  • Sonic Synergies

    Mathew J Bartkowiak•Popular Music & Society•2009

  • Queering the pitch

    Mario J S G Champagne•Musicology Australia•1994

  • Music and Erotic Agency - Sonic Resources and Social-Sexual Action

    Open Access•Tia Denora•Body & Society•1997

  • Imperial Leather

    Anne Mcclintock•Imperial Leather•2013

Citations per year0.42
Citation span2014 - 2026 (13)
Highly citedNo

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