Abstract
In this article Heidi Epstein offers a feminist theology of music arguing that music's theological significance lies not in its ability to create an illusion of stability and Harmony but in its discordancy, its ability to disrupt and destabilize identity. In this regard music may become a powerful metaphor for sexual relationships. Epstein goes on to analyse the extraordinary work of Diamanda Galas whose theo-musical constructions of the AIDS crisis radically subvert the concept of stable identity.
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