Yes, of course - which reveals my original question as incomplete (for which I apologise), to the extent that my question should also have included (perhaps in anticipation of your answer here) "why do you suppose that "feminist musicology" has indeed become so large a component of such a thing?"...
Very likely because of increasing critical awareness of just how male-dominated the world of classical (but not only classical) music is, past and present.
Interesting - but unless one believes that, in the wake and as a direct consequence of this surge of "feminist musicology", male musicologists have been diminishing substantially in number, one would have to assume that surge to have been of sufficient immensity to bring that branch of the discipline way out front from way behind, so to speak; do you think that there has indeed been just this very gender sea-change within the profession of musicology as a whole (at least in English-speaking countries)?
I don't know what you are trying to prove here; feminist musicology is a relatively recent part of the discipline, only firmly established for about the last 20 years at most. I don't have figures to hand, but imagine that there are more women working in musicology than back then, but that parallels advances made by women in many parts of the workplace. But feminist musicology is not simply about the relative numbers of members of either gender working in composition, performance, or indeed academia or musical administration, but also about developing a critical awareness of the ways in which supposedly objective or 'natural' musical ideals and aesthetics, and their manifestations in actual works, entail sublimated or concealed (or sometimes not-so-concealed) ideologies concerning gender (and other things). In that sense (but by no means all others) they build upon the pioneering earlier work of Adorno in terms of ideology critique of music.
