by lamotte | Nov 9, 2015 | Music in Paris in the 1920s (2015)
Upon first reaction to reading both the Dorf and the Moore articles, I was completely of the mindset that there is no way to find something gay in music. Much like the discussion we had in class about Germaine Tellefairre’s music and how we could find nothing...
by henry | Nov 9, 2015 | Music in Paris in the 1920s (2015)
The idea that one’s sexuality could affect a composition is an interesting and notable concept that deserves some discussion. In Dorf and Moore’s articles about the homosexual undertones of the Princesse de Polignac’s commissions and the music of...
by overdahl | Nov 9, 2015 | Music in Paris in the 1920s (2015)
Dorf’s and Moore’s articles propose readings of Polignac’s commissions and of Poulenc’s music that I would not have thought to consider, and each argument intrigues me. While both arguments concern carefully-crafted hidden queer references, I find that Moore has...
by devries | Nov 9, 2015 | Music in Paris in the 1920s (2015)
Dorf and Moore are sure of their convictions in their writing, but they haven’t fully convinced me. I understand how Dorf applied sapphonics to Satie’s Socrate, but the Sapphonic concept itself that Wood writes about in “Queering the Pitch” is...
by drewes | Nov 9, 2015 | Music in Paris in the 1920s (2015)
Both of the articles deal with the dual culture of public and private in the circle of homosexual composers and patrons. They also both dealt with the presence, or lack thereof, of sexual undertones in Poulenc and Satie’s work. The Dorf article presented the...
