by maney | Nov 9, 2015 | Music in Paris in the 1920s (2015)
I thought that both the arguments made by Dorf and Moore were relatively convincing. I have never read any queer theory before, so I was overall pretty overwhelmed with the terminology. I had a much easier time understanding what Dorf was saying, Moore’s writing style...
by lemon | Nov 9, 2015 | Music in Paris in the 1920s (2015)
It’s interesting that two important people in the history of french music both identified as queer. The Princesse Edmond de Polignac, along with Francis Poulenc, were gay. The Princesse and her parlor concerts were known throughout France, and she commissioned...
by pruim | Nov 9, 2015 | Music in Paris in the 1920s (2015)
Although the argument that purely musical elements of a piece can indicate sexuality, gender, race, or any other factor of the composer’s identity seems insubstantial and virtually impossible to prove, however a few finer details within both Dorf and...
by wayne | Nov 9, 2015 | Music in Paris in the 1920s (2015)
Both Dorf and Moore’s queer readings of Satie and Poulenc find that their music was informed by the lives that were carefully hidden from the public eye, claiming that the music itself contains a kind of hidden sexuality as well. Dorf looks at Satie’s...
by Alexandra Mauney | Nov 5, 2015 | Music in Paris in the 1920s (2015)
Overall, I found both the articles of Dorf and Moore to be as compelling as they were shocking in their unusual analyses of the queer erotic undertones of twentieth century French music. Their angles presented me with entirely new concepts, and while I do not embrace...
