by lopezv | Nov 9, 2015 | Music in Paris in the 1920s (2015)
The arguments by Dorf and Moore present interesting perspectives about the topic of homosexuality. In Dorf’s article, he argues that the work Socrate, based on the life of Socrates by Satie was possibly affected greatly by Princess Polignac masking her personal life....
by noonan | Nov 9, 2015 | Music in Paris in the 1920s (2015)
Dorf and Moore’s articles are interesting to say the least. Their arguments surround the topic of how a person’s sexuality impacts the music he or she composes or performs. I can’t help but look at their writings with very skeptical lenses. I knew that Poulenc was...
by hex | Nov 9, 2015 | Music in Paris in the 1920s (2015)
Both readings by Dorf on Princesse Edmond de Polignac and Satie’s Socrate and Moore on Poulenc provide very interesting hypotheses and insights on sexuality in music. While I think that Moore clearly gives a more successful argument on his case, his topic of...
by harikian | Nov 9, 2015 | Music in Paris in the 1920s (2015)
I was very skeptical when we first read the Wood and Dorf articles for last Thursday’s class. To me, they seemed to be an attempt to impose a relevant topic from today onto material that had nothing to do with it. I am often torn with how much of a...
by Philip Claussen | Nov 9, 2015 | Music in Paris in the 1920s (2015), Philip Claussen
In the past few decades, readings and analysis through the lens of queerness have become more and more popular in academia; the two articles discussed below, by Samuel Dorf and Christopher Moore, are perfect examples of this trend. And while both articles bring...
by Andrew Horton | Nov 9, 2015 | Music in Paris in the 1920s (2015)
Both articles offer compelling analyses of two different composers, Erik Satie and Francis Poulenc, through queer perspectives. To me, the Dorf article is more of a stretch, in terms of attributing a lesbian aesthetic to Satie’s music, but I think Dorf...
