by surom | Nov 9, 2015 | Music in Paris in the 1920s (2015)
In light of biographical information pertaining to the sexual orientation of Poulenc and the Princesse de Polignac, I see no reason to exclude a queer reading of Les Biches, or Socrates. Although I would not have used a queer reading initially with these pieces, this...
by keller | Nov 9, 2015 | Music in Paris in the 1920s (2015)
Both Moore and Dorf take on the subject of sexuality in a pretty serious manner. Both make their statements about their composer of choice’s sexuality and prove their point with evidence. Personally, I think Moore makes a more convincing argument in his article “Camp...
by hahnl | Nov 9, 2015 | Music in Paris in the 1920s (2015)
The articles by Samuel Dorf and Christopher Moore both presented an account of the private and public sexuality of important musical figures in Paris in the 1920s. I gained depth in my knowledge of Francis Poulenc, Princess de Polignac and Satie. The Moore article...
by Emma Haupt | Nov 9, 2015 | Music in Paris in the 1920s (2015)
The arguments from Dorf and Moore are for the most part well crafted arguments, however they each take the relationship between Poulenc’s music and personal life and sexuality too far. For an example, the following quote from the Moore reading sets up and clearly...
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...
