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...
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...
