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When the first edition of "Queering the Pitch" was published in
early 1994, it was immediately hailed as a landmark and defining
work in the new field of Gay Musicology. The first collection of
its kind, its contributors covered a wide range of subjects from
analysis of the work of gay composers to queer readings of
Schubert's Unfinished Symphony. Among the contributors were many
then-new scholars, --including the late Philip Brett (one of the
editors of the first edition), Susan McClary, Jennifer Rycenga,
Paul Attinello, and Martha Mockus--who have since become leaders in
the field.
In light of the explosion of Gay Musicology since 1994, a new
edition of "Queering the Pitch" is timely and needed. In this new
work, the editors are including a landmark essay by Philip Brett on
Gay Musicology, its history and scope, which was written for
Grove's Dictionary of Music-but only published in a greatly reduced
version, because of its strong political approach. The essay itself
has become a cause celebre, and this will be its first full
appearance in print. Along with this new historical essay, the
editors are contributing a new introduction that outlines the
changes that have occurred over the last decade as Gay Musicology
has grown.
When the first edition of Queering the Pitch was published in early
1994, it was immediately hailed as a landmark and defining work in
the new field of Gay Musicology. In light of the explosion of Gay
Musicology since 1994, a new edition of Queering the Pitch is
timely and needed. In this new work, the editors are including a
landmark essay by Philip Brett on Gay Musicology, its history and
scope. The essay itself has become a cause celebre, and this will
be its first full appearance in print. Along with this new
historical essay, the editors are contributing a new introduction
that outlines the changes that have occurred over the last decade
as Gay Musicology has grown.
Exploring the relationship between queer sexuality and music in the
late nineteenth and early twentieth century Queer Episodes in Music
and Modern Identity approaches modern sexuality by way of music.
Through the hidden or lost stories of composers, scholars, patrons,
performers, audiences, repertoires, venues, and specific works,
this intriguing volume explores points of intersection between
music and queerness in Europe and the United States in the years
1870 to 1950--a period when dramatic changes in musical expression
and in the expression of individual sexual identity played similar
roles in washing away the certainties of the past. Pursuing the
shadowy, obscured tracks of queerness, contributors unravel
connections among dissident identities and concrete aspects of
musical style, gestures, and personae. Contributors are Byron
Adams, Philip Brett, Malcolm Hamrick Brown, Sophie Fuller, Mitchell
Morris, Jann Pasler, Ivan Raykoff, Fiona Richards, Eva Rieger,
Gillian Rodger, Sherrie Tucker, and Lloyd Whitesell.
The fluid nature of performance studies and the widening embrace of
the idea of performativity has produced in this volume a collection
of great interest that crosses disciplinary lines of academic work.
The essays move from the local to the global, from history to
sport, from body parts to stage productions, and from race
relations to global politics. In the title essay, Elizabeth Wood
writes about a basic human relation cast around the question of
performance and triangulated by the role a great performer took
within it. In this unnatural act of somatic and sonic decomposition
of the maternal body's soundscape, "she seeks to liberate herself
and us from the last refuge of patriarchal order and compulsory
heterosexuality, the subordinating myth of maternal omnipotence.
The decomposition of such myths is a binding force in this volume.
Together these essays pursue critical understanding of performance
in our post-modern world, embodying perspectives that help us
understand the historical and cultural issues that underpin it".
Philip BrettOCOs groundbreaking writing on Benjamin Britten altered
the course of music scholarship in the later twentieth century.
This volume is the first to gather in one collection BrettOCOs
searching and provocative work on the great British composer. Some
of the early essays opened the door to gay studies in music, while
the discussions that Brett initiated reinvigorated the study of
BrittenOCOs work and inspired a generation of scholars to imagine
the new musicology. Addressing urgent questions of how an
artistOCOs sexual, cultural, and personal identity feeds into
specific musical texts, Brett examines most of BrittenOCOs operas
as well as his role in the British cultural establishment of the
mid-twentieth century. With some of the essays appearing here for
the first time, this volume develops a complex understanding of
BrittenOCOs musical achievement and highlights the many ways that
Brett expanded the borders of his field."
Throughout his distinguished career, Philip Brett wrote about the
music of the Tudor period. He carried out pathbreaking work on the
life and music of William Byrd (c.1540-1623), both as an editor and
a historian. He also studied other composers working during the
period, including John Taverner, Thomas Tallis, Orlando Gibbons,
and Thomas Weelkes. Collecting these influential essays together
for the first time, this volume is a tribute to Brett's agile mind
and to his incomparable skill at synthesizing history and musical
analysis. Byrd was a prominent court composer, but also a Catholic.
Besides important instrumental music and English songs, he wrote a
great deal of sacred music, some for his Protestant patrons, and
some for his fellow Catholics who celebrated mass in secret.
Ranging from the report of Brett's findings on the Paston
manuscripts, an unpublished round-table paper that he delivered a
few months before his untimely death, to his monograph-length study
of Byrd's magnum opus, Gradualia, the essays collected here
consider both sacred and secular music, and vocal and instrumental
traditions, providing an intimate glimpse into what was unique
about Byrd and his music. Elegantly written, with the particular
brilliance for which Brett was known, this book opens a fascinating
window onto one of the most fruitful periods of English musical
history.
Benjamin Britten's Peter Grimes is one of the few operas of the
last half-century to have gained a secure place in the repertory.
Its appearance in 1945 shortly after the end of the war in Europe
was a milestone in operatic history as well as in British music.
But the origins of the work lie in the United States, where Britten
and his friend Peter Pears (the first Grimes) spent the years 1939
42. In 1941 they read an evocative essay by the novelist E. M.
Forster on the Suffolk poet George Crabbe (1754 1832); this
precipitated Britten's decision to return to his native country,
and sent them both to Crabbe's poem, The Borough, which gave them
the idea for the plot they drafted together. This book opens with
Forster's original essay and his later one on Crabbe and Peter
Grimes. From there the reader can trace the history of the opera:
in Donald Mitchell's annotated interview with the wife of the
librettist, Montagu Slater; in Philip Brett's detailed study of the
fascinating documents preserved in the Britten Pears Library at
Aldeburgh; and in his history of the work's stage presentation and
critical reception. Hans Keller's remarkable synopsis, first
printed in 1952, is complemented by a fine new analytical study by
David Matthews of Act II scene 1, the crux of the opera.
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