Abstract
Abstract
The study of “music and narrative,” as it developed in music theory and historical musicology especially from the 1980s on, intersected with issues of sexuality in foundational queer musicology essays by Susan McClary and Philip Brett. It intersected with gay male subjectivity in another way: the field as it took shape is hard to imagine without the formative writings of Edward T. Cone and Anthony Newcomb. Cone and Newcomb, openly gay in their personal lives, did not explicitly bring their sexualities into their professional work. I suggest, though, that continuities exist between personal gay subjectivity and their theoretical and interpretive writings. Such connections make sense in light of the frequent use of music and other cultural products by LGBTQ+ subjects in search of self-understanding. A recent essay on Poulenc by Campbell Shiflett continues the work of these earlier texts in sophisticated ways, dealing with sexuality with a welcome openness.
Publisher
Oxford University PressNew York
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