By Elizabeth Wood, Philip Brett
While the 1st version of Queering the Pitch used to be released in early 1994, it used to be instantly hailed as a landmark and defining paintings within the new box of homosexual Musicology. In mild of the explosion of homosexual Musicology due to the fact that 1994, a brand new variation of Queering the Pitch is well timed and wanted. during this new paintings, the editors are together with a landmark essay via Philip Brett on homosexual Musicology, its background and scope. The essay itself has develop into a reason celebre, and it will be its first complete visual appeal in print. besides this new old essay, the editors are contributing a brand new advent that outlines the alterations that experience happened over the past decade as homosexual Musicology has grown.
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L. a. m? sica desconcierta al an? lisis. Ese arte de l. a. presencia, que no muestra ning? n objeto, que no es m? s que una acumulaci? n de mediadores --instrumentos, partituras, int? rpretes, escenarios, medios de comunicaci? n. .. --, parece ser, sin embargo, los angeles encarnaci? n de los angeles inmediatez, los angeles expresi?
This advisor to the piano literature for the one-handed pianist surveys over 2,100 person piano items which come with not just live performance literature yet pedagogical items in addition. Following the creation are 4 chapters cataloguing unique works for the precise hand by myself, unique works for the left hand by myself, track prepared or transcribed for one hand on my own, and concerted works for one hand in live performance with different pianists, tools, or voices.
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Extra resources for Queering the Pitch: The New Gay and Lesbian Musicology, 2nd edition
All the barriers built up by convention and habit seemed to shrivel, and I felt in those few moments a free and purposeful individual. The sound of her voice stayed with me, and became a physical sensation, almost like a taste, that one can recall at will” (Davenport, 225–7). 46 For Cather, too, the singing voice is vessel for a fluid stream that gushes from, and overflows, her metaphor for art as a sheath or mold that imprisons for a moment desire for life itself (Cather, 367). 47 “What if one’s second self could somehow speak to all these second selves in the people who cared, believed in her?
Mary McIntosh, “The Homosexual Role,” Social Problems 16, no. 2 (Fall 1968); reprinted in The Making of the Modern Homosexual, ed. Kenneth Plummer (London: Hutchinson, 1981), 32. 3. David M. Halperin, One Hundred Years of Homosexuality and Other Essays on Greek Love (New York: Routledge, 1990), 7. Eve Kosofsky Sedgwick, Epistemology of the Closet (Berkeley: University of California Press, 1990), 40. ” 5. Diana Fuss, Essentially Speaking (New York: Routledge, 1989), xiv. Sedgwick, Epistemology of the Closet, 43.
As she becomes her roles, “her artistic imagination on fire,” an avenging female desire ignites her art: “Passion is the stimulant, the drink, the food, the fertilizer for art,” cries Styr. “Nurse this! …Let the passions of all womankind tear my heart as they tore Isolde’s when they transformed her into a fate and the avenger of her sex” (Atherton, 95, 110, 281). Lena Geyer is “suspicious and harsh” toward men whom she rejects (Davenport, 213). Her one intimate relationship is with a shy, devoted fan, Elsie deHaven, who in 1907 becomes Lena’s live-in and touring companion, beloved confidante, and “invisible necessity” (216).