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Lesbian and Gay Music
Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez. -
Ellen T. Harris--1 Homosexual Context and Identity
Ellen T. Harris--1 Homosexual Context and Identity: Reflections on the Reception of Handel as Orpheus With the publication in 2001 of my book Handel as Orpheus: Voice and Desire in the Chamber Cantatas (Cambridge, Mass.: Harvard University Press), I publicly entered the field of gay and lesbian studies for the first time. When I began my work for this project, I had not considered the idea of opening that particular door, but the research path led me there so dramatically that my decision was simply whether as an historian I would report my findings or not. I was aware that placing the composer of Messiah into the context of a homosexual culture would be disturbing to some, and I was also aware that authorial identity and advocacy, which always exist to some extent in historical writings, take on greater weight when the topic of sexuality enters the text. Like an innocent abroad, however, I had not realized to what extent the issue of personal identity—Handel’s and, to a lesser degree, my own—would play in the reception of this book. Despite the contextual and musical argument of my book, response to it often focused solely on whether or not Handel was “gay,” a question I had declined to answer for lack of definitive evidence (as exists, say, with Michelangelo or Tchaikovsky). And despite extensive experience with academic publication, I had never before been the object of such personal scrutiny: rather than engendering a serious discussion of the issues raised by its content, my work led in some quarters to questions about my biological gender and sexual orientation and to criticism of my motivation and scholarly integrity. -
The Byrd Edition & English Madrigalists
T74 (2020) THE BYRD EDITION and THE ENGLISH MADRIGALISTS (including the INVITATION Series) William Byrd 1543 — 1623 STAINER & BELL ORDERING INFORMATION This catalogue contains titles in print at the date of its preparation and provides details of volumes in The Byrd Edition, The English Madrigalists and the Invitation Series. A brief description of contents is given and full lists of contents may be obtained by quoting the CON or ASK sheet number given. Many items by William Byrd and composers included in The English Madrigalists are available as separate items and full details can be found in our Choral Catalogue (T60) and our Early Music Catalogue (T71). Items not available either separately or in a small anthology may be obtained through our ‘Made-to-Order’ Service. Our Archive Department will be pleased to help with enquiries and requests. Alternatively, Adobe Acrobat PDF files of individual titles from The Byrd Edition and The English Madrigalists are now available through the secure Stainer & Bell online shop. Please see pages 5 and 13 for full details. Other catalogues containing our library series which will be of interest are: T69 Musica Britannica T75 Early English Church Music T108 Purcell Society Edition Prices, shown in £ sterling, are recommended retail prices exclusive of carriage and are applicable from 1st January 2020. Prices and carriage charges are subject to change without notice. In case of difficulty titles can be supplied directly by the publisher if prepaid by cheque, debit or credit card or by sending an official requisition. Card payments (Visa, Mastercard, Maestro or Visa Debit) are accepted for orders of £5.00 or over and can be made via our secure online ordering system on our website (www.stainer.co.uk) or by letter, telephone, email or fax. -
William Byrd Festival 2008
This book has been published by the Church Music Association of America for distribution at the William Byrd Festival 2008. It is also available for online sales in two editions. Clicking these links will take you to a site from which you can order them. Softcover Hardcover A Byrd Celebration William Byrd 1540–1623 A Byrd Celebration LECTURES AT THE WILLIAM BYRD FESTIVAL EDITED BY RICHARD TURBET CMAA Church Music Association of America Cover picture is of the Lincoln Cathedral, England, where William Byrd was the choirmaster and organ- ist for nine years, 1563–1572. Copyright © 2008 Church Music Association of America Church Music Association of America 12421 New Point Drive Harbor Cove Richmond, Virginia 23233 Fax 240-363-6480 [email protected] website musicasacra.com TABLE OF CONTENTS Acknowledgments . .7 Preface . .9 BIOGRAPHY . .11 William Byrd: A Brief Biography . .13 Kerry McCarthy “Blame Not the Printer”: William Byrd’s Publishing Drive, 1588–1591 . .17 Philip Brett Byrd and Friends . .67 Kerry McCarthy William Byrd, Catholic and Careerist . .75 Joseph Kerman MASSES . .85 The Masses of William Byrd . .87 William Peter Mahrt Byrd’s Masses in Context . .95 David Trendell CANTIONES . .103 Byrd’s Musical Recusancy . .105 David Trendell Grave and Merrie, Major and Minor: Expressive Paradoxes in Byrd’s Cantiones Sacrae, 1589 . .113 William Peter Mahrt Savonarola, Byrd, and Infelix ego . .123 David Trendell William Byrd’s Art of Melody . .131 William Peter Mahrt GRADUALIA . .139 Rose Garlands and Gunpowder: Byrd’s Musical World in 1605 . .141 Kerry McCarthy The Economy of Byrd’s Gradualia . .151 William Peter Mahrt 5 6 — A Byrd Celebration ENGLISH MUSIC . -
Cambridge Opera Handbooks Richard Wagner Tristan Und Isolde
Cambridge University Press 978-0-521-43738-7 — Richard Wagner: Tristan und Isolde Edited by Arthur Groos Frontmatter More Information Cambridge Opera Handbooks Richard Wagner Tristan und Isolde Wagner’s Tristan und Isolde occupies a singular position in the history of Western culture. What Nietzsche called the ‘terrible and sweet infinity’ of its basic nexus of longing and death has fascinated audiences since its first performance in 1865. At the same time, its advanced harmonic language, immediately announced by the opening ‘Tristan chord’, marks a defining moment in the evolution of modern music. This accessible handbook brings together seven leading international writers to discuss the opera’s genesis and the libretto’s relationship to late Romantic literary concerns, to present an analysis of the Prelude, the music of the drama itself, and Wagner’s innova- tive use of instrumental timbre, and to illustrate the production history and reception of the music-drama into the twenty-first century. The book includes the first English translation of Wagner’s prose draft of the libretto, a detailed discussion of Wagner’s orchestration, and rare pictures from important and influential productions. Arthur Groos is Avalon Foundation Professor in the Humanities at Cornell University, where he has taught since 1973. A member of the departments of German Studies, Medieval Studies, and Music, his musical interests focus on issues of music and culture, and opera, especially Wagner, Puccini, and modern opera. His books include Giacomo Puccini: La bohème (with Roger Parker, 1986) and Romancing the Grail: Genre, Science, and Quest in Wolfram’s Parzival (1995), as well as the collections Reading Opera (1988), Madama Butterfly: Fonti e documenti (2005), and seven other edited volumes. -
The 1600 Collection of Madrigals by Thomas Weelkes
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2014 The 1600 olC lection of Madrigals By Thomas Weelkes Rachel Linsey Albert University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Music Commons Recommended Citation Albert, Rachel Linsey, "The 1600 oC llection of Madrigals By Thomas Weelkes" (2014). Theses and Dissertations. 351. https://dc.uwm.edu/etd/351 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE 1600 COLLECTION OF MADRIGALS BY THOMAS WEELKES by Rachel Linsey Albert A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin-Milwaukee May 2014 ABSTRACT THE 1600 COLLECTION OF MADRIGALS BY THOMAS WEELKES by Rachel Linsey Albert The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Mitchell P. Brauner Thomas Weelkes in considered among the most important of the English madrigalists of the late sixteenth and early seventeenth centuries; however, little has been written about him. Modern scholarship begins with Edmund H. Fellowes’s edition of Weelkes’s madrigal publications. The only comprehensive study of Weelkes’s life and works is David Brown’s 1969 Thomas Weelkes: A Biographical and Critical Study. Most other Weelkes scholarship simply compares his music to that of his contemporaries. This thesis fills another gap in Weelkes studies by offering an analysis of his 1600 collection, Madrigals of 5 and 6 Parts, Apt for the Viols and Voices. -
American Musicological Society 84Th Annual Meeting San Antonio
86th Annual Meeting Honorary Member Martha Feldman Photo: Jimmy and Dena Katz Corresponding Member Laurie Stras Fellowships The Philip Brett Award Administered by the LGBTQ Study Group for outstanding work in gay, lesbian, bisexual, and transsexual/transgender studies Judith Peraino (Cornell University) "I’ll Be Your Mixtape: Lou Reed, Andy Warhol, and the Queer Intimacies of Cassettes” The Alvin H. Johnson AMS 50 Dissertation Fellowships Qingfan Jiang (Columbia University) “Toward a Global Enlightenment: Music, Missionaries, and the Construction of a Universal History in Seventeenth- and Eighteenth-Century China and Europe” Matthew Pessar Joseph (Columbia University) “Syncopating Segregation: Musical Cross-Pollination in Post-World War II New York City” Maria Ryan (University of Pennsylvania) “Hearing Power, Sounding Freedom: Black Practices of Listening, Ear- Training, and Music-Making in the British Colonial Caribbean” The Howard Mayer Brown Fellowship Clifton Boyd (Yale University) “The Role of Vernacular Music Theory in the Institution of Barbershop Music” Parkorn Wangpaiboonkit (University of California, Berkeley) “Sounding Civilization: Race and Sovereignty in the Imperial Opera of Siam, 1870-1910” William Holmes / Frank D’Accone Fund for travel and research in the history of opera Stephen Armstrong (University of Rochester) “Operatic Mobilities: Italian Opera as Tourist Exchange, 1770–1830” Nathaniel Mitchell (Princeton University) “The ‘Se cerca’ Script: Conventions and Creativity in an Eighteenth- Century Aria Tradition” Eileen -
10557.Ch01.Pdf
© 2006 UC Regents Buy this book University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2007 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Brett, Philip. William Byrd and his contemporaries : essays and a monograph / Philip Brett ; edited by Joseph Kerman and Davitt Moroney. p. cm. Includes bibliographical references and index. isbn-13: 978-0-520-24758-1 (cloth : alk. paper) isbn-10: 0-520-24758-2 (cloth : alk. paper) 1. Byrd, William, 1542 or 3–1623. 2. Composers—England. 3. Music—England—16th century—History and criticism. I. Kerman, Joseph, 1924–. II. Moroney, Davitt. III. Title. ML410.B996B74 2007 780.92—dc22 2006007433 Manufactured in the United States of America 16 15 14 13 12 11 10 09 08 07 10987654321 This book is printed on New Leaf EcoBook 50, a 100% recycled fiber of which 50% is de-inked post-consumer waste, processed chlorine-free. EcoBook 50 is acid-free and meets the minimum requirements of ansi/astm d5634–01 (Permanence of Paper). chapter one William Byrd: Traditionalist and Innovator Sixteenth-century Europe produced a number of composers who pos- sessed enormous technical facility and breath of vision. They are on the whole, however, a rather distant lot—especially those of the religious tra- dition represented by Gombert, Clemens, Palestrina and Lassus. This may explain why the early music movement has made a greater fuss over the more personal and intimate music of the subsequent century and a half, inaugurated most notably by Claudio Monteverdi, a character al- most as colorful as his operatic music. -
A Survey of George Frideric Handel's Life, Music and Selected Portraits
A survey of George Frideric Handel’s life, music and selected portraits with and without his wig: a contribution to the celebration of the Handel year Carol Steyn Research Fellow, Department of Art History, Visual Arts and Musicology, University of South Africa E-mail: [email protected] Estelle Alma Maré Research fellow, Department of Architecture, Tshwane University of Technology, Pretoria E-mail: [email protected] This year marks the 250th anniversary of the death of George Frideric Handel, one of the greatest composers of the Baroque period. There are and have been celebrations of his life and works world wide. Although he composed in every musical genre of his time, he is most famous for his oratorios, and in particular the Messiah. The details of his public life are well-known, but his private life remains obscure, especially in regard to his sexuality. It is of significance that he was associated with the Or- pheus myth throughout his life, and also in one of his monuments. In the eighteenth century Orpheus was connected with both music and homosexuality. What the truth may be, Handel emerges as an even more human and interesting figure than ever. His authentic portraits are discussed in two sections: those with and those without his wig. Keywords: Handel, portraits, monuments Dit is vanjaar die 250ste herdenking van die dood van George Frideric Handel, een van die grootste komponiste van die Barok-periode. Daar is en was feesvierings van sy lewe en werke wêreldwyd. Hoewel hy in elke musikale genre van sy tyd gekomponeer het, is hy veral bekend vir sy oratoria, en in besonder die Messias. -
Schubert and the Performance of Gay Male Desire Philip Brett
Piano Four Hands: Schubert and the Performance of Gay Male Desire Philip Brett For Will In the wake of the now famous paper by Maynard Solo mon about the homosexual implications of Schubert's biography, the journal 19th-Century Music ran a special issue on the topic. The editor of that issue, Lawrence Kramer, stated in an introduction that one of his aims was to help establish a reasonable tone for discussion of this and similar questions, a tone free of both oversimplification and mystification, both sensationalism and homophobia." 1 Rita Steblin, one of the conttibutors, has since drawn a parallel in the correspondence columns of the New York Review of Books between what she calls the "promotion" of Schubert as a homosexual composer and the Nazis' abuse of him, without making any distinction at all be tween Nazism and the Lesbian and Gay movement: Perhaps we should study what it is about Schubert that makes him so attractive to fashionable political ideologies. \'(1hy did the Nazis abuse Schubert to promote their theories of pure Aryan race? ... 1 Maynard Solomon, "Franz Schubert and the Peacocks of Benvenuto Cellini," 19th-Century Music 12 (1989): 193-206. The special issue, entitled "Schubert: Music, Sexuality, Culture" was volume 17, no. 1 (1993); see p. 4 for Lawrence Kramer's quotation. I would like to thank several friends and colleagues who have helped me with this essay, especially Suzanne Cusick, George Haggerty, Genevieve Jones, Jeffrey Kallberg, Lawrence Kramer, Susan McClary, Ruth "\. Solie, W. Anthony Sheppard and Elizabeth Wood. It originally appeared in 19th-Century Music 21 (1997): 149-76. -
The Pennsylvania State University the Graduate School School of Music RECOVERING QUEEN PENELOPE: a CULTURAL and MUSICAL REINTERP
The Pennsylvania State University The Graduate School School of Music RECOVERING QUEEN PENELOPE: A CULTURAL AND MUSICAL REINTERPRETATION OF MONTEVERDI’S IL RITORNO D’ULISSE IN PATRIA A Thesis in Musicology by Kyle Masson © 2014 Kyle Masson Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2014 The thesis of Kyle Masson was reviewed and approved* by the following: Marica Tacconi Professor of Musicology Thesis Advisor Charles Youmans Associate Professor of Musicology Sue Haug Professor of Music Director of the School of Music *Signatures are on file in the Graduate School iii ABSTRACT Claudio Monteverdi’s Il ritorno d’Ulisse in patria (1640) constitutes a unique source for understanding Venetian norms concerning the nature of marriage, love, and the emergence of public opera as a popular form of entertainment in 17th-century Venice. Monteverdi’s first foray into public opera demonstrates the composer’s ability to adapt to shifting expectations from the audience while fulfilling his own personal aesthetic. This study seeks to understand the plurality of meanings embodied in a particular character, Queen Penelope, in an effort to recover period listening practices and receptions of operatic character. In the historiography of Il ritorno studies, Penelope acquires a degree of autonomy more closely correlated to her Homeric counterpart than her textual and musical treatment suggests. Augmented by an investigation of the social conditions and aesthetic shifts of the time, a study of Penelope’s music in its dramatic contexts reveals a systematic objectification of her character. By examining these representations as deliberate actions of the composer, one concludes that the opera focuses more on women as objectified symbols worthy of pity than on chastity, prudence, constancy, or any other such virtues. -
AMS Newsletter February 2003
VOLUME XXXIII, NUMBER 1 February 2003 ISSN 0402-012X Houston—2003 The sixty-ninth annual meeting of the Amer- Columbus—2002 Of course we attend our annual meetings for more than the papers. ican Musicological Society will be held in Sitting over a shawirma in the splendid Houston, Texas, from Thursday, 13 Novem- Among the notable activities outside the North Market (my kind of place) just canonical session times must be counted ber through Sunday, 16 November 2003. after the conclusion of our impressive November is a particularly good time to visit the excellent concerts arranged by the annual meeting in Columbus, I found AMS Performance Committee (Don O. the country’s fourth largest city, with the sea- my thoughts lingering over the son in full swing and beautiful fall weather Franklin, chair, Julie Cumming, and J. remarkable energy that such an event Michele Edwards) as well as the terrific (with temperatures averaging highs of 72 and can generate. Much of this energy, to lows of 50). all-Stravinsky concert at The Ohio State be sure, was of an intellectual sort. We University School of Music. A standout The conference will be held at the Hyatt had available for our appreciation 144 Regency in downtown Houston. One of the among the various lunchtime, evening, papers (up from the previous 120, and interest-group sessions was the AMS largest hotels in the downtown area, the thanks to a decision by the AMS thirty-story Hyatt features close to a thou- Presidential Forum that President Jessie Board of Directors) on all manner of Ann Owens convened to address the sand rooms, three restaurants, an outdoor musicological subject matter, from rooftop pool, and a fully-equipped fitness issue of “anonymity and identity.” The chant to late twentieth-century popu- center.