{"id":1302,"date":"2022-04-19T00:35:53","date_gmt":"2022-04-19T05:35:53","guid":{"rendered":"https:\/\/pages.stolaf.edu\/performinghistory\/?p=1302"},"modified":"2022-04-19T00:35:53","modified_gmt":"2022-04-19T05:35:53","slug":"is-music-all-about-sex","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/performinghistory\/2022\/04\/19\/is-music-all-about-sex\/","title":{"rendered":"Is music all about sex?"},"content":{"rendered":"<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-1319\" src=\"https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2022\/04\/Poulenc-219x300.jpg\" alt=\"\" width=\"219\" height=\"300\" srcset=\"https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2022\/04\/Poulenc-219x300.jpg 219w, https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2022\/04\/Poulenc-110x150.jpg 110w, https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2022\/04\/Poulenc.jpg 357w\" sizes=\"auto, (max-width: 219px) 100vw, 219px\" \/><\/p>\n<p>As a performer in the arts, I had heard of Poulenc before but nothing quite as intimate as Moore describes with Poulenc&#8217;s relationship with his own music. One composition that Moore talked about was the piece\u00a0<em>Aubade.\u00a0<\/em><\/p>\n<p><iframe loading=\"lazy\" title=\"Francis Poulenc - Aubade\" width=\"580\" height=\"326\" src=\"https:\/\/www.youtube.com\/embed\/NYG1HcXLfqk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>From an oblivious perspective, this is just a woman named Diane who is rebellious and abandons the virgin community to experience fiery love. But I have to say that I don&#8217;t think Moore went too far as to talk about these pieces being about Poulenc&#8217;s sexuality, in fact, it is justified and convincing.<\/p>\n<p>One of Poulenc&#8217;s pieces that are analyzed in Moore&#8217;s article is <em>Aubade.\u00a0<\/em>In Moore&#8217;s article he says that &#8220;Wilfred Mellers believed that\u00a0<em>Aubade<\/em> had &#8216;autobiographical undertones,'&#8221; and more recently Richard Burton suggested that the work is &#8220;&#8216;clearly expressive of some deep conflict within the figure of Diana&#8221;&#8216; <a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>1<\/sup><\/a> It is quite clear that Poulenc is talking about himself and his new relationship with Richard Chanlaire which was new and exciting after getting rejected by Raymonde Linossier. He is breaking his &#8220;virginity&#8221; or heteronormative ways and being transcended into love with a man, labeling him as gay or breaking his purity. It was not accepted, thus he put his emotions and thoughts into characters and music.<\/p>\n<p>Poulenc&#8217;s scenario could be seen as an allegorical commentary on his struggles with his homosexuality near the end of the 1920s.<a class=\"sdfootnoteanc\" href=\"#sdfootnote2sym\" name=\"sdfootnote2anc\"><sup>2<\/sup><\/a> As mentioned above, he most likely felt with this figure of Diana and centered on the theme of sexuality. I believe that music was a safe spot to express one&#8217;s feelings even more than writing. Music is received differently by different people and this was the most productive way to express sex in music.<\/p>\n<p><a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>1<\/sup><\/a><b>\u201cCamp in Francis Poulenc\u2019s Early Ballets.\u201d <\/b><b><i>The Musical Quarterly<\/i><\/b><b> 95, no. 2\/3 (2012): 321, http:\/\/www.jstor.org\/stable\/41811629.<\/b><\/p>\n<p><a class=\"sdfootnoteanc\" href=\"#sdfootnote2sym\" name=\"sdfootnote2anc\"><sup>2<\/sup><\/a>\u00a0Ibid. 321<\/p>\n<p><br style=\"font-weight: 400;\" \/><br style=\"font-weight: 400;\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; As a performer in the arts, I had heard of Poulenc before but nothing quite as intimate as Moore describes with Poulenc&#8217;s relationship with his own music. One composition that Moore talked about was the piece\u00a0Aubade.\u00a0 From an oblivious perspective, this is just a woman named Diane who is rebellious and abandons the virgin [&hellip;]<\/p>\n","protected":false},"author":4407,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1302","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/1302","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/users\/4407"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/comments?post=1302"}],"version-history":[{"count":7,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/1302\/revisions"}],"predecessor-version":[{"id":1333,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/1302\/revisions\/1333"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/media?parent=1302"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/categories?post=1302"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/tags?post=1302"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}