{"id":724,"date":"2020-04-25T19:34:18","date_gmt":"2020-04-26T00:34:18","guid":{"rendered":"https:\/\/pages.stolaf.edu\/performinghistory\/?p=724"},"modified":"2020-04-25T19:34:18","modified_gmt":"2020-04-26T00:34:18","slug":"queer-identity-and-influence-in-1920s-parisian-music","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/performinghistory\/2020\/04\/25\/queer-identity-and-influence-in-1920s-parisian-music\/","title":{"rendered":"Queer Identity and Influence in 1920\u2019s Parisian Music"},"content":{"rendered":"<p><span style=\"font-weight: 400\">I found both Moore\u2019s analysis of camp in Poulenc\u2019s <em>Les Biches<\/em> and <em>Aubade<\/em> and Dorf\u2019s argument of sapphonics in <em>Socrate<\/em> both very interesting and helpful in understanding the music for this week. I definitly heard the music in a completely new way after doing the queer readings of these otherwise outwardly appearing heteronormative pieces of music.<\/span><\/p>\n<p><span style=\"font-weight: 400\">Through my reading, I believe Moore\u2019s analysis of camp in Poulenc\u2019s ballets makes a stronger argument than Dorf. Dorf\u2019s argument for the Princesse de Polignac\u2019s influence on Satie relied a lot on the concept of sapphonics which describes a hearing a lesbian aesthetic in the music, but, at least for me, the concept seems a bit vague and not as well supported. Dorf also seemed to lack a lot of specific musical evidence to support the reading and seemed to be a bit overreaching at times. Moore, however, exceeded where Dorf lacked on their analysis and queer reading of <em>Les Biches<\/em> and <em>Audbade<\/em> by bringing in many first hand accounts of Poulencs personal life and sexuality with different musical ideas and how they are connected<\/span><\/p>\n<p><span style=\"font-weight: 400\">I think Moore was more successful overall, however, it should be taken into account that it could be much easier to prove that Poulenc&#8217;s sexual identity influenced his ballets over Dorf\u2019s argument of Sapphonic aesthetic in <em>Socrate<\/em>.Overall, they both provide insight into how composers were influenced by ideas of sexuality in the 1920s Paris music scene.<\/span><\/p>\n<p>&nbsp;<\/p>\n<ul>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Samuel Dorf, \u201c\u2018\u00c9trange, n\u2019est-ce pas?\u2019 The Princesse Edmond de Polignac, Erik Satie\u2019s Socrate, and a Lesbian Aesthetic of Music?\u201d FLS: Queer Sexualities in French and Francophone Literature and Film 34 (2007), 87-99<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Moore, Christopher. \u201cCamp in Francis Poulenc\u2019s Early Ballets.\u201d The Musical Quarterly, vol. 95, no. 2\/3, 2012, pp. 299\u2013342., www.jstor.org\/stable\/41811629<\/span><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>I found both Moore\u2019s analysis of camp in Poulenc\u2019s Les Biches and Aubade and Dorf\u2019s argument of sapphonics in Socrate both very interesting and helpful in understanding the music for this week. I definitly heard the music in a completely new way after doing the queer readings of these otherwise outwardly appearing heteronormative pieces of [&hellip;]<\/p>\n","protected":false},"author":3598,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-724","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\/724","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\/3598"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/comments?post=724"}],"version-history":[{"count":1,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/724\/revisions"}],"predecessor-version":[{"id":725,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/724\/revisions\/725"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/media?parent=724"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/categories?post=724"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/tags?post=724"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}