When the first edition of Queering the Pitch was published in early 1994, it was immediately hailed as a landmark and defining work in the new field of Gay Musicology. In light of the explosion of Gay Musicology since 1994, a new edition of Queering the Pitch is timely and needed. In this new work, the editors are including a landmark essay by Philip Brett on Gay Musicology, its history and scope. The essay itself has become a cause celebre, and this will be its first full appearance in print. Along with this new historical essay, the editors are contributing a new introduction that outlines the changes that have occurred over the last decade as Gay Musicology has grown.
Table of Contents
1. Queering the Pitch: A Posy of Definitions and Impersonations Part 1: Canons and Arias 2. Musicality, Essentialism, and the Closet 3. Sapphonics 4. On a Lesbian Relation with Music: A Serious Effort Not to Think Straight 5. A Conversation with Ned Rorem Part 2: Chronicles 6. Henry Lawes's Setting of Katherine Philips's Friendship Poetry in His Second Book of Ayres and Dialogues, 1655: A Musical Misreading? 7. Unveiled Voices: Sexual Difference and the Castrato Joke Dame 8. "Was George Frideric Handel Gay?": On Closet Questions and Cultural Politics 9. Constructions of Subjectivity in Schubert's Music 10: Eros and Orientalism in Britten's Operas 11. Queer Thoughts on Country Music and k.d. lang Part 3: Consorts 12. Lesbian Compositional Process: One Lover-Composer's Perspective 13. Growing up Female(s): Retrospective Thoughts on Musical Preferences and Meanings 14. Authority and Freedom: Toward a Sociology of the Gay Choruses Part 4: Coda Preface 15. Lesbian and Gay Music
Liz Wood has taught Gay and Lesbian Studies at Sarah Lawrence College and as a adjunct at other colleges and universities. Gary C. Thomas is Professor of Cultural Studies and Comparative Literature at the University of Minnesota.