How have men used art music? How have they listened to and brandished the musical forms of the Western classical tradition and how has music intervened in their identity formations? This collection of essays addresses these questions by examining some of the ways in which men, music and masculinity have been implicated with each other since the Middle Ages.
Inhaltsverzeichnis
Contents: Introduction, Ian Biddle and Kirsten Gibson; Section 1 Effeminate and Virile Musics and Masculinities: Introduction, Ian Biddle and Kirsten Gibson; Music and masculinity in the Middle Ages, Elizabeth Eva Leach; Music, melancholy and masculinity in early modern England, Kirsten Gibson; Of Mars I sing; Monteverdi voicing virility, Richard Wistreich; Haydn and the consequences of presumed effeminacy, Howard Irving; Virile music by Hector Berlioz, Fred Everett Maus. Section 2 National Masculinities, National Musics: Introduction, Ian Biddle and Kirsten Gibson; Gendered reception of Brahms: masculinity, nationalism and musical politics, Marcia J. Citron; Aspiring to manliness: Edward Elgar and the pressures of hegemonic masculinity, Corissa Gould; 'I am blessed with fruit': masculinity, androgyny and creativity in early 20th-century German music, Claire Taylor-Jay; Hellenism, the divine and ideal masculinity in Manuel de Falla's Atlántida, Esther Zaplana. Section 3 Identities, Voices, Discourses: Introduction, Ian Biddle and Kirsten Gibson; Knives and tears: representations of masculinity in late 19th-century Italian opera, Annamaria Cecconi; Caught in the silken throat: modernist investments in the male vocal fetish, Ian Biddle; Hermaphrodism and the masculine body: Tippett's aesthetic views in a gendered context, Iain Stannard; Select bibliography; Index.
