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The Queer Composition of America's Sound: Gay Modernists, American Music, and National Identity Paperback – October 18, 2004

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Nadine Hubbs (Author)
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4 out of 5 stars 4 customer reviews
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Product Details

  • Paperback: 293 pages
  • Publisher: University of California Press; First Edition edition (October 18, 2004)
  • Language: English
  • ISBN-10: 0520241851
  • ISBN-13: 978-0520241855
  • Product Dimensions: 6 x 0.6 x 9 inches
  • Shipping Weight: 14.4 ounces (View shipping rates and policies)
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #1,641,952 in Books (See Top 100 in Books)

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Top Customer Reviews

3.0 out of 5 starsOkay, but there's still Unanswered Questions
By Jeff Abell on October 26, 2005
Format: Paperback
When I first heard the title of Nadine Hubbs new book, I remarked to a friend, well, there's one less book I'll have to write. Which is another way of saying, issues about gay American composers, and music and gender in general, interest me (professionally and personally). On some levels, Hubbs is on the right track: noting how the definition of an "American sound" in music (basically, French-influenced neo-classicism) was largely constructed by a group of gay men who formed a closely-knit group of individuals. She also correctly focuses on Copland and Thomson at the hub of this circle of mutual influence. There are some nice tidbits of info here, involving people like Marc Blitzstein and Paul Bowles, and it's clear that Hubbs has done her homework, in referencing gay historians like George Chauncey and musicologists like Philip Brett.

Yet when I was finished reading it, I found the book curiously unsatisfying overall. I don't know how much new information I learned that couldn't have been gleaned from Rorem's diaries, Thomasini's bio of Thomson or Pollack's bio of Copland, with Chauncey's Gay New York thrown in for good measure. Moreover, Hubb's style is quite academic: first I summarize what I'm going to tell you, then I tell you it, and then I summarize what I said. As a result the book felt padded to me, like a couple of good essays that got stretched into a book.

Moreover, it seems to me if one is going to consider the gender orientation and sexuality of a composer as anything other than juicy gossip, it has to be because there's a relationship between the composer's sexual orientation and the work he produced.Read more ›
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5.0 out of 5 starsHubbs gets it.
By William Mccarthy on December 18, 2004
Format: Paperback
Nadine Hubbs' The Queer Composition of America's Sound marks a milestone in queer studies, musicology and American historiography. She details the relationship between self-consciously queer composers and the mid-twentieth century "American sound" with insight, compassion and finesse.

Hubbs describes the traditional if muted association of music with gender; then notes that 20th century America saw a sharp rise in overt attention to gender in music and in society. Composer Charles Ives had acidly proclaimed that a masculine musical ethos was needed in the United States, which he associated with strong harmonic dissonance. Traditional tonal neo-classical music was too soft and feminine. But it turned out to be gay Jewish composer Aaron Copland who produced an identifiably American sound that caught on--a musically conservative tonal neo-classical sound.

Copland, Virgil Thompson and their followers fashioned a musical identity that in the event coincided with their sexual identity, both of which were perceived to be French, female-influenced and generally sissified. Gay and straight composers were well aware of this. The listening public presumably was not, and did not adjudge Copland's signature music to be gay. In addition to his own compositions, Copland created a gay network, nurturing generations of rising gay composers. But after World War II, communist- and queer-baiting became rampant, diminishing the ascendancy of Copland's network. Copland's music also became suspect, due to his leftist political affiliations; the untrammeled homophobia sent gay composers further into the closet or out of the country.Read more ›
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4.0 out of 5 starsMore than the title
By T.N. on April 29, 2013
Format: Paperback
This book is clearly a labor of love by a scholar who knows and cares about her subject passionately. It is also of value to any more generally interested in cultural history, queer studies, or the history of the arts. There is a far amount of summary and synthesis of the major scholarship in queer studies (Sedgwick, Chauncey, Halperin, etc) but bringing it all to bear on music and composers specifically is mutually illuminating, insofar as queer studies has thus far tended to focus primarily on literature. Thankfully (to this non-musicologist) Hubbs does not spend a lot of time belaboring technical analyses of scores in order to argue for their sexual orientation: a move that music specialists tend to scorn. Instead, she steps back and looks at the discursive surround of classical music. This move is too easily dismissed as "gossip" or irrelevant to "the music itself." But as this book persuasively shows, the music itself is always made by people with desires, relationships, circles and cliques, and that the shape of music in performance and reception is colored by the homo/hetero binarism elucidated by Sedgwick. The one thing I could have wished for is greater attention to affect and emotion as a queer angle on music: it does seem (again to the non-specialist) that the tonal/atonal binarism in the book, which was mapped onto queer/straight by the discursive surround, itself is undergirded by assumptions about affective versus analytical listening. But this is perhaps a matter for a future book on queerness, music, and affect.
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