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Готові списки джерел за темами / Homosexuality and music

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Добірка наукової літератури з теми "Homosexuality and music"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 30 липня 2024

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Статті в журналах з теми "Homosexuality and music"

1

Panizza, O. "Bayreuth and Homosexuality: A Reflection." Opera Quarterly 22, no. 2 (April 17, 2007): 324–28. http://dx.doi.org/10.1093/oq/kbl012.

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2

McGeary, Thomas. "Handel and Homosexuality: Burlington House and Cannons Revisited." Journal of the Royal Musical Association 136, no. 1 (2011): 33–71. http://dx.doi.org/10.1080/02690403.2011.562718.

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It has been claimed that Burlington House and Cannons, the homes of the Earl of Burlington and the Duke of Chandos, were homosexual or homoerotic settings and that Handel's presence in these environments suggests that he was ‘gay’ or influenced the secular works he composed there. Examining in detail biographical information about John Gay, Alexander Pope and William Kent, eighteenth-century biographical accounts of Handel and insights from the history of sexuality, this article argues that there is no basis for these claims about the homosexual milieux at Burlington House and Cannons or for Handel's sexuality.

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3

SA WHAE GU. "'s characteristic as a popular music and homosexuality code." Review of Korean Cultural Studies ll, no. 38 (October 2011): 7–27. http://dx.doi.org/10.17329/kcbook.2011..38.001.

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4

Amico, Stephen. "‘I Want Muscles’: house music, homosexuality and masculine signification." Popular Music 20, no. 3 (October 2001): 359–78. http://dx.doi.org/10.1017/s0261143001001556.

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The examination of ‘subcultures’ and their concomitant musical practices has produced a large and varied body of work, a recent (and notable) portion of which has been concerned with what might be referred to generally as ‘dance music’ scenes (Thornton 1996; Reynolds 1998; Fikentscher 2000). Concurrent with this focus (and sometimes enmeshed with it) has been a burgeoning interest in gender/sexuality and music (Ortega 1994; Whiteley 1997, 2000; Barkin and Hamessly 1999). While recent reassessments of ‘subcultural’ formations situated within the postmodern era have suggested inherent complexities, contradictions and a fluidity of self-definition (Lipsitz 1994; Manuel 1995; Young and Craig 1997; Bennett 1999), thus problematising a strict conflation of ‘subcultural’ with ‘subversive’ (or ‘refusal’; cf. Hebdige 1979), this second term often appears as a de facto correlate when discussing ‘subcultures’ defined by homosexuality. This may be due, in part, either to the unfortunate collapsing of the terms ‘queer’, ‘gay’ and ‘homosexual’ – the first of which, despite its rather protean status, may indeed count ‘subversiveness’ as a sedimented component of its meaning – into one, undifferentiated pool of generic descriptives, and/or to the role of the researcher (the ethnographer, for example) in constructing the ‘object of study’ as somehow ‘other’ (Fabian 1983; Abu-Lughod 1991).

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5

Allen, Stephen Arthur. "Christianity and Homosexuality in the Music of Benjamin Britten." International Journal of the Humanities: Annual Review 2, no. 1 (2006): 0. http://dx.doi.org/10.18848/1447-9508/cgp/v02i01/43187.

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6

Mockus, Martha, and John Gill. "Queer Noises: Male and Female Homosexuality in Twentieth-Century Music." Notes 53, no. 1 (September 1996): 55. http://dx.doi.org/10.2307/900290.

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7

Hilder, Thomas R. "Roll over, Tchaikovsky! Russian popular music and post-Soviet homosexuality." Ethnomusicology Forum 25, no. 1 (November 26, 2015): 131–33. http://dx.doi.org/10.1080/17411912.2015.1114896.

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8

Roberts, Graham H. "Roll over, Tchaikovsky! Russian popular music and post-Soviet homosexuality." Slavonica 22, no. 1-2 (July 2, 2017): 65–66. http://dx.doi.org/10.1080/13617427.2017.1382097.

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9

Oldfield, Anna. "Roll Over, Tchaikovsky! Russian Popular Music and Post-Soviet Homosexuality." Popular Music and Society 39, no. 2 (March 16, 2015): 263–65. http://dx.doi.org/10.1080/03007766.2015.1022979.

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10

Morris, M. "Homosexuality and the Manly Absolute: Hanns Fuchs on Richard Wagner." Opera Quarterly 22, no. 2 (April 17, 2007): 328–33. http://dx.doi.org/10.1093/oq/kbl013.

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Дисертації з теми "Homosexuality and music"

1

Key, Charles Stevan. "Among strangers : protocols of an occulted social type /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9804530.

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2

Mensel, Robert. "A music of their own : the impact of affinity compositions on the singers, composers, and conductors of selected gay, lesbian, and feminist choruses /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1331405811&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 309-313). Also available for download via the World Wide Web; free to University of Oregon users.

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3

Ings, Welby. "Talking pictures a creative utilization of structural and aesthetic profiles from narrative music videos and television commercials in a non-spoken film text : this thesis is submitted to Auckland University of Technology in partial fulfilment of the degree of Doctor of Philosophy, 2005." Click here to access this resource online, 2005. http://repositoryaut.lconz.ac.nz/theses/188/.

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Thesis (PhD) -- Auckland University of Technology, 2004.
The digital copy of the exegesis, and the 2 CDs of images, props and environments created for the work have been removed from the thesis and are held by the Library's Digital Services Team. Also held in print (423 p. : ill. ; 25 x 27 cm. + 1 DVD of the film Boy (ca. 15 min.)), in Wellesley Theses Collection. (T 791.4372 ING)

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4

Johannmeyer, Anke. ""For Music Has Wings" : E. M. Forster's 'Orchestration' of a Homophile Space in The Longest Journey." Thesis, Uppsala universitet, Engelska institutionen, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-120397.

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5

Mundell, Mel. "Remember Who You Are: The Story of Portland Dykecore." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1377.

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From the dumpster-diving spiky haired dykes of the 1990s to the land-loving political lesbian folkies of the 1970s, queer women in Portland, OR have a long history of non-consumer-driven culture making, separatism and guitars. Remember Who You Are: The Story of Portland Dykecore explores the roots of the all-ages dyke-made music scene that exploded between 1990 and 2000.

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6

Allain, Florence. "Musiques extrêmes, sexe et orientation sexuelle : la culture Métal face au genre : de 1970 à nos jours." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H028.

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Présentant des styles musicaux spécifiques des musiques extrêmes, cette thèse permet au lecteur de découvrir leurs sources d'inspirations et imaginaires. Elle interroge, à travers l'histoire du genre, le concept de contre-culture attaché à la culture Metal. Dans cette perspective, cette recherche va s'intéresser aux stéréotypes et aux préjugés. Ceux liés à la pornographie, souvent mis en avant par les détracteurs de cette musique, avec l'analyse du projet Girls X présenté par le festival Hellfest Open Air. Puis ceux relatifs à l'homosexualité en étudiant le sous-genre du glam'metal et les figures de l'androgyne et du beefcake tout en s'interrogeant sur la place des femmes dans ce sous-genre. Ce travail met aussi en opposition deux sous-genres musicaux, le métal symphonique et le black métal afin de réaliser une analyse de la présence féminine sur ces deux scènes. Le premier a pour particularité de mettre en scène le conte de La Belle et la Bête et le second d'observer le lien entre femmes et religions, grandes inspiratrices du black métal, et de présenter un héros spécifique du Métal, le prêtre-guerrier. L'étude du corps féminin dans la culture Métal est essentielle. Ce sera l'occasion de mettre en lumière les muses du Métal et les critères auxquels elles doivent correspondre. Enfin, cette thèse s'intéresse aux interactions entre ce qui est traditionnellement associé à la féminité et à la masculinité dans cette culture musicale notamment à travers les notions de puissance et pouvoir, la pratique du maquillage et le port de la jupe. Enfin, le changement de genre fait l'objet d'un dernier point de ce travail
Is Heavy Metal music a counterculture? To answer this question this thesis presents various styles of Metal music with their imaginary worlds and inspirations in relation to gender studies. First, this thesis studies pornography stereotypes and prejudices with Hellfest Open Air Festival's project: Girls X. Then, this analysis studies those in relation to homosexuality in the glam'metal and present androgyne and beefcake figures. There is also some question as to, where women are in the glam' metal ? This research shall also estimate the presence of women into symphonic metal and black metal. Symphonic metal staging tale of Beauty and the Beast and black metal study observe link between of women and religions and present the warrior-priest hero character. This work studies the female body in Heavy Metal culture as well as the interactions within this musical culture, which matter and are seen as traditionally masculine or feminine through notions power over and power to, makeup... Lastly the thesis study the transgender people in Heavy Metal culture

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7

Gray, Sally Suzette Clelland School of Art History &amp Theory UNSW. "There's always more: the art of David McDiarmid." Awarded by:University of New South Wales. School of Art History and Theory, 2006. http://handle.unsw.edu.au/1959.4/32495.

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This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

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8

Taylor, Jodie. "Playing It Queer: Understanding Queer Gender, Sexual and Musical Praxis in a 'New' Musicological Context." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/366992.

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Across ages and cultures, music has been associated with sexual allure, gender inversion and suspect sexuality. Music has been theorised as both a putative agent of moral corruption and an expressive mechanism of gender and sexual signification, capable of arousing and channelling sexual urges and desires. This research examines musically facilitated expressions of queerness and queer identity, asking how and why music is used by queer musicians and musical performers to express non-normative gender and sexual identities. A queer theoretical approach to gender and sexuality, coupled with interdisciplinary theories concerning music as an identificatory practice, provides the theoretical landscape for this study. An investigation into queer musical episodes such as this necessitates an exploration of the broader cultural milieu in which queer musical work occurs. It also raises questions surrounding the corpus of queer musical practice—that is, do these practices constitute the creation of a new musical genre or a collection of genres that can be understood as queer music? The preceding questions inform an account of the histories, styles, sensibilities, and gender and sexual politics of camp, drag and genderfuck, queer punk and queercore, as well as queer feminist cultures, positioning these within musical praxis. Queer theory, music and identity theories as well as contemporary discussions relating to queer cultural histories are then applied to case studies of queer-identified music performers from Brisbane, Australia. A grounded theoretical analysis of the data gathered in these case studies provides the necessary material to argue that musical performance provides a creative context for the expression of queer identities and the empowerment of queer agency, as well as oppositional responses to and criticism of heterosexual hegemony, and the homogenisation and assimilation of mainstream gay culture. Resulting from this exploration of queer musical cultures, localised data gathering and analysis, this research also supposes a set of ideologies and sensibilities that can be considered indicative and potentially determinant of queer musical practice generally. Recognising that queer theory offers a useful theoretical discourse for understanding the complexities and flexibility of gender and sexual identities—particularly those that resist the binary logics of heteronormativity—this project foregrounds a question that is relatively unanswered in musicological work. It asks: how can musicology make use of queer theory in order to produce queer readings and new, anti-oppressive knowledge regarding musical performance, composition and participation? To answer this, it investigates the history of resistance towards embodied studies of music; the disjuncture between competing discourses of traditional and ‘new’ musicology; and recent developments in the pursuit of queer visibility within music studies. Building upon these recent developments, this work concludes that the integration of queer theoretical perspectives and queer aesthetic sensibilities within musicological discourse allows for a serious reconsideration of musical meaning and signification. In the development of a queer musicology, a committed awareness of queer theory, histories, styles and sensibilities, together with an embodied scholarly approach to music, is paramount. It is through this discursive nexus that musicology will be able to engage more fully with the troubling, performative and contingent qualities of gender, sexuality and desire.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Queensland Conservatorium of Music
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9

Renzo, Adrian, University of Western Sydney, College of Arts, and School of Communication Arts. "Love in the first degree : handbag dance music and gay male culture." 2007. http://handle.uws.edu.au:8081/1959.7/11830.

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This thesis explores the links between handbag dance music and gay male culture. Handbag (colloquial British slang for ‘uplifting,’ ‘girly’ remixes of Top 40 songs and similar club material) is frequently derided within club culture for being predictable, formulaic, and ‘commercial.’ However, the same music is hugely popular within gay male clubs. Significantly, handbag tends to retain clear song structures, as opposed to the more open-ended instrumental ‘tracks’ which are the norm in electronic dance music. Why would a marginalised group adopt such a low-status music as its own? Why does handbag have such low status in the first place? This thesis argues that the field of ‘electronic dance music’ is rife with distinctions between ‘credible’ dance music and ‘commercial trash,’ and that these distinctions are frequently used to downplay song-based genres. The pleasures of handbag can be better understood if we pay attention to the ways that ‘songs’ (rather than instrumental ‘tracks’) have always played an important role in club music. Love in the First Degree questions an emerging orthodoxy in sociology and popular music studies: that issues of identity can only be approached ethnographically. By interrogating the music itself, the thesis explores the ways in which musical conventions can be deployed to arouse desire on the dance floor—and the reasons that these musical strategies are particularly useful in gay male clubs.
Doctor of Philosophy (PhD)

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10

"Recontextualizing Music for Social Change." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.27505.

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abstract: "Recontextualizing Music for Social Change" proposes alternative ways through which the traditional setup of a vocal recital may be transformed into a multidisciplinary performance with a specific social purpose. This task might be achieved by the conscious use and merging of elements such as innovation, ritualistic significance of music, and hopes for social change. Rather than exclusively analyzing the nature of these three elements, this document seeks to exemplify the artistic use of these tools through the description of two doctoral recitals. These performances focus on the portrayal of two specific social issues concerning gender identity: the femme fatale, and sexual identity. The first performance, "Defatalizing the Femme Fatale: The Voice behind a Stereotype," reflects on the negative connotations of the French femme fatale stereotype. This dangerous image has been perpetuated through popular and mass media since the nineteenth century. The femme fatale has achieved an iconic status thanks to her appealing, damaging, unrealistic, and hypersexualized traits. Nevertheless, this male-constructed stereotype was actually conceived as a parody of female emancipation. "Defatalizing the Femme Fatale" seeks to create awareness of this image through a staged approach of Shostakovich's Michelangelo Suite, feminist poetry and prose, and euphonium music. The second performance, "Un-Labelling Love: A Scientific Study of Romantic Attachment in Four Seasons," analyses the biological nature of love. According to this perspective, "Un-Labelling Love" transforms a vocal recital into a scientific lecture. This lecture examines four developmental stages of romantic love through the performance of art songs and the inclusion of a narrator, who describes the biological and psychological changes experienced by two research subjects--the performers--during these love stages. Through a plot-twist at the end of the performance, "Un-Labelling Love" also questions the patriarchal assumption that heterosexual kinship represents, by default, the unmarked category of adult pair-bonding. In summary, and based on scientific facts, this vocal performance seeks to encourage social assimilation of non-heterosexual kinship systems.
Dissertation/Thesis
Doctoral Dissertation Music 2014

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Книги з теми "Homosexuality and music"

1

David, Rees. Words & music. Brighton: Millivres, 1993.

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2

J, Summers Claude, ed. The queer encyclopedia of music, dance & musical theater. San Francisco, Calif: Cleis Press, 2004.

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3

Hadleigh, Boze. The vinyl closet: Gays in the music industry. San Diego, CA: Los Hombres Press, 1991.

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4

Koestenbaum, Wayne. The queen's throat: Opera, homosexuality, and the mystery of desire. London: Penguin, 1994.

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5

Koestenbaum, Wayne. The queen's throat: Opera, homosexuality, and the mystery of desire. New York: Vintage Books, 1994.

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6

Hadleigh, Boze. El camarín de vinilio: Gays en el mundo de la música. Barcelona: Editorial Laertes, 1993.

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7

1941-, Whiteley Sheila, and Rycenga Jennifer, eds. Queering the popular pitch. New York: Routledge, 2006.

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8

Rodríguez, Fernando López. De puertas para adentro: Disidencia sexual y disconformidad de género en la tradición flamenca. Barcelona [etc.]: Egalés Editorial, 2017.

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9

Studer, Wayne. Rock on the wild side: Gay male images in popular music of the rock era. San Francisco: Leyland Publications, 1994.

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10

Kyriakos, Kōnstantinos. Mia queer neoellēnikē historia: Ta tekmēria (1900-2020) : technes & grammata, chronologio & kritikos vivliographikos hodēgos. Athēna: Aigokerōs, 2020.

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Частини книг з теми "Homosexuality and music"

1

Li, Xinling. "Black Masculinity, Homosexuality and Hip-Hop Music." In Black Masculinity and Hip-Hop Music, 17–43. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-3513-6_2.

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2

Amico, Stephen. "'I Want Muscles': house music, homosexuality and masculine signification." In Electronica, Dance and Club Music, 387–406. Routledge, 2017. http://dx.doi.org/10.4324/9781315094588-23.

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3

Elliott, Graham. "Introduction." In Benjamin Britten, 3–6. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780198162582.003.0001.

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Abstract Since Benjamin Britten’s death in 1976, a great deal has been written about the man and his music, and about what the various writers consider to be the driving motives which directed his creativity. Much stress has been put on the issues of his pacifism and his homosexuality—so much, indeed, that there is a danger of these factors being seen as the only major influences in his work. Professor Philip Brett made his first confident pronouncements on Britten’s homosexuality in an article ‘Britten and Grimes’, which was published in the Musical Times in 1977 and which he reprinted in revised form in his book Benjamin Britten: Peter Grimes.

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4

Kildea, Paul. "Introduction And Chronology." In Britten on Music, 55–58. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0021.

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Abstract There is something eerily calm about the penultimate article in Britten’s ‘first period’ of writing (Essay 17). It is modest, unassuming, and totally unprepared for the way the opera it describes would change his life and the direction of British music. Simple facts concerning the origins of Peter Grimes are relayed; modest (and not so modest) hopes for the future of English opera are established; cogent ideas about prosody and opera in English are delivered; and economic arguments about staging native works are incorporated with the easy logic that anticipates the post-war composer-impresario. Yet whatever hopes Britten had for his opera and for a cultured, humane, post-war society, they were at the time of writing unrealized. After Grimes, Britten’s public role was greatly elevated; yet fame muted him, much as pacifism had done in wartime England. And the seeds of paradox were sown; for now Britten was given a forum, a platform, but chose instead to address the issues of his heart and conscience through his music. Thus his prose writings in this second period are less brash, more cultivated than those in the previous one. His opera Gloriana (1953), probably not coincidentally, deals precisely with this conflict between public responsibility and private passion. Essex’s second lute song, in which he longs for a place ‘obscure from all society’ is little different from Grimes’s search for a harbour sheltering peace, yet the difference in Britten’s status as a composer in early 1945 compared to 1953 could scarcely be exaggerated. In part, his journey was that of the boy in Hardy’s ‘Midnight on the Great Western’, one of Britten’s Winter Words (1953), taken to realms beyond his expectation: ‘This region of sin that you find you in, I But are not of’. Fame gave him entree to aristocratic English society; yet his homosexuality, or more precisely the sexual expression of his relationship with Peter Pears, was illegal until 1967. Whatever was his enjoyment of this elite society (and he retained royal connections and privileges throughout his life), he was never really part of it, unable to conform to conventional sexual mores.

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5

Sherr, Richard. "A Canon, A Choirboy, and Homosexuality in Late Sixteenth-Century Italy: A Case Study." In Music and Musicians in Renaissance Rome and Other Courts, XXI_1—XXI_22. Routledge, 2019. http://dx.doi.org/10.4324/9780429432590-21.

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6

Jones, Alisha Lola. "Church Realness." In Flaming?, 198–217. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190065416.003.0008.

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Chapter 7 examines ethnography of formerly gay gospel recording artist and pastor Donnie McClurkin’s sermonizing as a performance of the heteropatriarchal scripts that manage gospel enthusiasts concerns about queer(ed) musicians’ spiritual fitness and protect the social order of church leadership. Since the early 2000s, McClurkin has been regarded as the architect of the deliverance from homosexuality testimony format of communicating queer sexual history in Pentecostal worship. Men’s performance of church realness in historically black Pentecostal churches is the deployment of sung and spoken heteropresentation and gender conformity. The objective of the performance is both to blend in and to assert dominance in gospel music heteropatriarchal forums in a manner that has been socioculturally required of them.

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Bigliardi, Stefano. "“You Don’t Want to Have That Kind of Thought in Your Mind”: Li Hongzhi, Aliens, and Science." In Enlightened Martyrdom: The Hidden Side of Falun Gong, 160–94. Equinox Publishing, 2019. http://dx.doi.org/10.1558/equinox.30556.

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Li Hongzhi has drunk deeply from the well of the paranormal, being especially attracted to ideas about extraterrestrial aliens. Like other flying saucer aficionados, Li teaches that modern technology was introduced to planet earth by extraterrestrials, including in the distant past (“ancient aliens”). He has also adopted beliefs (widespread in alternative circles) that (1) aliens have abducted and interbreed with human beings in ongoing efforts to create a hybrid race, and (2) terrestrial governments not only know about these activities, but actively conspire with aliens for their own sinister purposes. In addition to their hybridizing experiments, shape-shifting space aliens capture human beings for use as pets back on their home planet, and are planning to take over our planet via their false, immoral religion of “science.” In a 1999 interview with Time magazine, Master Li accused aliens of corrupting the human race, an activity that will eventually lead to an apocalypse. Some of Li’s most controversial statements have been made in the context of his descriptions of alien-induced human corruptions: People would stop at nothing in doing evil things such as drug abuse and drug dealing. A lot of people have done many bad deeds. Things such as organized crime, homosexuality, and promiscuous sex, etc. None are the standards of being human. Many Westerners who at one time regarded themselves as Falun Gong’s friends subsequently distanced themselves from the group after critics began to call attention to Master Li’s pronouncements against homosexuality, feminism, rock music and “race mixing.” The present chapter will analyze these teachings, tracing their sources to both Western paranormal literature and Chinese tradition.

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Morrison, Benedict. "Queering Articulation." In Complicating Articulation in Art Cinema, 105–27. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894069.003.0005.

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This chapter uses key ideas from queer theory in order to argue that the queerness of Terence Davies’s The Long Day Closes (1992) lies less in its protagonist’s presumed homosexuality and more in its formal arrangement of quotations from disparate cultural texts. This bricolage exposes the operation of a culture committed to reproducing compulsory heterosexuality. Criticism, however, has concentrated on explaining the density and arbitrariness of cultural quotation through reference to Bud, insisting that the scraps of film and popular music that make up The Long Day Closes reflect the boy’s escape into self-expression, offering relief and release from the humdrummery and cruelties of life. Building on Derrida’s post-structuralist theories, this chapter argues that the mosaic of references does not provide a medium through which characters can speak, but rather speaks over characters and limits what is sayable. Far from nostalgic, this articulation-through-quotation constrains the possibilities of individual identity.

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"Mann and Musil." In Homosexuality and Literature: 1890-1930. Bloomsbury Academic, 2016. http://dx.doi.org/10.5040/9781474287715.ch-004.

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Block, Geoffrey. "Reminiscences of Richard Rodgers." In The Richard Rodgers Reader, 303–25. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195139549.003.0045.

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Abstract The longest selection in the Reader is excerpted from an extended interview with Kenneth Leish, arranged in twelve parts (392 double-spaced pages of typescript and a two-page index of names). Although only the first four parts include dates, It is clear from references to current productions at places like the Music Theater at Lincoln Center that the final portions of the interview did not extend much beyond Summer and Fall 1968.* In a portion of the Reminiscences not reprinted here readers learn that the press suppressed Hart’s excessive drinking as well as his homosexuality, not because Rodgers threatened the publisher of a scandal rag when confronted with questions about Hart’s sexuality, but “because the newspaper people were all crazy about him” (p. 200}. Also in this section Rodgers discloses that For the archivally curious this footnote offers topics, dates (when provided in the interviews), and page numbers for each section: (I) Rodgers’s current activities (December I4, I967), I-39; (2) Background (December I9, I967), 40-84; (3) Producing Avanti and The Garrick Gaieties through A Connecticut Yankee (February 2I, I968), 85-u8; (4) I927-I932 (March I, I968), II9-43; (5) I932-I936, I44-67; (6) Working with Hart, I68-203 [marked on the title page “closed during lifetime”]; (7) Pal Joey and Oklahoma!, 204-46; (8) State Fair and Carousel, 247-78; (9) Allegro and South Pacific, 279-307; (IO) The King and I, Victory at Sea, and Me and Juliet, 308-36; (II) Pipe Dream and The Sound of Music, 337-62; (I2) After Hammerstein, 363-92.

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