SexualityinMusicologyBeforeandAfterSolomonsPeacocks

AlexBlack May9,2013

MaynardSolomonscontroversial1989paperFranzSchubertandthePeacocksofBenvenuto CelliniarguedforareclassificationofSchubertasahomosexualcomposerinlightofanextensivereview ofthehistoricaldocumentssurroundingtheSchubertslife.Uponitspublication,factionswithinthe musicologicalcommunityeruptedinheateddebateoverthemeritsofSolomonsmethodology,the implicationsofhisassertions,andeventherelevanceofsexualityinmusicologicaldiscourse.Those agreeingwithSolomonsconclusionsfeltacertainsenseofjusticeinSchubertsbelated,ifhypothetical, outing.Thoseopposedtohismethodologyandargumentsfeltthatthepaperamountedtonothingmore thanabaselesspieceofspeculationaimedatadefenselessanddeceased(heterosexual)genius. RegardlessofwhetherSchubertwasgayornotaquestionthatmayneverbeknownwithanycertainty Solomonspaperandtheensuingcontroversyrevealedaconflictedrelationshipbetween homosexualityandmusicinscholarlydiscourse.AccordingtoSusanMcClary,Solomonspaperwasa majorbreakthroughthatpavedthewayforanewopennessindiscussingmattersofsexualityinmusic,an areathathadpreviouslybeenshroudedinaveilofsecrecy(83).However,debateoverthe relationshipofsexualityandmusicwasnothingnewscholarsinthefieldsofmedicine,psychology, biography,andmusicologyhadbeendiscussingthemattersinceatleastthelate19thcenturylong beforeSolomonscontroversialpaper.Why,then,didthepaperdrawsuchheateddebatein1989,and whatcanitsreceptiontellusabouthistoricalapproachestotherelationshipbetweensexualityandmusic? Whattracesofthedebatesurroundingsexualityandmusiccanweseeinscholarlydiscoursepublished
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bothbeforeandafterthisseminalpaper,andhowbigofanimpactdidPeacockshaveonhow musicologistsapproachedthematter,forbetterorworse? Tobegin,itsusefultoreviewtheargumentsandevidencelaidoutinSolomonspaper.Lacking anydirectstatementsfromSchuberthimselfregardinghissexualpreferences,Solomonturnedtoaccounts byfriendsandcontemporaries.HequotesnumerousaccountsinwhichSchubertwasdescribedasbeing pronetolessthansavorypassionsoftheflesh,includingaquotefromAlexandreOulibicheffstatingthat Schuberthadbeenenslavedbypassionsmauvaises(Solomon193).SolomonnotesthatSchuberts biographersdrewfromsuchtestimonytheinferencethathepatronizedprostitutes,withdisastrousresults (194),butgoesontoaddthatpatronageofprostitutesinSchubertsViennawascommonplaceand wouldnothavebeenviewedasasignofmoraldegradation.Ratherthanreferencingpatronageof prostitutesorevenSchubertscontractionofSyphilis,SolomonarguesthatSchubertsfriendswere suggestingnotsimplythathewassexuallypromiscuous,butthathispromiscuitywasofanunorthodox character(194). SolomoncontinuesbydetailingSchubertsdecisionnottomarry,citingcorrespondence surroundinghisfailedcourtshipofThereseGrobasfurtherevidenceofSchubertsdisinterestina traditionalheterosexuallifestyle.Aftertheterminationofthecourtship,Schubertinscribedinhisdiaryon September8,1816thattoafreemanmatrimonyisaterrifyingthoughtthesedaysheexchangesit[i.e. hisfreedom]eitherformelancholyorcrudesensuality(Solomon195).Grob,inheraccountofthe relationshiptoSchubertsfirstbiographerKreisslevonHellborn,gavenohintthattherehadbeenany specialintimacy...betweenherandSchubert(Solomon195).Aftertheterminationofthecourtship, thereisnoevidencethatSchubertevercourtedanotherwomanorthatheeveragaincontemplated

marriage(Solomon195).Indeed,accountsbynumerousfriendsandacquaintancesmentionSchuberts apparentdisinterestthroughouthislifeinromancewithmembersoftheoppositesex(Solomon196). Whilevagueaccountsbyfriendsandafailuretomarryarenosmokinggun,Solomons explorationofSchubertssocialworldoffersastrongerargumentinfavorofhispossiblehomosexuality. OfparticularinterestisSchubertsrelationshipwithFranzvonSchober,withwhomSchubertresidedfor variousextendedperiodsbeforehisdeathin1828(Solomon197).Solomoncitesnumerousaccountsin whichSchoberisdescribedasacorruptinginfluenceonSchubert,alongwithexcerptsoflettersbetween SchoberandmaleadmirersthatrevealadecidedlyhomoeroticwebofrelationshipsamongSchuberts innercircle(197).SchubertscorrespondencewithSchober,whilenotexplicititshomoeroticism,also indicatesarelationshipthatsurpassedplatonicfriendship.SchubertcalledhimSchobert,an interminglingoftheirnames,andhislettersfrequentlyexpressedlongingandfondreminiscenceonly you,dearSchober,Ishallneverforget,forwhatyoumeanttomenooneelsecanmean,alas!(Solomon 198). Whileacknowledgingthatculturalrepressionandfearofpunishmentoftenleadtocodedmodes ofcommunicationamonghomosexualsubcultures,Solomonassertsthatahistoricallyinformeddecoding oftheargotusedincorrespondenceamongSchubertscircleyieldscertainrevelations:
Becauseofthesecretivenatureofthesexuallynoncomformistsubcultures,muchoftheirfigurative languagehasnotfounditswayintoslangdictionaries,makingitsdecodinganuncertainprocess. Butevenifdefinitiveconclusionscannotbedrawn,itisworthlookingcloselyatsomeofthe apparentlycodedreferencestosexualmattersintheschubertcorrespondenceandmemoirs (Solomon199200).

ForSolomon,themosttellingexampleisadiaryentrybySchubertsfriendBauernfeld,whowrotein
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August1826:Schubertisoutofsorts(heneedsyoungpeacocks,likeBevenutoCellini)(Solomon 201).ThereferencetoCellini,oneofthemostfamousofallcreativehomosexuals(Solomon201), leadsSolomontoconcludethatBauernfeldcanonlymeanthatSchubertisinneedofayoungmalesex partnerCelliniprovidesthekeytothemeaningofpeacocksinhomosexualargot:theyarebeautiful boysinextravagantfemininedress.(Solomon202).AccordingtoSolomon,then,firsthandaccountsof Schubertsunorthodox(albeitundefined)sexualpassions,hisapparentdisinterestinmarriageandwomen, hisclosecircleofdemonstrablyhomoseuxualfriends,andthereccurrenceofveiledhomoeroticreferences incorrespondenceamonghiscohortsareenoughtodrawtheconclusionthatSchubertwasmostlikely homosexual. Uponitspresentationatthe1988AmericanMusicologicalSociety,Solomonspaperwas instantlycontroversial,sharplydividingmusicologistsforavarietyofreasonsrangingfromcriticismofhis researchtothelargerissueoftheplaceofsexualityinmusicologicaldiscourse.Afterseveralyearsof heateddebate,includingabrouhahaoverSchubertssexualityatthe1991AMSmeeting,adirectand publicrebuttalcamefromRitaSteblin,whomethodicallysetaboutdiscreditingSolomonsargumentsin her1993paperThePeacocksTale:SchubertsSexualityReconsidered(McClary84).Steblinagreed withOttoBiba,whoclaimedthatFranzSchuberthasperhapssufferedmorethananyothercomposerat thehandsofbiographersunabletodistinguishbetweenyesterdayandtoday(Stebin5).Assertingthat Solomonhadanalyzedthehistoricalrecordfromtheperspectiveofpresentdaycodesratherthanthe codeswithinwhichSchubertlived,SteblinsoughttoreexamineSolomonsevidencewithinthecodesof Schubertstime. RegardingtheaccountsfromvariousfriendsandcontemporariesregardingSchubertssupposed

unorthodoxpassions,Steblinoffersthiscaution:Therecollectionsofhisfriendsmustbeconsidered carefully:notallacquaintanceswereequallyclosetothecomposer,andsomeofthereminiscences... showtheeffectsoffailingmemory(8).Specifically,shenotesthatAlexandreOulibicheff,quotedby SolomoninregardstoSchubertspassionsmauvaises,hadnopersonalconnectionwhatsoeverto Schubertscircle(Steblin8).InregardstoSolomonscitationofSchubertsdiaryentryfromSeptember 8,1816thatequatesmarriagewithexchangingonesfreedomeitherformelancholyorforcrude sensuality,Steblinassertsthattheeventsofthepreviousdaybearalargepartonthesesentiments.On September7,adaybeforethediaryentryinquestion,Schubertreceivednewsthatthepostofmusic masterofLaibach,forwhichhehadappliedearlierthatyear,hadgonetosomeoneelse.Inaletterto Schoberfromthatsameday,SchubertsfriendJohannMaryhoferdescribesaleadenmoodamong Schubertandhisfriendsuponreceiptofthenews.Steblinconcludesthatthewholeofthe8September diaryentry,dealingasitdoeswithfateandmisfortune,isthusSchubertsprivatereactiontothecareer setbackhehadjustreceived(6). RegardingSchubertsrelationshipwithSchober,Steblinrelaysseveralaccountsfromtheperiod describingShoberasawomanizerwhoseinfluenceonSchubertwasoneofaskirtchasingplayboyrather thanalover(9).Shesumsuptherelationshipasfollows:
...thechargethatSchoberhadbeenabadinfluenceonSchubertinmoralmatterscanbe interpretedintwoways:SchoberscarousingandartisticinactivityledSchuberttothelatenight drinkingthatkepthimfromhisproductiveworkSchoberswomanizingintroducedSchuberttothe recklesssexualbehavior[solomon,p.194]thatgavehimsyphilisandbroughtabouthisuntimely death(Steblin910).

AsfortheBauernfelddiaryentrystatingthatSchubertneedsyoungpeacocks,likeBevenutoCellini,
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Steblinhasadifferentexplanation.Untilmoderntimes,peacockfleshwasusedtocureillness.Cellini, sufferingfromsyphilis,wassaidtohavehuntedthewildbirdsasmedicine.Bauernfeldsdiaryentry,then, maybereadatfacevalueSchubertwassickandrequiredmedicine(Steblin267).Steblinconcludes that...thereisnoevidencethatSchubertorthemembersofhiscirclewerehomosexuals(27).Citing themistranslationofkeydocuments,thequotationofpassagesoutofcontext,andanapproachthat disregardsthesexualcodesofSchubertstimeinfavorofpresentdaycodes,shedismissesSolomons evidenceashighlyquestionable(Steblin27). RegardlessofwhetherSolomonorStelbinmakesthestrongerargumentregardingSchuberts sexuality,itisclearthatSolomonscontroversialpaperanditscriticalreceptionmarkedashifttowards increasedopennessamongacademicsaboutissuesofsexualityinrelationtomusic.InherpaperMusic andSexuality:OntheSteblin/SolominDebate,SusanMcClarydiscussestheimpactofthedebateonthe musicologicalcommunity.AccordingtoMcClary,beforethattime,mostbiographerseitherdrewaveil ofsecrecyaroundthehomoeroticaspectsofa(male)composerslifeorelsesoughttoprovethathewas heterosexualafeatthatoftenrequiredextensiverummagingforpossiblegirlfriends(83).AnAMS paperfocusingonhomosexualitybyaprominentmusicologistcountedasamajorbreakthroughforthose ...whohadbeenfollowingtheemergenceofresearchabouthomosexualityinotherdisciplines (McClary83).Whetheradirectresultornot,itwouldappearthatthedebateopenedupadialoguethe firstpanelonhomosexualityoccurredatthe1990AMSmeeting(McClary84). AccordingtoMcClary,theincreasedopennessaboutissuesofhomosexualityinmusicologyhas ledtoseveraldevelopments.Thegenreofmusicbiography,whichhistoricallyhadbeenreverentialtothe pointofhagiography,hasbecomemoreseriousasscholarsincreasinglyacknowledgethatcomposers

havecomplexpsychologicalandsexuallivesandthattheseaspectsoftheirpersonalitiesmightbe relevanttotheworktheyproduced(McClary85).Goingfurther,thisacknowledgmenthasallowed scholarstobeginaskingquestionsaboutwhatrolesexuality,andspecificallyhomosexuality,mightplayin thecompositionalpractice.InhisarticleSchubertsSexuality:APrescriptionforAnalysis,KofiAgawu describesthepostPeacocksmusicologicallandscapeisoneinwhichfactoringsexualpoliticsinto musicalanalysisisnotonlypossiblebutpositivelyenticing(79).Whilenotingthatsuchundertakings havebeeninvigoratedbythedebate,Agawuisquicktoarguethatadirectcorrelationbetweensexuality andcompositionaltechniquehasyettobedemonstrated:thechallengetodefineahomosexual[musical] essencehassofarnotbeenmet(82).ToascertainwhetherornotcomposerslikeSchubertcomposed inahypotheticalhomosexualstylerequiresadefinitionofwhatthatstyleentails:
ClaimsaboutSchubertschoiceofunconventionalmodulatoryschemes,orabouthisformal loosening,orabouthisreferenceforrepetitionandvariationovergenuinedevelopment:theseand otherclaimsarefartoofragiletoprovideproofthathecomposedasahomosexual.Forsuch demonstrationstohaveforcetheyneedtobebasedonaclearwhichisnottosay simpledefinitionofthenatureofhomosexualcreativityandonasetofrulesformakingthe transitionfromthispresumablydiffusestatetothestateofmusicking(Agawu82)

Thedifficultyindefiningahomosexualstyleofmusicking,however,hasnotpreventedsomescholars fromattemptingtodrawconclusionsaboutthesexualityofcertaincomposersandthesexualimpetus behindtheircompositionalchoicesoftenwithquestionableresults.Butbeforelookingatsomeofthese typesofanalysis,itisfirstimportanttonotethatdebateovertherelationshipbetweensexualityandmusic isnothingnew.DespiteanincreasedopennessinthewakeofSolomonspaper,therelationshipof sexualityandmusichasbeenatopicofinterestforsexologists,psychologists,andmusicologistssinceat

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leastthetimeofFreud.Howdidtheirapproachesdifferfromcurrentapproaches,andifthedebatewas aliveandwellthen,whatpusheditbackintotheclosetpendingSolomonsPeacocks? InListeningtotheSirens:MusicalTechnologiesofQueerIdentityfromHomertoHedwig, JuidthPerainonotesthatasearlyastheemergenceofthemedicalcategoryofhomosexualinthelate 19thcentury,psychologicaldiscoursealignedqueersubjectivitywithmusic(70).Perainoprovides examplesofnumeroussexologistsfromthiserawhoregardedmusicalaptitudeasorganictosexual inversion(72).Mollwrotein1981thaturanists(homosexuals)oftendistinguishthemselvesbytheir passionformusic(Peraino72).AroundthesametimeCarpenterwrotethatmusic...iscertainlythe artwhichinitssubtletyandtendernessandperhapsinacertaininclinationtoindulgeinemotionlies nearesttotheUrningnature[emphasisintheoriginal](Peraino72).MagnusHirschfield,himselfa homosexual,tookthingsastepfurther,attemptingtoclassifyspecificallywhichtypesofmusicappealedto homosexuals:
...itistheromantic,morecolorful,moresensualmusic,themodernmusicwithaliteraryfeature, whichattractshomosexuals,whiletheyremainmoreindifferenttowardtheclassicalandolder music,whichdemandsmoreintellectualparticipation.Homosexuals...loveamixedstyle (Stilermengung)suchasprogrammusicandoperasespeciallythemusicdramasofWagnerand hissuccessorsbutnotclassicalopera,whichtheyfindunnaturalinitsunchangingformal patterns(Peraino75).

Asmightbeexpected,thesenotionsabouthomosexualmusictastesfoundtheirwayintoanalysesof homosexualcomposers,andwiththemcameahostofnegativestereotypesassociatinghomosexual composerswithfemininity,lackofheroism,andexcessivesentimentality.SinceSchubertwasntyet fodderfordebateinthisarena,thenaturalsubjectoftheoriesseekingtoalignsexualityandmusicwas

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Tchaikovsky,arguablythemostfamoushomosexualinthehistoryofWesternartmusic. Historically,musicologistshavetakenmuchlibertyinreadingsexualityintoTchaikovskysmusic, particularlyinregardstohissixthsymphony,andthesetypesofspeculativeanalysismayexplainwhy mattersofsexualityinmusicologyfelloutoffavorintheperiodbeforeSolomonsPeacocks.To understandanyassertionofsexualityinTchaikovskysSixthSymphony,onemustfirstunderstandafew pointsaboutthehistoricinterpretiveframeworkformusicanalysis.Onecommonapproachforanalysis wastheidentificationoftheartistwiththeprotagonistofthestoryor,inthecaseofthesymphony,with thepsychicprocessesthatwereexposedinthemusic(Peraino79).Thecomposer,then,was representedbythemusic,andtheplayofthemesandharmoniesoverthecourseofasinglemovement couldbeunderstoodtorepresentlowlevelpsychicprocesses,whilethehigherlevelshiftsfrom movementtomovementcouldbeunderstoodtorepresentsignificanteventsorerasinalife(Peraino79). Withthisframeworkinmind,itseasytoseehowTchaikovskysdecisiontobreakfromtraditionandend theSixthSymphonywithanadagiolamentosoratherthanaheroicallegrogaverisetovarioustheories seekingtoinsertatragicnarrativeofhishomosexualityintothework:
...Tchaikovskysunsettlingdeathfromcholera(thenacurablediseaseassociatedwiththepoor) waseventuallyreadinlightofthetragicAdagiolamentosofinale...,thusgivingrisetorumorsof suicide.Atsomepoint...thetheoryofTchaikovskysallegedsuicidebecameconnectedtohis sexualpathology,whichinvolved,itwassaid,hisdespairoveraloveforhisnephew,Vladimir(Bob) Davidov,towhomhislastsymphonywasdedicated(Peraino80).

WhilesomeconcludedthattheadagiolamentosorepresentedTchaikovskysrumouredsuicideand unrequitedloveforhisnephew,othersinterpretedtheworkasafinalconfessionforalifetimeof homosexualguilt.Theintenseemotionofthepiece,alongwiththesetheoriesaboutitsmeaning,ledto

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criticismoftheSixthSymphonyasoverlysentimentalorbarbaricallyindulgentandthusoflesser greatness(Peraino73).ThesecriticismswerenotconfinedtotheSixthSymphony:
ChargesofhystericaldisplaybecamecommonplaceinBritishandAmericanevaluationsof Tchaikovskysmusicatthesamepointintimethattherhetoricofpsychopathologyandneurosis enteredhischaracterportraits.Bythe1940s,psychologistsandmusicologistsalikeunderstood Tchaikovskysmusic,andespeciallytheSixthSymphony,asnotonlyaclearconfessionofhis homosexuality,butalsoamusicalproofofpsychoanalytictheoriesofdisplacedlibidoduetoerotic inhibition(Peraino82).

Fromtheseaccountsitisclearthatdialogueabouttherelationshipbetweensexualityandmusic,though notalwaysabenefittothecomposer,didexistbeforeSolomonsPeacocks.Thefactthatsweeping generalizationsandassumptionsabouthomosexualitylentfueltosomecriticsseekingtodiscredit Tchaikovskysmusicmayexplainwhy,priortoPeacocks,mattersofsexualityinmusicological discussionhadfallenoutoffavor. Peraino,reapproachingthemeaningoftheTchaikovskysadagiolamentosofinalein2006,offers adifferenttheory.Shenotesthatasacomposer,TchaikovskyidolizedMozart,andhe,likeMozart, wrotewiththearistocracyinmindthatis,hewasconcernedtopleasewithbeauty,convention,and publicmeaning(Peraino89).Ratherthaninsertanintenselypersonalconfessionintoaworkgeared towardthepublic,PerainopositsthatTchaikovskywasinsteadattemptingtoevokeamoreuniversal experiencethroughtheinclusionofalament.ThelamenthasalonghistoryinbothfolkandWesternart music,andinbothitisspecificallygendered:womensinglamentsasaparticularlyintenseemotional display(Peraino89).Musically,Perainoarguesthatpassagesfromtheadagiolamentosoevokefolk laments:fourdramaticoutburstsofamotiviccelltowardstheendofthemovementcloselyrecallfolk
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laments,wheresimplemotivicphrasesarerepeatedinconcentratedoutbursts(Peraino90). Extramusically,PerainofindsadditionalreasonswhyTchaikovskymayhavechosentoendwitha (feminine)lament.Culturalnotionsofhomosexualityatthetimeoftenconceptualizedthehomosexualas afemininesoulimprisonedinamasculinebodysuchwerethetransgenderedimagesthroughwhich samesexdesirecouldbearticulated(Peraino91).Tchaikovskyscorrespondencesunderscorethisin hislettershefrequentlyreferredtoothermalehomosexualswithfemininenamesandfemininepronouns. Itispossible,then,thattheadagiolamentosomighthavebeenalamentonbehalfofallhomosexuals bothanhomagetothefemininelamentandanassertionoftransgenderedsubjectivity(notethat transgenderedherereferstoconceptionsoftheeraratherthanmodernconceptions).Furthernuancing mattersisthefactthatasTchaikovskywasbeginningworkonthesymphonyin1890,hislifetimepatron andgoodfriendNadejdavonMeckabruptlyterminatedtheirrelationshipaneventwhich,accordingto hisbrotherModest,causedhimextremegriefandsorrow.Perainoconcludesthatbothatransgendered subjectivityandthelossofthisrelationshipbearuponthework:
...itisprobablethatfortheAdagiolamentosoTchaikovskydrewuponhisprofoundsorrowover therecentdeathofhisintimaterelationshipwithNadejdavonMeck.Hischoiceofthelament,with itsgenderassociations,asthetopostoendhissymphonyofemotionsissurelysignificanthe givestofemininegrief(perhapshisown)heroictreatmentinthepositionandformofafinale (Peraino92).

ThesetwocontrastingapproachestoanalysisofTchaikovskysSixthSymphonythe pseudopsychologicalstereotypingofsomeearliercriticsvs.themorenuancedapproachofPeraino representthecontinuingevolutionofsexualityinmusicologicaldiscourseinapreandpostPeacocks world.

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Takingthisevolutionintoconsideration,itbecomesclearthattheSolomon/Steblincontroversy reinvigorateddebateabouttheimportanceofconsideringsexualityinmusicologicalresearchandraised newquestionsabouthowsexualitycaneffectivelybeincorporatedintomusicalanalysis.Testamentto thisarethefirstpanelonhomosexualtiyatthe1990AMSmeeting,theestablishmentofanLGBTQstudy groupchapteroftheAMS,andtheproliferanceofpapersandessaycollectionsonthematterinthewake ofSolomonsarticle(QueeringthePitch:TheNewGayandLesbianMusicology[1994,editorsBret, Wood,Thomas]andMusicologyandDifference,[1993,editorRuthA.Solie]tonameafew). Whetherthisnewopennesshasproducedanyconsensusamongmusicologistsisadifferentquestion.A lingeringpointofcontentionthatperhapsstrikesattheheartofthedebateistheissueofwhetherincluding sexualityinmusicologicalanalysiscanactuallyprovideinsightsthatenrichourunderstandingsof homosexualcomposersandtheirworks.Aspreviouslynoted,Agawuarguesthatwithouttheobjective identificationofadistinctivelyhomosexualcreativeprocess(adifficultifnotimpossibletask),knowledge ofthesortthatSolomonbrings...maypossiblyinspireorintriguesomeindividuals,butisoflittleorno relevancetoanunderstandingofthecreativeprocess(80). PhillipBret,ontheotherhand,findstheimpositionofthisimpossibleconditionbyAgawutobe extremelythreateningtoanopenviewofsexualityanditsrelationtomusic(Bret151).Inhis1997paper PianoFourHands:SchubertandthePerformanceofGayMaleDesire,Bretassertsthattherelevance ofhomosexualitytomusicneednotbebasedonobjectiveidentificationofhomosexualmusicking. Rather,avarietyoffactorsrelatingtosexualityinmusic,includingthosethataredifficulttoarticulate outsidetheprivatesphere,canfurtherenrichourunderstandingsofcomposersandtheirworks(Bret 152).CitingfrompersonalexperiencethepotentialforhomoeroticisminaperformanceofaSchubert

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pianoduetbytwomen,Bretarguesthattheprivate,domesticenvironmentoftheSchubertiad,where Schubertandhismalecohortswouldsocializeandplaymusic,shouldnotbeexcludedfromananalysisof Schubertsmusicsimplybecauseitdoesnotobjectivelydemonstrateahomosexualmodeofcomposing. ForBret,thedomesticspacethatSchubertsotypicallyoccupiedisisalsothesphereofthefemininein theWest,andpartofthepowerofahomoeroticSchubertisfocusedintheincoherentnexusofideasthat connectsgenderliminalitywithdeviantsexuality(153).Theprecisenatureoftheconnectionbetween sexualityandmusicmaybecomplexanddifficulttoquantify,butitneednotbediscounted. Thevarietyofhistoricalandtheoreticalapproachesregardingtherelationshipbetweensexuality andmusicrepresentsaconstantlyevolvingdialogueamongscholars.Fromthepsychoanalyticaltheories of19thcenturyscholarstothedebatesofcontemporarymusicologists,itisclearthattheissueof sexualityinmusicscholarshipisfraughtwithcontroversybutalsopossibility.SolomonsPeacocksmay haveheraldedanewopennessinmusicology,buttheresultsofthisdialogicbroadeningremainuncertain. ItisperhapsAgawuthatbestsumsupthecontentiousandconstantlyevolvingstatussexualityholdsin postPeacocksmusicologicaldiscourse:moreoptimisticreaderswillawaittheemergenceofabodyof criticalwritingsthatwillshowhowunderstanding...sexualorientationenhancesaproperhistorical understandingof...music(80).Thedebateisaliveandwell,butonlytimewilltellwhatrevelations mayfindtheirwayoutofthemusicologicalcloset.

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WorksCited

Agawu,Kofi."Schubert'sSexuality:APrescriptionforAnalysis?"19thCenturyMusic17.1(1993): 7982.Print. Brett,Philip."PianoFourHands:SchubertandthePerformanceofGayMaleDesire."19thCentury Music21.2(1997):14976.Print. McClary,Susan."MusicandSexuality:OntheSteblin/SolomonDebate."19thCenturyMusic17.1 (1993):8388.Print. Peraino,JudithAnn.ListeningtotheSirens:MusicalTechnologiesofQueerIdentityfromHomerto Hedwig.Berkeley:UniversityofCalifornia,2006.Print. Solomon,Maynard."FranzSchubertandthePeacocksofBenvenutoCellini."19thCenturyMusic12.3 (1989):193206.Print. Steblin,Rita."ThePeacock'sTale:Schubert'sSexualityReconsidered."19thCenturyMusic17.1 (1993):533.Print.

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