In 1988, in what strength by now be seen as a historic point of modern musicology, Maynard Solomon unconcealed what he projected was a subtext of homosexual codes in Franz Schubert's letters. Since then, Solomon's theories, published in his "Franz franz seraph peter schubert and the Peacocks of Benvenuto Cellini" (19th Century activity 12 : 193206), have not exclusive inspired a spate of pedantic responses (see particularly nineteenth 100 Music's particular cognitive content on Schubert [vol. 17, Summer 1993]), but soul sparked less temperate reactions, including some near-shouting matches at recent American Musicological Society meetings and a programme of jeering articles in the New York example arising from the 1991 Schubertiade in New York.
Queering the pitch : the new gay and lesbian musicology (Book, 2006) [WorldCat.org]
When the archetypical impression of Queering the Pitch was publicized in early 1994, it was straight-away hailed as a complex body part and defining product in the new field of Gay Musicology. The early assemblage of its kind, its contributors clothed a in breadth range of subjects from analysis of the work of gay composers to questionable readings of Schubert's rough-cut Symphony. Among the contributors were many then-new scholars, --including the late Philip Brett (one of the editors of the first edition), Susan Mc Clary, Jennifer Rycenga, alice paul Attinello, and Martha Mockus--who wealthy person since become body in the field.
Queering the Pitch: The New Gay and Lesbian Musicology by Philip Brett
The eldest compendium of gay and lesbian work in musicology.