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At Home with Barber: Vanessa and the...

Kaplan, Kyle.

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At Home with Barber: Vanessa and the Queer 1950s.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	At Home with Barber: Vanessa and the Queer 1950s./
作者:	Kaplan, Kyle.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2014,
面頁冊數:	78 p.
附註:	Source: Masters Abstracts International, Volume: 82-10.
Contained By:	Masters Abstracts International82-10.
標題:	Music. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28253750
ISBN:	9798597025117

At Home with Barber: Vanessa and the Queer 1950s.
Kaplan, Kyle.

At Home with Barber: Vanessa and the Queer 1950s. - Ann Arbor : ProQuest Dissertations & Theses, 2014 - 78 p.

Source: Masters Abstracts International, Volume: 82-10.

Thesis (M.A.)--McGill University (Canada), 2014.

This item must not be sold to any third party vendors.

Even with the continued growth of queer musicology, composer Samuel Barber remains largely absent in literature on gay American musical life. Although popular with audiences, academic consideration of Barber has been limited because of his perceived conservatism. This project enriches Barber studies by revisiting his Romantic aesthetic in the context of his sexuality, revealing an investment in the domestic realm that complicates previous descriptions of mid-twentieth-century modernist-focused queer aesthetics. Barber's first opera Vanessa (1958), with a libretto by his partner Gian Carlo Menotti, provides a helpful window onto these issues because of its exploration of sentimentality and domestic space. Following approaches developed within queer affect theory, I explore how Barber's sexuality colors his work on a global scale, altering the sonic environment he creates. At the same time, I aim to create a fuller portrait of Barber's sexuality that stresses the lived, day to day negotiations he made as a gay man in 1950s America, looking to general patterns of behavior rather than public self-identification.This project outlines how Vanessa captures Barber's experience by showing the queer potential of domestic space and the sentimental mode. Chapter 1 traces how the private home in Vanessa offers a refuge for queer love to flourish in an otherwise inhospitable landscape. I argue that Barber explores the virtue and risk of interiority, whereby withdrawing to the home protects new forms of love at the cost of isolation and social illegibility. Barber enacts this by motivically juxtaposing characters' interior emotions with generically social music; public music such as hymns and dances are rendered grotesque and unsympathetic to the internal struggles of the idealistic ingenue Erika, who ultimately rejects normative expectations of love. Chapter 2 argues that Barber uses the sentimental mode and melodramatic conventions to emotionally engage with audiences, and by doing so is able to present a sympathetic portrayal of non-normative love. I then explore how associations with this overtly feminized and "middlebrow" genre were taken up by critics to dismiss Barber's compositional integrity. Musically, I focus on Barber's use of traditional operatic forms as well as his "sentimental" sound, looking to the opera's love duets and final quintet.

ISBN: 9798597025117Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Barber, Samuel

At Home with Barber: Vanessa and the Queer 1950s.
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520 $a Even with the continued growth of queer musicology, composer Samuel Barber remains largely absent in literature on gay American musical life. Although popular with audiences, academic consideration of Barber has been limited because of his perceived conservatism. This project enriches Barber studies by revisiting his Romantic aesthetic in the context of his sexuality, revealing an investment in the domestic realm that complicates previous descriptions of mid-twentieth-century modernist-focused queer aesthetics. Barber's first opera Vanessa (1958), with a libretto by his partner Gian Carlo Menotti, provides a helpful window onto these issues because of its exploration of sentimentality and domestic space. Following approaches developed within queer affect theory, I explore how Barber's sexuality colors his work on a global scale, altering the sonic environment he creates. At the same time, I aim to create a fuller portrait of Barber's sexuality that stresses the lived, day to day negotiations he made as a gay man in 1950s America, looking to general patterns of behavior rather than public self-identification.This project outlines how Vanessa captures Barber's experience by showing the queer potential of domestic space and the sentimental mode. Chapter 1 traces how the private home in Vanessa offers a refuge for queer love to flourish in an otherwise inhospitable landscape. I argue that Barber explores the virtue and risk of interiority, whereby withdrawing to the home protects new forms of love at the cost of isolation and social illegibility. Barber enacts this by motivically juxtaposing characters' interior emotions with generically social music; public music such as hymns and dances are rendered grotesque and unsympathetic to the internal struggles of the idealistic ingenue Erika, who ultimately rejects normative expectations of love. Chapter 2 argues that Barber uses the sentimental mode and melodramatic conventions to emotionally engage with audiences, and by doing so is able to present a sympathetic portrayal of non-normative love. I then explore how associations with this overtly feminized and "middlebrow" genre were taken up by critics to dismiss Barber's compositional integrity. Musically, I focus on Barber's use of traditional operatic forms as well as his "sentimental" sound, looking to the opera's love duets and final quintet.
520 $a Malgre la croissance continue de la musicologie queer, le compositeur Samuel Barber demeure fortement absent dans la litterature sur la vie musicale des gais Americains. Quoique Barber soit populaire parmi les publics, les analyses theoriques a son sujet se sont fait limitees du fait de l'estimation de son conservatisme. Le present projet de recherche enrichira les ecrits de Barber en reconsiderant sa sensibilite Romantique dans le contexte de sa sexualite, revelant un devouement au monde domestique qui aurait su frustrer les descriptions antecedentes de l'esthetique queer moderniste du milieu du vingtieme siecle. Le premier opera de Barber, Vanessa (1958), dont un livret de son partenaire Gian Carlo Menotti, s'agit plus revelateur sur ces themes en raison de son exploitation de la sentimentalite et du milieu domestique. Resultant d'une production par une equipe de realisation presqu'entierement homosexuelle, Vanessa demontre le potentiel queer du chez-soi prive et de la modalite sentimentale en renversant les objectifs heterosexuels habituels et normatifs, permettant une place pour l'epanouissement de la vie et des sentiments queer.Le present projet etale comment Vanessa capte le vecu de Barber en devoilant le potentiel queer de l'emplacement domestique et du mode sentimental. Le premier chapitre decalque le chez-soi prive de Vanessa comme refuge pour l'epanouissement de l'amour queer au sein d'un milieu par ailleurs inhospitalier. Je raisonne que Barber explore la vertu et le risque de l'inferiorite par lesquelles le retrait au chez-soi protege ces nouvelles formes d'amour au prix de l'isolation et de l'incomprehensibilite sociale. Barber depeint cela en juxtaposant les motifs emotionnels intimes de ses caracteres et la musique d'influence sociale; des oeuvres de musique commune, telles les hymnes et les danses, sont metamorphosees en de pieces grotesques et peu compatissantes aux defis personnels de l'idealiste ingenue Erika qui fini par rejeter les attentes normatives de l'amour. Le deuxieme chapitre deduit que Barber se sert du mode sentimental et des conventions melodramatiques pour s'engager de facon emotive avec son publique, et en ce faisant peut presenter une interpretation non normative de l'amour. Ensuite j'explore la position des critiques qui ont voulu refouler l'integrite de la composition de Barber par ses associations avec ce genre manifestement feminise et philistin. En termes de la musique, je me concentre sur l'usage de Barber des formes traditionnelles du chant lyrique ainsi que le son sentimental de sa composition, focalisant sur les duos d'amour et la quintette finale de cet opera.
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