Abstract
Classical music, or music rooted in educated European tradition, including forms such as chamber music, opera, and symphonies, is deeply embedded with tradition, from recital rituals and ensemble formations to gendered musical roles. As such, queer and gender non-conforming (LGBTQ+) individuals have faced barriers of discrimination due to the indivisible relationship of religion and classical music throughout history. This research analyzes the history of queer musicians within liturgical classical music from the 19th century to the present, the barriers these individuals faced, and efforts being taken to mitigate barriers that queer individuals face in becoming classical musicians. This research adds to the lacking queer historiography of liturgical classical music under an intersectional lens by using qualitative comparative sourcework of primary and secondary sources. The discriminations faced due to the traditionality of classical music, such as the use of boychoirs, make it difficult for queer musicians to rise within classical music. Despite the inhibiting and erasure of queer musicians from these barriers, individuals such as composers Tchaikovsky and Ethyl Smyth were able to gain significance within classical music. In the 21st century, the presence of queer musicians within classical music has shown a substantial increase, such as in the work of vocalists Adrian Angelico and Lucia Lucas, who work to mend the gendered expectations of opera. Efforts to break these binding traditions are also seen in the field of music education, with the advocacy for inclusive experiences for musicians in training and in emerging pedagogy discussing the teaching of queer students.
Presenters
Parker HallerStudent, Public Health, University of Central Oklahoma, Oklahoma, United States
Details
Presentation Type
Theme
Religious Community and Socialization
KEYWORDS
Classical Music, Liturgical Music, Liturgy, Queer
