This collection of essays provides the first in-depth examination of camp as it relates to a wide variety of twentieth and twenty-first century music and musical performances. Located at the convergence of popular and queer musicology, the book provides new research into camp’s presence, techniques, discourses, and potential meanings across a broad spectrum of musical genres, including: musical theatre, classical music, film music, opera, instrumental music, the Broadway musical, rock, pop, hip-hop, and Christmas carols. This significant contribution to the field of camp studies investigates why and how music has served as an expressive and political vehicle for both the aesthetic characteristics and the receptive modes that have been associated with camp throughout twentieth and twenty-first-century culture.
Hardcover is un-jacketed.
Зміст
Acknowledgments
List of Tables & Figures
Christopher Moore & Philip Purvis, Introduction
PART I: THE SACCHARINE & THE SACRED
Chapter 1: Mitchel Morris, On Fairies (and Mothers): Beatrice Lillie Sings
Chapter 2: Lloyd Whitesell, The Uses of Extravagance in the Hollywood Musical
Chapter 3: Stephen Pysnik, Musical Camp: Conrad Salinger and the Performance of Queerness in The Pirate
Chapter 4: Ivan Raykoff, The Camp Sincerity of Christmas Carols
Chapter 5: Christopher Moore, Camping the Sacred: Homosexuality and Religion in the Works of Poulenc and Bernstein
PART II: FLAMING LIPS & FLAMING HIPS
Chapter 6: Freya Jarman, Watch my Lips: The Limits of Camp in Lip-syncing Scenes
Chapter 7: Sam Baltimore, Camping Out: Queer Communities and Public Singalongs
Chapter 8: Francesca T. Royster, ‘The Booty Don’t Lie’ and other Camp Truths in the Performances of Janelle Monáe
PART III: GENDER & GENITALS
Chapter 9: Peter Franklin, Strauss as the Pervert? Gendered Subjectivity, Ambiguous Meaning
Chapter 10: Philip Purvis, Poulenc’s (Sub)urban Camp: L’Embarquement pour Cythère
Chapter 11: Raymond Knapp, The Straight Bookends to Camp’s Gay Golden Age: From Gilbert and Sullivan to Roger Vadim and Mel Brooks
Chapter 12: Lori Burns & Marc Lafrance, The Dark Side of Camp: Making Sense of Violence against Men in Christina Aguilera’s ‘Your Body’
Contributors
Bibliography
Index
Про автора
Philip Purvis is the director of music at d’Overbroeck’s, an independent school in Oxford. He researches identity politics in French music and culture of the twentieth century, contributing to on-going scholarly re-examination of the image of post-First World War Parisian modernism as relatively playful or even frivolous. Purvis is the editor of Masculinity in Opera and he is currently working on a book on music and war with Rachel Moore.
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