Philip Brett’s groundbreaking writing on Benjamin Britten altered the course of music scholarship in the later twentieth century. This volume is the first to gather in one collection Brett’s searching and provocative work on the great British composer. Some of the early essays opened the door to gay studies in music, while the discussions that Brett initiated reinvigorated the study of Britten’s work and inspired a generation of scholars to imagine “the new musicology.” Addressing urgent questions of how an artist’s sexual, cultural, and personal identity feeds into specific musical texts, Brett examines most of Britten’s operas as well as his role in the British cultural establishment of the mid-twentieth century. With some of the essays appearing here for the first time, this volume develops a complex understanding of Britten’s musical achievement and highlights the many ways that Brett expanded the borders of his field.
Table of Contents
You are viewing the table of contents
You do not have access to this
on JSTOR. Try logging in through your institution for access.