Human Sexuality in Music essays

Human Sexuality in Music essays The McClarys brief discussion on sexual politics in classical Music focuses on how human sexuality is present not only in modern music such as rock and pop, but also in classical music. McClary mentions that in academia there is not much focus on true expression but rather concentrate on structure. It is mentioned that when it comes to listening to classical music one doesnt consider erotic emotions unless it is a work that includes text that portrays such. As far as eroticism goes, it is the heterosexual male that expresses the need and desire. The first of two musical examples that McClary used was Carmen. The highlight of this discussion dealt with music affecting how the other character thinks. The melodies that Carmen sung had great affect on Jose, the other lead character. Carmen was able to manipulate how Jose felt. The chromatic lines and uncommon resolutions in some spots seem to confuse one. So basically Carmen got whatever she wanted out of Jose. At points when the erotic tension is at a high point Jose starts to express himself and let it all out. At this point the music is as tense as a sexual episode is described. Another characteristic of Carmen that was discussed was the Rhythms. The rhythms suggest very exotic dance motion with the lower body. The driving patterns can also be associated with burning desire. The second of the two examples was a discussion on the first movement Tchaikovskys 4th Symphony. McClary discusses how this movement represents a protagonist and antagonist. In this case the protagonist is the expressive element, which is characterized by a smooth legato melody that seems to float like a free bird. The antagonist is the more direct and bombastic element. Characterized by driving rhythms and military like fanfares in the brass. This entire symphony represents a struggle. It seems as though every time the protagonist gets settled, the antagonist appears again to take over ...