- Queer as Trad: LGBTQ Performers and Irish Traditional Music in the United States
- The Gospel According to the Gays: Queering the Roots of Gospel Music
- The Queer Pleasures of Musicals
- Whose Refuge, This House?: The Estrangement of Queers of Color in Electronic Dance Music
- Queer Hip Hop: A Brief Historiography
- Gay Country, TransAmericana, and Queer Sincerity
- From Queer Musicology to Indecent Theology: Liberal and Liberationist Protestant Theology and Musical Queerings of the Bible
- Operatic Adaptations and the Representation of Non-normative Sexualities
- Karaoke, Queer Theory, Queer Performance: Dedicated to José Esteban Muñoz
- Queer Audiovisual Creativity: Fan-Created Music Videos from Star Trek to Bad Girls
- Transgender Passing Guides and the Vocal Performance of Gender and Sexuality
- Sound Desires: Auralism, the Sexual Fetishization of Music
- Transcripts: Toward A Queer Phenomenology of the Field Recording
- Queering Brighton
- (To) Queer: “A” Life to Music
- Endangered Tenderness: Schubert, Chopin, and Schumann
- Toward a Trans* Method in Musicology
- Music in the Margins: Queerness in the Clerical Imagination, 1200–1500
- The Queer History of the Castrato
- Queering Middle Class Gender in Nineteenth-Century US Theater
- Anglophone Songs about HIV/AIDS
- Queer Patriotism in the Eurovision Song Contest
- Interdisciplinary Enqueeries from India: Moving Toward a Queer Ethnomusicology
- Kunqu Cross-dressing as Artistic and/or Queer Performance
- Non-ordinary Gender and Sexuality in Indonesian Performance
- Out in the Undercurrents: Queer Politics in Hong Kong Popular Music
- How to Do Things with Theory: Cultural “Transcription,” “Queerness,” and Ukrainian Pop
Abstract and Keywords
This article considers the ways in which modern scholarship has read the castrato as queer. It critiques the unthinking conflation of castration with femininity, and thus with male homosexuality, and the heavy reliance that modern thinkers of castration have had on anachronistic ideas of castration anxiety. The discussion seeks to disentangle the tight alignment of gender and sexuality through the recognition of the historical specificity of castrati lives (and the resonance that castrato differences have for thinking historically about trans), pointing toward the elements of castrato identity that are amenable to queer thought, specifically, the disinvestment in hetero-patriarchal modes of production that can be called melophilia (or a love of song).
Emily Wilbourne, Queens College and The Graduate Center, CUNY.
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