ABSTRACT
Although this article appears here for the rst time in printed form, it already has a substantial public history-one that needs, I think, to be addressed. I wrote it initially for a panel on gay issues held at the 1990 meeting of the American Musicological Society: the rst such session ever authorized by the AMS. Because I had begun developing methods for analyzing music with matters such as gender in mind, I was invited to discuss how a composer’s sexuality might be relevant to the music itself.
