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Roll Over, Tchaikovsky!Russian Popular Music and Post-Soviet Homosexuality$
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Stephen Amico

Print publication date: 2014

Print ISBN-13: 9780252038273

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252038273.001.0001

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PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in ISO for personal use (for details see http://www.universitypressscholarship.com/page/privacy-policy).date: 25 June 2018

Music, Form, Penetration

Music, Form, Penetration

Chapter:
(p.30) 2. Music, Form, Penetration
Source:
Roll Over, Tchaikovsky!
Author(s):

Stephen Amico

Publisher:
University of Illinois Press
DOI:10.5406/illinois/9780252038273.003.0002

This chapter explores the relationship between Russian gay men and both Western and Russian popular musics by focusing on specific harmonic and melodic musical attributes that contribute to a Russian “sound.” In particular, it considers the link between sound and listener to experiences of (pleasurable) penetration. It shows that Russian homosexuality imparts a certain prestige (marked by modernity, style, and internationality) upon a cultural product. It also reveals that Russian gay men professed a preference for Western popular music and Western music in general, even as many of them also admitted a connection to Russian popular musics. Finally, it examines the connections between music, penetrations, and the homosexual body in the context of politics. The chapter suggests that lived experience—apprehended, in part, as a porosity of borders and operating as both a material and conceptual dynamic—inflects the interaction between Russian gay men and audible culture.

Keywords:   popular music, penetration, homosexuality, Russian gay men, Western music, Russia, politics, homosexual body

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