I have recently wrote a new article about Schoenberg’s Piano Piece Op. 33a. This piece is usually discussed in terms of ‘absolute music’: 12 tone technique and ‘abstract’ sonata form. Building on performance theories, Susan McClary’s work on gender narratives in ‘absolute music’ and other cultural studies, I analyze the score and early recordings in order to examine how what I call ‘transgender’ narratives are constructed within this piece. The aim is to discuss some of cultural issues that are invoked by this composition and interpretations thereof, in a manner that is relevant to the immediate experience of listeners. Towards the end of the article I betray the method I used up to this point by exposing its cultural and social ideology. I end with a discussion on the role of the musicologist as an interpreter and creator of narratives.

If you like to read the article (and send me comments) you are welcome to read more on Transgender performance in Op. 33a…