Some scholars have argued that when women composers approach musical climax differently than their male counterparts, it is based on gender-specific differences, or differences in sexual experience, and is inherently subversive. 2 Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 2002). Goal-oriented narratives of tonal classical music imply a linear and teleological development this focus on the tension and release of climax has been called out by feminist music scholars, most notably Susan McClary, as overtly masculine and even violent. The appropriation of musical climax as an act of subversion has become a recurring claim in feminist analyses of music by women composers. But suddenly the music stopped-I saw only the arc of the sheaf and the dripping balls of fire. It began softly and came to a wonderful climax, shot into the air like a rocket. Initially, I must admit it was rather fun. Not a wink of sleep until 7:00 a.m.-just creepy dream-visions. “Shot Into the Air Like a Rocket”: Climax in the Lieder of Alma Mahler
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