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A patchwork queer history/social commentary created c.1909, the book was written under a pseudonym by Edward Prime-Stevenson, a US music critic. Franseen shows that Prime-Stevenson’s musical interpretations were influenced by gossip and ‘secret reading (and listening) between the lines’.

She goes on to state that ‘this scattered glimpse into real and fictional queer responses to instrumental music reflect the complexities of establishing how and where queer musical meanings developed’.
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