This analysis explores how Barry Truax’sSong of Songs(1992) for oboe d’amore, English horn and two digital soundtracks reorients prevailing norms of sexuality by playing with musical associations and aural conventions of how gender sounds. The work sets the erotic dialogue between King Solomon and Shulamite from the biblical Song of Solomon text. On the soundtracks we hear a Christian monk’s song, environmental sounds (birds, cicadas and bells), and two speakers who recite the biblical text in its entirety preserving the gendered pronouns of the original. By attending to established gender norms, Truax confirms the identity of each speaker, such that the speakers seemingly address one another as a duet, but the woman also addresses a female lover and the man a male. These gender categories are then progressively blurred with granular time-stretching and harmonisation (which transform the timbre of the voices), techniques that, together, resituate the presumed heteronormative text within a diverse constellation of possible sexual orientations.

中文翻译：

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微声的宏观政治：巴里·特鲁克斯的歌曲中的性别和性身份

本分析探讨了 Barry Truax 的歌曲之歌（1992 年）为双簧管 d'amore、英国号和两个数字配乐重新定位流行的性规范，通过演奏音乐协会和性别声音的听觉惯例。这部作品以圣经中的雅歌文本为背景，设定所罗门王与书拉密之间的情色对话。在配乐中，我们听到了基督教僧侣的歌曲、环境声音（鸟、蝉和钟声），以及两个完整背诵圣经文本的扬声器，保留了原始的性别代词。通过遵守既定的性别规范，Truax 确认了每个说话者的身份，使得说话者看起来像二重唱一样互相称呼，但女人也称呼女性情人，而男人则是男性。