One night many years ago, following a certain number of judgment-impairing libations, I and a friend of mine—who will probably be relieved to remain nameless in this connection—noted between ourselves that all the major minimalist composers were heterosexual. From this rather unfruitful-seeming coincidence we evolved a theory of the sexual origin of aesthetics, our initial distinction being between the kind of music men write to intimidate other men (Charles Wuorinen being our textbook example), versus the kind of music men write to attract women. Whatever the merits of this dubious line of speculation (and believe me, you won't see any learned... More >>>