It’s somewhat appropriate that, in a year when being gay became unavoidably, irritatingly “cool” in the pop culture sphere, the classical music world appears to be obsessing over the phenomenon of the gay composer. But some scholars are going well beyond traditional views of homosexuality, and are suggesting that the “American sound” created by composers like Aaron Copland and Leonard Bernstein is, in fact, the sound of a “queer sensibility” which is unique to gay composers. But can you really hear gayness in a piece of music?