with music in England, including The New Age, The New English Weekly, The Musical Times and Musical Opinion. His writings also cover non-musical issues: he criticised British rule in India and supported birth control and legalised abortion. As a homosexual in a time when male same-sex acts were illegal in England (and remained so until 1967), he wrote about the biological and social realities that homosexuals faced for much of his lifetime. He first published an article on the subject in 1921, in response to a legislative change that would penalise "gross indecency" between women. The article referenced research showing that homosexuality was inborn and could not be cured by imprisonment. It further called for the law to catch up with the latest medical findings, and advocated for decriminalising homosexual behaviour. Sorabji's later writings on sexual topics include contributions to The Occult Review and the Catholic Herald, and in 1958, he joined the Homosexual Law Reform Society. Books and music criticism Sorabji first expressed interest in becoming a music critic in 1914, and he started contributing criticism to The New Age in 1924 after the magazine had published some of his letters to the editor. By 1930, Sorabji became disillusioned with concert life and developed a growing interest in gramophone recordings, believing that he would eventually lose all reason to attend concerts. In 1945, he stopped providing regular reviews and only occasionally submitted his writings to correspondence columns in journals. While his earlier writings reflect a contempt for the music world in general—from its businessmen to its performers—his later reviews tend to be more detailed and less caustic. Although in his youth Sorabji was attracted to the progressive currents of 1910s' European art music, his musical tastes were essentially conservative. He had a particular affinity for late-Romantic and Impressionist composers, such as Debussy, Medtner and Szymanowski, and he admired composers of large-scale, contrapuntally elaborate works, including Bach, Gustav Mahler, Anton Bruckner and Reger. He also had much respect for composer-pianists like Liszt, Alkan and Busoni. Sorabji's main bêtes noires were Stravinsky, Arnold Schoenberg (from the late 1920s onwards), Paul Hindemith and, in general, composers who emphasised percussive rhythm. He rejected serialism and twelve-tone composition, as he considered both to be based on artificial precepts, denounced Schoenberg's vocal writing and use of Sprechgesang, and even criticised his later tonal works and transcriptions. He loathed the rhythmic character of Stravinsky's music and