The Routledge Handbook of Women's Work in Music

ISBN-13: 9781032162041 / Angielski / Miękka / 2023 / 466 str.

Opis

The Routledge Handbook of Women’s Work in Music presents a unique collection of core research, engaging with wide range of topics on women’s contributions (both historical and present-day) to Western and Eastern art music, popular music, world music, music education, ethnomusicology, music technology as well as in the music industries.

Spis treści

Editor’s Introduction

Part I: Challenging Gender Inequalities

1. Sophie Fuller, Grace, Betty, Maude and Me: 30 Years of Fighting for Women Composers
2. Susan Wollenberg, ‘Where Are We Now?’: Teaching and Studying Women Composers post-Citron
3. Helen Elizabeth Davies, ‘Because I’m a Girl’: Exploring Experiences, Practices and Challenges Relating to Gender and Sexuality for Female Musicians in Popular Music Higher Education
4. Emily Doolittle, Composer, Mother
5. Stephen Wilford, ‘The Algerian woman is very strong’: Music, Identity and Gender in Algerian London
6. Valentine Harding, In Search of the Field: Reflections on an Ethnomusicological Project in India
7. Christina Homer, Women’s Work in Ethnomusicology: Alternative Spaces

Part II: (Re)Discoveries

8. Zaina Shihabi, A Brief Historical and Sociological Examination of Twentieth-Century Arab Women Composers and Performers in Egypt
9. Sally Macarthur, The Rise and Rise of Women in Australian Composition
10. Susan Clauson-Elliott, Women Composers and the Proms: The First 100 Years (1895–1994)

 

11. Claudia Chibici-Revneanu, Chasing María Teresa Lara: An Autoethnographic Account of Trying to Recuperate the Story of a ‘Lost’ Woman Composer
12. Joanna Schiller-Rydzewska, The Artistic Path and Achievement of Polish Composer Ewa Synowiec
13. Eva M. Maschke, Composer, Performer, Teacher: Jeanne Barbillion (1895-1992) and the Schola Cantorum de Paris
14. Elisabeth Honn Hoegberg, How Theocritus Sang: Eleanor Everest Freer’s Sonnets from the Portuguese
15. Rhian Davies, A Life in Fragments: Morfydd Owen (1891–1918)

Part III: Aesthetics and Music Creation

16. Rebecka Sofia Ahvenniemi, Overcoming the ‘Male Gaze’ of Music: Towards Renewed Compositional Strategies
17. Isabel Nogueira, Voices, Sounds and Herstories: Constructing Feminist Research in Experimental Music
18. Angela Elizabeth Slater, Invisible Canons: A Reflective Commentary on the Formation of my Personal Canon of Women Composers
19. Lucy Hollingworth, Storytelling in Autoethnography – The Poetess
20. J. Michele Edwards, Chen Yi: Trauma, Myths, and Representation
21. Laura Dallman, Considering Autonomy and Collaboration in Three Concerti by Jennifer Higdon
22. Ji Yeon Lee, Decoding the Riddle: The Tea-Party Scene in Unsuk Chin’s Alice in Wonderland

 

23. David Forrest, Kate Bush’s Uncanny Harmonic Language

Part IV: Performance and Reception

24. Bella Powell, Notions of Virtuosity, Female Accomplishment, and the Violin as Forbidden Instrument in Early-Mid Nineteenth-Century England
25. Nuppu Koivisto, Visitors from ‘the Merry Town by the Danube’: Viennese Ladies’ Orchestras, Public Image and Variety Shows in Finland from 1870 to 1914
26. Maren Bagge, Women Song Composers and the London Ballad Concerts
27. Ivette Janet Céspedes Gómez, Sara Gonzáles: A Different Song About Women
28. Grace Takyi Donkor, Changing Roles of Women in the Gospel Music Performance Space in Ghana
29. Maree Sheehan, Māori Women at the Forefront of Aotearoa/New Zealand Music in the Mid 1980s and Early 1990s
30. Li-ming Pan, The Stereotypical Image and Body Representation of Taiwanese Female Musicians

Part V: Opportunities and Leadership in the Music Professions

31. Jessica Duchen, Climb Every Mountain
32. Edwina Wolstencroft, Celebrating Women Composers on BBC Radio 3
33. Miia Laine, Contested Spaces: Gender Dynamics in Independent Radio Stations in London
34. Karlyn King, ‘And her voice is a backwards record’: The Gendering of Phonograph Technology
35. Carolyn Watson, Cracks in the Glass Ceiling: Women Conductors, New Trends, Old Challenges
36. Frances Novillo, Personal Reflections on Professional Experience of Women’s Liturgical Leadership as Musicians in the Roman Catholic Church
37. Gabriela Sanchez Diaz, Re-Mapping and Connecting Bodies of Women Musicians

Part VI: New Perspectives on Women’s Work in Music

38. Yuemin He, Materiality, Editorship and Canonisation in Wang Duanshu’s Collection of Elegance (1667)

 

39. Jennifer Cable, Mary Carlisle Howe (1882–1964) and Adella Prentiss Hughes (1869–1950): Creating an Arts Culture in America, One Woman at a Time

 

40. Elina G. Hamilton, Louise Hanson-Dyer (1884–1962): Patroness of Music Publishing

 

41. Lia Lonnert and Helen Davies Mikkelborg, Lady Llanover and the Swedish Connection: A Welsh Musical Legacy
42. Jessica Beck, The Women Musicians of the British Ethical Movement, 1887–1927

 

43. Kirstie Alison Muldoon, The Role of Women in Irish Music Institutions in the Early Twentieth Century
44. Helen C. Thomas, The Beedle-Carter Correspondence: An Analysis of the Cultural Work Undertaken by Maureen Beedle to Promote Elliott Carter’s Music in the UK and Europe

O autorze

Rhiannon Mathias is a lecturer and music fellow at Bangor University, UK, and director of the International Conferences on Women’s Work in Music (2017, 2019, 2021, Bangor University).