This book explores the experiences of women from the late nineteenth and early twentieth centuries who pursued careers as public performers, charting a new course in an era when women's musical activities were generally consigned to the parlor. Certain instruments had historically evolved as "appropriate for women," and the flamboyant personalities and extroverted emotionalism of Romantic virtuosos and conductors were the antithesis of those qualities traditionally admired in women. However, this work presents an unusual group of young women who nonetheless became noted virtuosos, studying abroad as teenagers and touring North America upon their return. Detailed profiles are given of three remarkable musicians from among that unusual group: Fannie Bloomfield-Zeisler (1863-1927)--virtuoso pianist, wife and mother; Ethel Leginska (1886-1970)--pianist, conductor, and 1920s "new woman"; and Antonia Brico (1902-1989)--conductor and transitional figure to the late twentieth century. A concluding chapter contrasts the experiences of women classical musicians in the late nineteenth and the late twentieth centuries. Included are a number of photographs and drawings which impart the perceptions of audiences and critics of the stage presence of these performers.
This book explores the experiences of women from the late nineteenth and early twentieth centuries who pursued careers as public performers, charting a new course in an era when women's musical activities were generally consigned to the ...
Author: Beth Abelson Macleod
Category: Social Science
In the first comprehensive exploration of women’s bands in American history, contributors trace women's emerging roles in town, immigrant, family, school, suffrage, military, swing, and rock bands, as well as society at large. Contributors bring together a series of disciplines in this unique work, including musicology, American history, women's studies, and history of education.
Contributors bring together a series of disciplines in this unique work, including musicology, American history, women's studies, and history of education.
Author: Jill M. Sullivan
Publisher: Rowman & Littlefield
Why, despite the number of high profile female rock musicians, does rock continue to be understood as masculine? Why is rock generally assumed to be created and performed by men? Marion Leonard explores different representations of masculinity offered by, and performed through, rock music, and examines how female rock performers negotiate this gendering of rock as masculine. A major concern of the book is not specifically with men or with women performing rock, but with how notions of gender affect the everyday experiences of all rock musicians within the context of the music industry. Leonard addresses core issues relating to gender, rock and the music industry through a case study of 'female-centred' bands from the UK and US performing so called 'indie rock' from the 1990s to the present day. Using original interview material with both amateur and internationally renowned musicians, the book further addresses the fact that the voices of musicians have often been absent from music industry studies. Leonard's central aim is to progress from feminist scholarship that has documented and explored the experience of female musicians, to presenting an analytic discussion of gender and the music industry. In this way, the book engages directly with a number of under-researched areas: the impact of gender on the everyday life of performing musicians; gendered attitudes in music journalism, promotion and production; the responses and strategies developed by female performers; the feminist network riot grrrl and the succession of international festivals it inspired under the name of Ladyfest.
In this way, the book engages directly with a number of under-researched areas: the impact of gender on the everyday life of performing musicians; gendered attitudes in music journalism, promotion and production; the responses and ...
Author: Marion Leonard
This is the first ethnographic study of women's popular music-making. It is based on over 100 in-depth interviews as well as participant observation by the author, a sociologist, who has herself played in various bands since punk. Bayton covers the period from the late 1970s until the mid 1990s, focusing mainly on women instrumentalists in female and mixed bands. Amongst others, interviewees include Skin from Skunk Anansie, Debbie Smith from Echobelly, Candida Doyle from Pulp, Gail Greenwood from Belly and L7, Natasha Atlas from Transglobal Underground, and Vie Subversa from Poison Girls. Although female vocalists have always been common, women playing instruments in bands are still proportionally rare. Frock Rock explores the social factors that keep women from playing and those routes that have enabled women's involvement. The book then examines the everyday worlds of women's music-making from bands just starting up to the professional stage: songwriting, rehearsing, the first gig, getting a manager, record companies, recording, and touring. Easy to read and packed with fascinating quotes, Frock Rock makes an invaluable contribution to the field of popular music studies and will become a key text in cultural studies, media studies, women's studies, and sociology of culture courses.
This is the first ethnographic study of women's popular music-making.
Author: Mavis Bayton
Publisher: Oxford University Press on Demand
Performing Music History offers a unique perspective on music history and performance through a series of conversations with women and men intimately associated with music performance, history, and practice: the musicians themselves. Fifty-five celebrated artists—singers, pianists, violinists, cellists, flutists, horn players, oboists, composers, conductors, and jazz greats—provide interviews that encompass most of Western music history, from the Middle Ages to contemporary classical music, avant-garde innovations, and Broadway musicals. The book covers music history through lenses that include “authentic” performance, original instrumentation, and social context. Moreover, the musicians interviewed all bring to bear upon their respective subjects three outstanding qualities: 1) their high esteem in the music world as immediately recognizable names among musicians and public alike; 2) their energy and devotion to scholarship and the recovery of endangered musical heritages; and 3) their considerable skills, media savvy, and showmanship as communicators. Introductory essays to each chapter provide brief synopses of historical eras and topics. Combining careful scholarship and lively conversation, Performing Music History explores historical contexts for a host of fascinating issues.
The book covers music history through lenses that include “authentic” performance, original instrumentation, and social context.
Author: John C. Tibbetts
Category: Social Science
In this dissertation, I engage in the ongoing discussion between popular music and gender scholarship through an ethnographic and archival investigation of women's performances in mariachi music, a musical expression originating in eighteenth-century Western Mexico. Historical evidence and ethnographic accounts referenced in this study reveal that women have indeed performed with mariachi ensembles since at least the turn of the twentieth century. While they were not encouraged to perform as mariachi musicians, those who did were occluded from historical representations or dismissed as trivial or novel. By presenting a critical analysis of women's socio-musical contributions, this dissertation situates the impact of gendered stereotypes in historical, social, and individual contexts. Presenting this analysis, however, calls for first understanding the mariachi tradition historically. As with other popular musics that confronted the coming of the mass media, mariachi music evolved also alongside the globalizing culture industry. Since the early twentieth century, select groups from Western Mexico traveled to Mexico City to secure their space in a promising performance scene. The music became such an important expression that it was featured in all emerging media technologies: the first commercial phonograph recordings in 1908, live national radio programs since 1925, the first sound film in 1931, touring caravans since the 1950s, and pioneer broadcast television programs since the late 1960s (Chapter Two). In this sense, mariachi music's dynamic presence in the media has produced three adverse effects. First, the music presented by the culture industry prompted the idea that mariachi ensembles evolved into internationally broadcasted stereotypical image, such that rural expressions appeared as a mere tradition of the past. Despite the demanding effects of globalization, there continues to be a mariachi tradition that in Mexico has succeeded in sustaining traditional characteristics. These musicians have safeguarded their tradition through aural transmission and today continue to engage in preservation efforts similar to the folk music revival expressions emerging around the world. Second, with the rise of mariachi music's global popularity, the tradition became vulnerable to increasing disdain and rejection by scholars and public alike. Critics rebuked this evolved musical expression by characterizing it solely as commercial music created by music industry leaders, rather than by the common people from rural communities. They posited that the media homogenizes and distorts regional musical peculiarities, ultimately suggesting a loss in authenticity (Chapter Two). While the media does impact traditional music, the challenge today lies in dignifying and vindicating its artistic value. Third, it is through mass media consciousness that mariachi ensembles became associated with male practitioners, perpetuating the idea that men are the primary tradition bearers. As female singers introduced a woman-figure in Mexican popular music since the 1930s, when Lucha Reyes (1906-1944) first defined the space for women as bold, unapologetic, and aggressive (Chapter Three), others entered the mariachi music scene, not as singers, but as musicians (Chapter Four). Despite the ideological prominence of this male-centered tradition, women have creatively established their place within this powerful medium of cultural expression so strongly associated with men. Due to the lack of documentary evidence concerning mariachi music's disputed origins (Chapter One), the ambitious task of understanding women's place in this changing musical phenomenon presents a major challenge. My nine years of formal ethnographic research, as well as my own experience as a mariachi musician for over twenty years, has taught me not to generalize individual experiences, nor deem early-published documents as absolute authoritative truth. The findings I present in this dissertation are not the exception. They do aim, however, to contribute to a panoramic view of the mariachi tradition--with women included.
In this dissertation, I engage in the ongoing discussion between popular music and gender scholarship through an ethnographic and archival investigation of women's performances in mariachi music, a musical expression originating in ...
Author: Leticia Soto Flores
Women, Music, Culture: An Introduction, Third Edition is the first undergraduate textbook on the history and contributions of women in a variety of musical genres and professions, ideal for students in Music and Gender Studies courses. A compelling narrative, accompanied by 112 guided listening experiences, brings the world of women in music to life. The author employs a wide array of pedagogical aides, including a running glossary and a comprehensive companion website with links to Spotify playlists and supplementary videos for each chapter. The musical work of women throughout history—including that of composers, performers, conductors, technicians, and music industry personnel—is presented using both art music and popular music examples. New to this edition: An expansion from 57 to 112 listening examples conveniently available on Spotify. Additional focus on intersectionality in art and popular music. A new segment on Music and #MeToo and increased coverage of protest music. Additional coverage of global music. Substantial updates in popular music. Updated companion website materials designed to engage all learners.
Similarly, songs produced by women in the Victorian parlor were sometimes ... revere musical structure rather than the bodily performance of music.
Author: Julie C. Dunbar
Although women have been teaching and performing music for centuries, their stories are often missing from traditional accounts of the history of music education. In Women Music Educators in the United States: A History, Sondra Wieland Howe provides a comprehensive narrative of women teaching music in the United States from colonial days until the end of the twentieth century. Defining music education broadly to include home, community, and institutional settings, Howe draws on sources from musicology, the history of education, and social history to offer a new perspective on the topic.
Ammer, Unsung, 125–27; Neuls-Bates, “Women's Orchestras,” 350–55; and Beth Abelson Macleod, Women Performing Music: The Emergence of American Women as ...
Author: Sondra Wieland Howe
Publisher: Scarecrow Press
This book traces the development of music in the late 20th and early 21st centuries with regards to the work of six women composers: Sofia Gubaidulina, Joan Tower, Ellen Taaffe Zwilich, Libby Larsen, Chen Yi, and Judith Weir. The study integrates cultural contexts with the composers’ biographies, their diverse compositional styles, and provides in-depth analyses of their musical works. The Kaleidoscope of Women’s Sounds in Music of the Late 20th and Early 21st Centuries offers a more detailed guide to not only these composers, but also their musical characters and styles, than previous studies on women’s music. It discusses several aspects of these women’s compositional perspectives and their personal experiences as they developed their music careers. The book also places emphasis on how these composers incorporated diverse musical styles and the idioms of others into the development of their own distinctly personal styles. The analytical approach adopted in this book is supplemented with illustrations of musical examples in order to provide a more complete understanding of the work of these composers.
Just look at the Vienna Philharmonic—it's hard to imagine a group like that rushing out to perform music by women. Some kind of support group and advocacy ...
Author: Kheng K. Koay
Publisher: Cambridge Scholars Publishing
Performing Music Research is a comprehensive guide to planning, conducting, analyzing, and communicating research in music performance. The book examines the approaches and strategies that underpin research in music education, psychology, and performance science.
Methods in Music Education, Psychology, and Performance Science Aaron (Professor of ... the music listening experiences of women with chronic illnesses.
Author: Aaron (Professor of Performance Science Williamon, Professor of Performance Science Royal College of Music)
Bundrick proposes that depictions of musical performance were linked to contemporary developments in music.
Aristotle promotes the importance of both men and women for the community in ... of status.229 Classical images of women performing music within the home ...
Author: Sheramy Bundrick
Publisher: Cambridge University Press
"Many women composers were successful, finding venues for both publishing and performing their music; others found the social barriers for women impossible to overcome. Arranged chronologically by era, each section is divided into countries. For each female composer within a country, a brief biographical sketch is provided, as well as a description of her body of work."--Provided by publisher.
For each female composer within a country, a brief biographical sketch is provided, as well as a description of her body of work. This text also includes an extensive timeline of operatic works by female composers.
Author: Mary Frech McVicker
Publisher: McFarland Publishing
Category: Biography & Autobiography
In Britain during the late 1970s and early 1980s, a new phenomenon emerged, with female guitarists, bass-players, keyboard-players and drummers playing in bands. Before this time, women's presence in rock bands, with a few notable exceptions, had always been as vocalists. This sudden influx of female musicians into the male domain of rock music was brought about partly by the enabling ethic of punk rock ('anybody can do it!') and partly by the impact of the Equal Opportunities Act. But just as suddenly as the phenomenon arrived, the interest in these musicians evaporated and other priorities became important to music audiences. Helen Reddington investigates the social and commercial reasons for how these women became lost from the rock music record, and rewrites this period in history in the context of other periods when female musicians have been visible in previously male environments. Reddington draws on her own experience as bass-player in a punk band, thereby contributing a fresh perspective on the socio-political context of the punk scene and its relationship with the media. The book also features a wealth of original interview material with key protagonists, including the late John Peel, Geoff Travis, The Raincoats and the Poison Girls.
The book also features a wealth of original interview material with key protagonists, including the late John Peel, Geoff Travis, The Raincoats and the Poison Girls.
Author: Helen Reddington
Author: Lucy O'Grady
Category: Creative ability
PJ Harvey’s performances are premised on the core contention that she is somehow causing ’trouble’. Just how this trouble can be theorised within the context of the music video and what it means for a development of the ways we might conceptualise ’disruption’ and think about music video lies at the heart of this book. Abigail Gardner mixes feminist theory and critical models from film and video scholarship as a rich means of interrogating Harvey’s work and redefining her disruptive strategies. The book presents a rethinking of the masquerade that allies it to cultural memory, precipitated by Gardner’s claim that Harvey’s performances are conversations with the past, specifically with visualised memories of archetypes of femininity. Harvey’s masquerades emerge from her conversations and renegotiations with both national and transatlantic musical, visual and lyrical heritages. It is the first academic book to present analysis of Harvey’s music videos and opens up fresh avenues into exploring what is at stake in the video work of one of Britain’s premier singer-songwriters. It extends the discussion on music video to consider how to make sense of the rapidly developing digital environment in which it now sits. The interdisciplinary nature of the book should attract readers from a range of subject areas including popular music studies, cultural studies, media and communication studies, and gender studies.
Andsager, J. and Roe, K. (1999) 'Country Music Video in the Country's Year of the Woman', Journal of Communication, 49(1), March: 69–82.
Author: Abigail Gardner
The composers included in volume 3 of "Women Composers: Music through the Ages" were born between 1700 and 1799. Included here with examples of their keyboard music, some of the composers are also represented in volumes 4 and 5, which contain vocal, choral, chamber, orchestral, and operatic music. Unlike most of the composers in volumes 1 and 2, who belonged to religious orders or noble families, the women born in the 18th century were of secular background and were more visible as musicians. Musical families produced generations of composers, both men and women. The three volumes in this anthology devoted to the 18th century include mothers, daughters, wives, and sisters-in-law of other composers and musicians. Many of these women performed and composed in a wide variety of forms and genres, including sonatas, lessons, sets of variations, fantasias, and short and descriptive pieces. Volume 3 includes forty-three works by twenty-two composers from nine countries: England, France, Italy, Germany, Poland, Austria, the Netherlands, Bohemia, and Scotland. Maria Teresa Agnesi, a performer and composer, wrote instrumental and operatic music, while the soprano Elisabetta de Gambarini is represented by one of her charming harpsichord sonatas. Anna Bon, a singer, harpsichordist, and composer, left only three collections of works: a set of sonatas for flute and continuo, a set of divertimenti for two flutes and continuo, and a set of six sonatas for harpsichord. The singer-pianist-composer Juliane Reichardt, a member of an illustrious Czech-German musical family, wrote two piano sonatas and many songs. The songs of her daughter, Louise, another singer-composer, appear in volume 4. MadameKrumpholtz, a celebrated harpist and composer, was the mother of Fanny Krumpholtz Pittar, also a harpist. Krumpholtz's connection to the Dussek family of women composers was through Jan Dussek, with whom she frequently performed. He was the husband of composer Sophia Dussek (later Moralt) and the father of composers Veronika Cianchettini and Olivia Dussek Bulkley. Josepha Barbara von Auernhammer was one of Mozart's favorite pupils; he dedicated several works to her. Mozart, Haydn, and Salieri wrote concertos for the blind composer Maria Theresia von Paradis, a talented pianist and singer, whose "Fantasia for Piano" is included here. This volume contains music by six English performer-composers. Anne Valentine, the composer of the rondo "Monny Musk," was also a music merchant. Cecilia Maria Barthelemon, the daughter of Maria Barthelemon (see volume 4), wrote the descriptive piece "The Capture of the Cape of Good Hope for the Piano Forte or Harpsichord, Concluding With a Song & Chorus." Jane Mary Guest Miles, whose music is in both volumes 3 and 5, wrote expressive and virtuosic music. Elizabeth Weichsell Billington composed music in her youth, before pursuing a long and highly successful performing career. Mlle Benaut, whose first name remains unknown, wrote her few extant compositions before she was in her teens. The Dutch pianist and composer Gertrude van den Bergh studied piano with Ferdinand Ries. She published her first piano composition at age nine and continued to compose, perform, and conduct throughout her lifetime. She supported herself by teaching members of the Dutch royal family. Helene Riese Liebmann, another piano pupil of Ferdinand Ries, was recognized as a virtuosoat the age of ten. Her compositions for voice, piano, and chamber groups combine elements of Classical and early Romantic styles. Maria Szymanowska, whose music combines 18th-century genres with 19th-century language and texture, was one of the first women to achieve economic independence through teaching, public performance, and publication. Her marriage to a wealthy landowner dissolved because of his reluctance to allow her to pursue a professional musical career. She associated with a diverse group of intellectuals, writers, and composers in Warsaw and St. Petersburg, where she held a position as court pianist. All music titles and composer names appear on the music in this volume as they did in the original publication. We thank Eve R. Meyer for her editorial assistance in the preparation of volumes 3, 4, and 5. Special thanks to Sam Dennison for his expertise as indexer of this series.
We thank Eve R. Meyer for her editorial assistance in the preparation of volumes 3, 4, and 5. Special thanks to Sam Dennison for his expertise as indexer of this series.
Author: Martha Furman Schleifer
Publisher: Macmillan Reference USA
Presenting a range of ethnographic case studies from around the globe, this edited collection offers new ways of thinking about the interconnectivity of gender, place, and emotion in musical performance.
While my examples have been female singers, I have been careful to avoid labeling their practices as women's music. Such avoidance should not be read as ...
Author: Fiona Magowan
Publisher: Boydell & Brewer
Confronting arguments that denigrate women's ability to compose, Halstead (Liverpool Institute of Performing Arts) asks why women composers are still such a rarity in Britain at the end of the 20th century. She focuses on the experiences of nine composers born this century--Avril Coleridge Taylor, Grace Williams, Elizabeth Maconchy, Minna Keal, Ruth Gipps, Antoinette Kirkwood, Enid Luff, Judith Bailey and Bryony Jagger--in order to explore the physiological, social and political factors that have inhibited women from pursuing careers asAnnotation copyrighted by Book News, Inc., Portland, OR
Confronting arguments that denigrate women's ability to compose, Halstead (Liverpool Institute of Performing Arts) asks why women composers are still such a rarity in Britain at the end of the 20th century.
Author: Jill Halstead
A rich heritage that needs to be documented Beginning in 1869, when the study of homosexuality can be said to have begun with the establishment of sexology, this encyclopedia offers accounts of the most important international developments in an area that now occupies a critical place in many fields of academic endeavours. It covers a long history and a dynamic and ever changing present, while opening up the academic profession to new scholarship and new ways of thinking. A groundbreaking new approach While gays and lesbians have shared many aspects of life, their histories and cultures developed in profoundly different ways. To reflect this crucial fact, the encyclopedia has been prepared in two separate volumes assuring that both histories receive full, unbiased attention and that a broad range of human experience is covered. Written for and by a wide range of people Intended as a reference for students and scholars in all fields, as well as for the general public, the encyclopedia is written in user-friendly language. At the same time it maintains a high level of scholarship that incorporates both passion and objectivity. It is written by some of the most famous names in the field, as well as new scholars, whose research continues to advance gender studies into the future.
... seeking out and performing music written specifically by women composers, ... ironically, this group does not perform music by lesbian or gay composers, ...
Author: Bonnie Zimmerman
Sociology and Music Education addresses a pressing need to provide a sociological foundation for understanding music education. The music education community, academic and professional, has become increasingly aware of the need to locate the issues facing music educators within a broader sociological context. This is required both as a means to deeper understanding of the issues themselves and as a means to raising professional consciousness of the macro issues of power and politics by which education is often constrained. The book outlines some introductory concepts in sociology and music education and then draws together seminal theoretical insights with examples from practice with innovative applications of sociological theory to the field of music education. The book concludes with an Afterword by Christopher Small.
When we discover a woman , or a woman's mind , behind the music ... Increasing numbers of women today are specializing in performing music by women ...
Author: Ruth Wright
Publisher: Ashgate Publishing, Ltd.