Relevant bibliographies by topics / Music by women composers

Academic literature on the topic 'Music by women composers'

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Published: 4 June 2021
Last updated: 5 March 2023

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Journal articles on the topic "Music by women composers"

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Rickards, Guy. "Music by women composers." Tempo 59, no. 234 (September 21, 2005): 66–72. http://dx.doi.org/10.1017/s0040298205300325.

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HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.
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Broe, Carolyn Waters. "Viola Music by Women Composers." American String Teacher 57, no. 3 (August 2007): 68–71. http://dx.doi.org/10.1177/000313130705700312.

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Cant, Stephanie. "Women Composers and the Music Curriculum." British Journal of Music Education 7, no. 1 (March 1990): 5–13. http://dx.doi.org/10.1017/s0265051700007476.

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Despite the long-established move towards the inclusion of composition as an element of music in schools, many teachers continue to be wary of it. Lack of confidence amongst women music teachers in their own abilities as composers may be a key to this situation. It is suggested that this arises as a result of rarely seeing music by women composers played and studied with the same attention afforded to music written by men. The popular mythology that only men have the ability to compose is challenged, and an argument is made for the inclusion of music by women composers (past and present) in the curriculum of schools and colleges. Practical suggestions are made as to how this can be achieved despite the current lack of resources.
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WILSON KIMBER, MARIAN. "Women Composers at the White House: The National League of American Pen Women and Phyllis Fergus's Advocacy for Women in American Music." Journal of the Society for American Music 12, no. 4 (November 2018): 477–507. http://dx.doi.org/10.1017/s1752196318000378.

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AbstractWomen composers' concerts, arranged by Phyllis Fergus, were held for Eleanor Roosevelt at the White House in 1934 and 1936. They featured music by members of the National League of American Pen Women—an organization for writers, artists, and composers—and were part of a substantial agenda proposed by Fergus, its music director and later president, to achieve national recognition for its composer members. Drawing on Fergus's scrapbooks and documentation in the FDR Library and Pen Women's archives, this article explores the events that Fergus helped to organize, including concerts in Miami, Chautauqua, and Chicago, the latter played by members of the Women's Symphony Orchestra. White House appearances by Amy Beach helped emphasize the League's professional status, and the nationalistic tone of its publicity, urging audiences to “Buy American” during the Depression, worked to distract from age-old assertions of women's lack of creativity. However, the musicales for Roosevelt, who received the composers socially rather than as paid professionals, reinforced women's domestic position, and financial restraints limited most League programming to the genres typically associated with female composers. Despite its separation from a male mainstream, the NLAPW was nonetheless a significant force in promoting women's music in the 1930s.
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Hayes, Deborah, and Judith Tick. "American Women Composers before 1870." American Music 3, no. 4 (1985): 478. http://dx.doi.org/10.2307/3051836.

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Basart, Ann P., Aaron I. Cohen, and Jane Frasier. "International Discography of Women Composers." American Music 4, no. 2 (1986): 227. http://dx.doi.org/10.2307/3051992.

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Ellsworth, Therese. "Composers in academia: Women composers at American colleges and universities." Contemporary Music Review 16, no. 1-2 (January 1997): 27–36. http://dx.doi.org/10.1080/07494469700640041.

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Kálló, Krisztián. "Katalin Incze G.: Portrait af a Composer." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 9–19. http://dx.doi.org/10.24193/subbmusica.2022.1.01.

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"The aim of our study is to examine a complex issue, namely, the scarcity of female composers as a phenomenon, highlighting several historical and social factors that have led to the peculiar situation of our present time: women’s social role has been discriminated against, and they have been excluded from the artistic world. For the longest time in history, art was the privilege of men. This situation has in some ways improved and changed, but to this day, when we talk about composers, we almost certainly think of men. This study analyses the biography and work of Katalin Incze Gergely, a prominent figure in Cluj’s musical life, a composer, conductor, and music director, while also highlighting the fate and role of contemporary women composers in the musical field. The important stages and milestones of her career are mentioned; her relationship with music gives us an insight into what it means to be a woman composer today in a world that once prevented women from pursuing their creative aspirations. Keywords: Katalin Gergely Incze, female composer, composing, contemporary music "
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Wu, Di. "A Study of Clara Schumann's Piano Music Performance, Composition and Teaching under the Feminist Movement." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 22–27. http://dx.doi.org/10.54097/ehss.v5i.2878.

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The music of female composers has long been little studied, and the importance attached to female composers is far less than that of male composers. However, there are many excellent female composers in the history of music development, such as Clara Schumann. The 19th century, when Clara lived in the West, was a time of great talent, and poetry, literature, and music all developed tremendously, and some of the great works that have been passed down to the next generation were basically written in that era, and their authors are also remembered. This is another reflection of how difficult it was for a woman to occupy a place under male domination. In contrast, female musicians were somewhat underappreciated, due to the gender inequalities that society had given them, and their talents were buried. Clara's achievements as a multi-tasker, performer, composer, and educator have led the music world to reexamine the role of women in music history.
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Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (January 2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.

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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1; Krets for orchestra9; Respiro for clarinet and tape2; Zeugma for ensemble3; Toreuma for string quartet4; Verto for voice, cello & percussion5,6,7; Emutatio for voice, chorus and orchestra5,8,9. 1Kyberia, 2Lars Hilde (cl), 3Affinis Ensemble, 4Arditti String Quartet, 5Berit Ogheim (voice), 6Lene Grenager (vc), 7Cathrine Nyheim (perc), 8Oslo Chamber Choir, 9Norwegian Radio Orchestra c. Christian Eggen. Aurora ACD 5021.TAILLEFERRE: Works for piano. Cristiano Ariagno (pno). Timpani 1C1074.‘Sweetly I Rejoice: Music based on Songs and Hymns from Old Icelandic Manuscripts’ by HILDIGUNNUR RÚNARSDÒTTIR, MIST THORKELSDÒTTIR, THÒRDUR MAGNÚSSON, JÒN GUDMUNDSSON, ELÍN GUNNLAUGSDÒTTIR and STEINGRÍMUR ROHLOFF. Gríma Vocal Ensemble. Marta Gudrún Halldórsdóttir (sop), EThos String Quartet. Instrumental Ensemble c. Gunnstein Òlafsson. Smekkleysa SMK31 (2-CD set).‘I Start My Journey’: Sacred music by Anon, SMÁRI ÓLASON, ELÍN GUNNLAUGSDÒTTIR, STEFÁN ÓLAFSSON, JAKOB HALLGRIMSSON, BARA GRÍMSDÒTTIR, HRÒDMAR INGI SIGURBJÖRNSSON, GUNNAR REYNÍR SVEINSSON. Kammerkor Sudurlands c. Hilmar Örn Agnarsson. Smekkleysa SMK17.‘New Zealand Women Composers’. DOROTHY KER: The Structure of Memory. JENNY McLEOD: For Seven. GILLIAN WHITEHEAD: Ahotu (O Matenga). ANNEA LOCKWOOD/Lontano: Monkey Trips (1995). Lontano c. Odaline de la Martinez. LORELT LNT116.SPAIN-DUNK: Phantasy Quartet in D minor. BEACH: String Quartet in one movement. SMYTH: String Quartet in E minor. Archaeus String Quartet. Lorelt LNT114.SAARIAHO: Du cristal…a la fumée1–3; Nymphaea4; Sept Papillons2. 1Petri Alanko (alto fl), 2Anssi Karttunen (vlc), 3Los Angeles PO c. Esa-Pekka Salonen, 4Kronos Quartet. Ondine ODE 1047-2.
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Dissertations / Theses on the topic "Music by women composers"

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Rothenberg, Florie. "Music for clarinet and string quartet by women composers." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186505.

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This document examines works written by women composers for the ensemble comprised of clarinet and string quartet. A thorough search of clarinet and chamber music repertoire lists as well as reference materials devoted to women composers has yielded twenty pieces composed by women for this ensemble. The quintets by Elizabeth Maconchy, Ellen Taaffe Zwilich, and Ilse Fromm-Michaels are discussed in detail, primarily through analysis of theoretical properties, including formal structure, texture and timbre, harmonic idiom, and rhythmic and melodic language. An evaluation of performance requirements, leading to a determination of the level of ensemble needed for successful presentation is also provided, as is an aesthetic evaluation based on the above-mentioned analysis, existing criticism and personal opinion. A history of each composer's life is presented, with emphasis placed on her education and career. The remaining seventeen pieces are presented in the form of an annotated repertoire list. Ten of these works and their composers are discussed in a format similar to the works above, but in less detail. The composers in this category include: Stefania de Kenessey, Ruth Gipps, Elizabeth Gyring, Katherine Hoover, Nicola LeFanu, Helen Lipscomb, Vera Preobrajenska, Louise Talma, Julia Usher, and Joelle Wallach. Music for the remaining seven pieces has not been obtained, but limited historical data for each composer is provided.
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Fuller, Sophie. "Women composers during the British musical renaissance, 1880-1918." Thesis, Online version, 1998. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.263601.

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Wahl, Shelbie L. "By women, for women choral works for women's voices composed and texted by women, with an annotated repertoire list /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/788.

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Seddon, Laura. "The instrumental music of British women composers in the early twentieth century." Thesis, City University London, 2011. http://openaccess.city.ac.uk/1172/.

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This study focuses in detail on instrumental chamber music produced by women in the early twentieth century, a particularly fertile and under-represented period with regard to this topic and it draws on aspects of women’s history, British music history and feminist musicology. It argues that the Cobbett competitions instigated by Walter Willson Cobbett in 1905 and the formation of the Society of Women Musicians in 1911 contributed to the explosion of instrumental music, including phantasies, written by women in this period. It highlights women’s place in British musical society leading up to and during the First World War and investigates the relationship between Cobbett, the Society of Women Musicians and women composers themselves. Chamber works for a variety of instrumental combinations by six composers, Adela Maddison (1866-1929), Ethel Smyth (1858-1944), Morfydd Owen (1891-1918), Ethel Barns (1880-1948), Alice Verne-Bredt (1868-1958) and Susan Spain-Dunk (1880-1962) (all at different stages in their compositional careers at this time) are analysed. This is undertaken particularly with reference to their formal procedures, an issue much discussed by contemporary sources. The individual composers’ reactions (or lack of them) to the debate instigated by the Society of Women Musicians on the future of women’s music is considered in relation to their lives, careers and chamber music itself. As the composers in this study were not a cohesive group, creatively or ideologically, the dissertation draws on primary sources, especially the archives of the Society of Women Musicians and Marion Scott, as well as the writings of contemporary commentators, to assess the legacy of the chamber works produced.
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Cooke, Mary Lee. "Southern women, southern voices Civil War songs by southern women /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1477CookeML/umi-uncg-1477.pdf.

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Thesis (D.M.A.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Feb. 29, 2008). Directed by Nancy Walker; submitted to the School of Music. Includes bibliographical references (p. 160-176).
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Creasap, Susan D. "American women composers of band music : a biographical dictionary and catalogue of works." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1019472.

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Throughout the history of band music, works by women have received little, if any, acclaim. While some of the reasons for this lack of acknowledgment are grounded in the historical development of the band and the social restrictions of the times, an even greater problem has been the lack of reference sources concerning band works composed by women. Likewise, the works themselves are frequently unpublished. This study compiles a dictionary of American women composers who have written for band during the period from 1865 to 1996 and a catalogue of these works.The introduction presents a brief analysis of the status of the woman composer and her relationship with the historical development of the band tradition. A guide to the use of the dictionary outlines the decisions that were made in the compilation and presentation of the material. The actual dictionary includes entries for more than two hundred women who have composed at least one original composition for band. Each composer is represented by a biographical sketch including education; list of awards, honors, and grants; reference citations; and a catalogue of known band works. The list of works presents as much information as possible including title, year of composition and/or publication, level of difficulty, duration, and availability. Beyond the biographical entries, the 572 compositions for band composed by women are listed in the appendixes in four different formats: alphabetized by title of composition, alphabetized by composer's last name, listed by level of difficulty, and listed by year of composition or publication.Works range in difficulty from those that are intended for use with a beginner band, to compositions that were commissioned by the professional service bands of the United States. It is no surprise that the majority of these works were composed post-1970. The study makes no attempt to evaluate the musical value of any of the cited works, but rather is intended as an initial reference on the subject. It also raises several questions concerning the place of these works in the marketplace and in relation to other creative fields.
School of Music
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Richards, Melanie Ann. "A selected bibliography of music for clarinet and one other instrument by women composers." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244141413.

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Marcho, Trevor K. "Socially Responsible Music Repertoire: Composer Gender Diversity in Instrumental Ensembles." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1593085683940817.

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Taliani, Alexandra R. "An Annotated Catalog of the Music of Eusebia Simpson Hunkins in the Music and Dance Library Special Collections Room and the Mahn Center for Archives and Special Collections of Ohio University." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1587141633610687.

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Barber, Holly. "Women in the Spotlight| A Survey of Female Choral Composers for Middle and High School Choirs." Thesis, California State University, Los Angeles, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10618445.

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This project report presents a set of criteria for choosing a balanced program of repertoire for choirs, specifically focusing on increasing the representation of female composers in programming for middle and high school choirs. The recital given in conjunction with this report represents these criteria in action.

In addition to providing a biography of each composer and analyzing the text and musical structure of each song, the author includes her rationale for choosing each piece based on the criteria, as well as teaching strategies and conducting techniques employed. The project report also includes an appendix with an annotated bibliography to provide an updated resource for conductors at the middle and high school level who want to be deliberate in programming a more diverse representation of composers.

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Books on the topic "Music by women composers"

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Dees, Pamela Youngdahl. Piano music by women composers. Westport, Conn: Greenwood/Prager, 2004.

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Women music makers: An introduction to women composers. New York: Walker, 1992.

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Korean women composers and their music. Missoula, MT: College Music Society, 2012.

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Furman, Schleifer Martha, and Glickman Sylvia, eds. Women composers: Music through the ages. New York, NY: G.K. Hall, 1996.

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Hinson, Maurice. At the piano with women composers. [Van Nuys, CA]: Alfred Pub. Co., 1990.

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Austria. Bundesministerium für europäische und internationale Angelegenheiten., ed. Women/music: Austria. Vienna: Brandstätter, 2009.

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Austria. Bundesministerium für europäische und internationale Angelegenheiten., ed. Women/music: Austria. Vienna: Brandstätter, 2009.

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M, Bowers Jane, and Tick Judith, eds. Women making music. Urbana, IL: University of Illinois, 1986.

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Johnson, Calvert. Organ music by women composers before 1800. Pullman, WA: Vivace Press, 1993.

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Smith, Gail. Women composers in history: 18 intermediate to late intermediate piano pieces by 8 composers. Milwaukee, WI: Hal Leonard, 2013.

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Book chapters on the topic "Music by women composers"

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Bowers, Jane. "The Emergence of Women Composers in Italy, 1566–1700." In Women Making Music, 116–67. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-09367-0_6.

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Wolstencroft, Edwina. "Celebrating women composers on BBC Radio 3." In The Routledge Handbook of Women's Work in Music, 318–27. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429201080-32.

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Golding, Rosemary. "Anon., ‘Women as Composers’; and Anon., ‘Manliness in Music’." In Music in Nineteenth-Century Britain, 304–11. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003892-32.

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Bagge, Maren. "Women song composers and the London Ballad Concerts." In The Routledge Handbook of Women's Work in Music, 260–70. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429201080-26.

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Olson, Judith E. "Luise Adolpha Le Beau: Composer in Late Nineteenth-Century Germany." In Women Making Music, 282–303. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-09367-0_11.

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Clauson-Elliott, Susan. "Women composers and the Proms: the first 100 years (1895–1994)." In The Routledge Handbook of Women's Work in Music, 91–105. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429201080-10.

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Wollenberg, Susan. "‘Where Are We Now?’: teaching and studying women composers post-Citron." In The Routledge Handbook of Women's Work in Music, 19–25. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429201080-2.

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Bernstein, Jane A. "“Shout, Shout, Up with Your Song!” Dame Ethel Smyth and the Changing Role of the British Woman Composer." In Women Making Music, 304–24. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-09367-0_12.

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Appleby, Rosalind. "“Dear Women Composers in Australia (and Beyond)”: (A Letter from a Music Critic)." In A Century of Composition by Women, 209–23. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95557-1_11.

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Fuller, Sophie. "Grace, Betty, Maude and Me: 30 years of fighting for women composers." In The Routledge Handbook of Women's Work in Music, 9–18. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429201080-1.

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Conference papers on the topic "Music by women composers"

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Mo, Fan, Xingchao Wang, Shuaijun Li, and Huihuan Qian. "A Music Generation Model for Robotic Composers." In 2018 IEEE International Conference on Robotics and Biomimetics (ROBIO). IEEE, 2018. http://dx.doi.org/10.1109/robio.2018.8665078.

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Taylor, Stephen. "From Program Music to Sonification: Representation and the Evolution of Music and Language." In The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.060.

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Research into the origins of music and language can shed new light on musical representation, including program music and more recent incarnations such as data sonification. Although sonification and program music have different aims — one scientific explication, the other artistic expression — similar techniques, relying on human and animal biology, cognition, and culture, underlie both. Examples include Western composers such as Beethoven and Berlioz, to more recent figures like Messiaen, Stockhausen and Tom Johnson, as well as music theory, semiotics, biology, and data sonifications by myself and others. The common thread connecting these diverse examples is the use of human musicality, in the bio- musicological sense, for representation. Links between musicality and representation — dimensions like high/low, long/short, near/far, etc., bridging the real and abstract — can prove useful for researchers, sound designers, and composers.
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Zaozerskikh, Alena, and Mariya Chikhachyova. ""Memory of Culture" in Memorial Music by Siberian Composers." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.109.

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SANZHIEVA, L. N. "MUSIC OF COMPOSERS OF BURYATIA IN THE COUNTRY AND THE WORLD." In Scientific conference, devoted to the 95th anniversary of the Republic of Buryatia. Publishing House of the Buryat Scientific Center of the Siberian Branch of the Russian Academy of Science, 2018. http://dx.doi.org/10.30792/978-5-7925-0521-6-2018-213-216.

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Sporka, Adam J., Ben L. Carson, Paul Nauert, and Sri H. Kurniawan. "Toward accessible technology for music composers and producers with motor disabilities." In ASSETS '13: The 15th International ACM SIGACCESS Conference on Computers and Accessibility. New York, NY, USA: ACM, 2013. http://dx.doi.org/10.1145/2513383.2513412.

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West, Nicola, Tamara Rathcke, and Rachel Smith. "Timing in speech and music of contemporary English and Scottish composers." In Speech Prosody 2022. ISCA: ISCA, 2022. http://dx.doi.org/10.21437/speechprosody.2022-109.

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King, Rob. "‘Music of the People’: Music From Data as Social Commentary." In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.007.

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Data-music reflects the ubiquity of data in modern society. Composers have not engaged widely with the opportunities opened up by this, despite the chance to overcome a gulf between academic art music and social engagement. Their reluctance might be traced to the challenge of reconciling abstract data and concrete sound, in political implications, and in technological barriers in computer music. The present paper argues that socially relevant music composition for the 21st century can adopt a programme of sonification grounded in politically acute data. As examples of such practice, two compositions are discussed founded upon US and UK social data sets, and realised via the SuperCollider programming language. The consequences for the composer of new music are further discussed from political and musicological angles, with the ‘purpose’ of writing such music analysed from the perspective of various commentators.
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Deng, Kaiyuan. "Vocal Score and Piano Score The Interaction Between Chamber Music and Vocal Music of Chinese Composers." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.29.

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Чжао, Яньчжань. "The influence of Russian piano music on the work of Chinese composers." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.82.60.079.

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автор представляет краткий обзор становления фортепианной музыки в Китае, особое внимание обращая на влияние русской и советской музыкальной культуры и творчество самобытных китайских композиторов, использующих в своем творчестве народные мотивы. the author presents a brief overview of the formation of piano music in China, paying special attention to the influence of Russian and Soviet musical culture and the work of original Chinese composers using folk motifs in their work.
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Costa, Lucas F. P., and Andrés E. Coca S. "Characterization and identification of twelve-tone composers." In XV Encontro Nacional de Inteligência Artificial e Computacional. Sociedade Brasileira de Computação - SBC, 2018. http://dx.doi.org/10.5753/eniac.2018.4465.

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The individualism of each composer is shaped in an inherent way to his personality, aiming for recognition of particular form through the own songs. In this way, it is possible to categorize a musical subgenre at a deeper level by identifying the composer from his works. However, the characteristics of each composer are so varied that they are difficult to identify. In this paper it is proposed to use machine learning to classify works of twelve-tone music according to the composer, under the hypothesis that in choosing the twelve-tone series a part of his signature was reflected. Experimental results showed promising performance and confirmed the existence of a relation between composer and series.
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Reports on the topic "Music by women composers"

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Kvalbein, Astrid. Wood or blood? Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481278.

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Wood or Blood? New scores and new sounds for voice and clarinet Astrid Kvalbein and Gjertrud Pedersen, Norwegian Academy of Music What is this thing called a score, and how do we relate to it as performers, in order to realize a musical work? This is the fundamental question of this exposition. As a duo we have related to scores in a variety of ways over the years: from the traditional reading and interpreting of sheet music of works by distant (some dead) composers, to learning new works in dialogue with living composers and to taking part in the creative processes from the commissioning of a work to its premiere and beyond. This reflective practice has triggered many questions: could the score for instance be conceptualized as a contract, in which some elements are negotiable and others are not? Where two equal parts, the performer(s) and the composer might have qualitatively different assignments on how to realize the music? Finally: might reflecting on such questions influence our interpretative practices? To shed light on these issues, we take as examples three works from our recent repertoire: Ragnhild Berstad’s Vevtråd (Weaving thread, 2010), Jan Martin Smørdal’s The Lesser Nighthawk (2012) and Lene Grenager’s Tre eller blod (Wood or blood, 2005). We will share – attempt to unfold – some of the experiences gained from working with this music, in close collaboration and dialogue with the composers. Observing the processes from a certain temporal distance, we see how our attitudes as a duo has developed over a longer span of time, into a more confident 'we'.
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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.
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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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huang, shuwen, you wu, qiuping ren, jianying shen, wenna liang, and candong li. The effectiveness of five-element music therapy on anxiety and depression in perimenopausal women: A protocol of systematic review and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, June 2022. http://dx.doi.org/10.37766/inplasy2022.6.0091.

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