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Journal articles on the topic 'Music by women composers'

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Published: 4 June 2021

Last updated: 5 March 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Rickards, Guy. "Recent releases of music by women composers." Tempo 60, no. 236 (March 23, 2006): 85–93. http://dx.doi.org/10.1017/s0040298206310157.

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12

Bennett, Dawn, Sally Macarthur, Cat Hope, Talisha Goh, and Sophie Hennekam. "Creating a career as a woman composer: Implications for music in higher education." British Journal of Music Education 35, no. 3 (June 13, 2018): 237–53. http://dx.doi.org/10.1017/s0265051718000104.

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Recent decades have seen gender and feminist research emerge as major fields of enquiry in musicology and to a far lesser extent, music education. While these fields have increased awareness of the issues confronting women and other marginalised groups, the pedagogical practices and curricular design that might support aspiring women composers are in urgent need of attention. This article reports from an international survey of women composers (n=225), who in western art music continue to experience a masculine bias that has its roots in the past. The findings in the survey were focused on income, work and learning, relationships and networks, and gender. Numerous composers surveyed noted the under-representation of music composed by women in their higher education curricula. They also described their unpreparedness for a career in music. The article explores the issue of gender in music composition and makes practical recommendations for a more gender balanced music curriculum in higher education.

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13

Bonnycastle, Anne. "FEMALE STUDENTS TALK ABOUT WOMEN COMPOSERS: TWO MISCONCEPTIONS AND A SELF-LIMITING BELIEF." Canadian Journal of Action Research 19, no. 2 (November 23, 2018): 67–79. http://dx.doi.org/10.33524/cjar.v19i2.386.

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This paper describes an action research project that investigated female high school orchestral students’ reflections after they had spent a term playing an all-female composed repertoire set. Analysis of conversational interviews showed that participants commonly held two misconceptions: that few women composed music in the past and that there is no gender gap in contemporary music composition. At the same time, participants attributed their intention to not pursue music composition as a career to their belief that they lacked the innate talent and creativity required to become a successful composer. Simply adding women composers to the repertoire was not sufficient an intervention to change students’ attitudes: the need for further educational intervention is discussed.

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14

Dennison, Sam, Anya Laurence, Judith Lang Zaimont, Karen Famera, Miriam Stewart-Green, Don L. Hixon, and Don Hennessee. "Women of Notes: 1,000 Women Composers Born before 1900." American Music 3, no. 4 (1985): 479. http://dx.doi.org/10.2307/3051837.

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15

Game-Lopata, Jenny. "Women of Note: The Rise of Australian Women Composers." Musicology Australia 36, no. 1 (January 2, 2014): 153–58. http://dx.doi.org/10.1080/08145857.2014.911066.

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16

Lindstedt, Iwona. "“Why Are Our Women-Composers So Little Known?”." Musicology Today 16, no. 1 (December 31, 2019): 43–64. http://dx.doi.org/10.2478/muso-2019-0004.

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Abstract Polish women-composers of the interwar period (1918–1939) have not been the subject of adequate research so far. We only have some contributory publications and general surveys dedicated to their output. This paper presents the initial results of a study that aims at creating a more multi-sided, in-depth picture of women-composers’ work, including their participation in local and international music life as well as their achievements in the field of composition, the styles and genres practised by selected representatives of this milieu. The paper also discusses the reception of these phenomena in the press of the period. My research leads me to the conclusion that, despite functioning in a kind of ‘parallel world’ in relation to the virtually all-male domain of music composition ‘proper’, the Polish women-composers did penetrate into that world, contributing to its dominant trends and tendencies, from Romantic inspirations to musical modernism, as well as popular music. Their contributions need to be taken into account if we wish fully to reconstruct and appreciate the Polish music created in that period.

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17

Ribić, Romana. "Contemporary music of Iceland in the post-romantic period: Jôrunn Viđar (Jôrunn Vidar, Reykjavik, Iceland, 1918-)." New Sound, no. 46 (2015): 141–54. http://dx.doi.org/10.5937/newso1546141r.

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This paper presents a brief overview of the development of Icelandic music through historical and artistic circumstances. We shall also point to the specific social attitude towards the female population and we shall deal with the few Icelandic women composers. Among them Jorunn Vidar particularly stands out, as a pianist, accompanist and music teacher. For over two decades, she was the only woman composer to be a member of the Society of Icelandic Composers. She wrote the music for the first Icelandic ballet suite and the first Icelandic film ever, arranging the old narrative songs called the 'thulur' as a pioneer. Her oeuvre includes a piano concerto, music for theater and film, chamber and choral music and solo songs. She was awarded the Order of the Falcon for accomplishments in music by the president of Iceland.

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18

Wollenberg, Susan, Julie Anne Sadie, and Rhian Samuel. "The New Grove Dictionary of Women Composers." Musical Times 136, no. 1826 (April 1995): 194. http://dx.doi.org/10.2307/1004172.

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19

Miller, Bonny H., and Carolynn A. Lindeman. "Women Composers of Ragtime: A Collection of Six Selected Rags by Women Composers." Notes 43, no. 3 (March 1987): 683. http://dx.doi.org/10.2307/898226.

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20

Hope, Cat, Nat Grant, Gabriella Smart, and Tristen Parr. "TOWARDS THE SUMMERS NIGHT: A MENTORING PROJECT FOR AUSTRALIAN COMPOSERS IDENTIFYING AS WOMEN." Tempo 74, no. 292 (March 6, 2020): 49–55. http://dx.doi.org/10.1017/s0040298219001177.

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AbstractThe Summers Night Project is an ongoing composer-mentoring programme established in 2018 by musicians Cat Hope and Gabriella Smart, with the support of the Perth-based new music organisation Tura New Music. The project aims to support and mentor emerging Australian female and gender minority composers to create new compositions for performance, with the aim of growing the gender diversity of composers in music programmes across Australia. Three composers were chosen from a national call for submissions, and works were performed by an ensemble consisting of members from the Decibel and Soundstream new music ensembles. Three new works were workshopped, recorded then performed on a short tour of Perth, Adelaide and Melbourne, Australia in July 2018. The project takes its name and inspiration from Australian feminist Anne Summers, author of the ground-breaking examination of women in Australia's history Damned Whores and God's Police (1975) and was inspired by her 2017 Women's Manifesto. This article examines the rationale for such a project, the processes and results of the project itself, and plans for its future.

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21

Swanekamp, Joan, Barbara Harbach, and James R. Briscoe. "Women Composers for the Harpsichord." Notes 45, no. 2 (December 1988): 379. http://dx.doi.org/10.2307/941367.

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22

Tsou, Judy, and Aaron I. Cohen. "International Encyclopedia of Women Composers." Notes 46, no. 3 (March 1990): 633. http://dx.doi.org/10.2307/941433.

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23

Block, Adrienne Fried, and Gene Claghorn. "Women Composers and Hymnists: A Concise Biographical Dictionary." American Music 4, no. 2 (1986): 225. http://dx.doi.org/10.2307/3051991.

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24

Krebs, Harald. "The ‘Power of Class’ in a New Perspective: A Comparison of the Compositional Careers of Fanny Hensel and Josephine Lang." Nineteenth-Century Music Review 4, no. 2 (November 2007): 37–48. http://dx.doi.org/10.1017/s1479409800000872.

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In her article ‘The Power of Class: Fanny Hensel’, Nancy Reich draws attention to the significance of social station as a constraint on Fanny Hensel’s musical career. While she acknowledges the existence of other barriers (such as religion, family traditions, and the influence on the Mendelssohns of Enlightenment philosophy), Reich emphasizes the role of contemporary expectations for upper-class women in limiting the scope of Hensel’s public musical activity. The identification of the ‘power of class’ as a factor in the careers of nineteenth-century women composers is an important contribution that deserves further investigation. Reich suggests a productive avenue for the exploration of this topic when she briefly compares Hensel’s career to those of two pianist-composers of lower social standing: Clara Schumann and Marie Pleyel. In this article, I pursue this avenue by comparing Hensel's career to that of another contemporary woman composer of a class lower than hers, namely Josephine Lang.

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25

Block, Adrienne Fried, and Aaron I. Cohen. "International Encyclopedia of Women Composers: Classical and Serious Music." American Music 3, no. 1 (1985): 107. http://dx.doi.org/10.2307/3052133.

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26

Tsou, Judy, Rose-Marie Johnson, and Heidi M. Boenke. "Violin Music by Women Composers: A Bio-Bibliographical Guide." Notes 47, no. 2 (December 1990): 396. http://dx.doi.org/10.2307/941984.

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27

Livingston, Carolyn. "Characteristics of American Women Composers: Implications for Music Education." Update: Applications of Research in Music Education 10, no. 1 (March 1991): 15–18. http://dx.doi.org/10.1177/875512339101000104.

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28

Baker, Vicki D. "Inclusion of Women Composers in College Music History Textbooks." Journal of Historical Research in Music Education 25, no. 1 (October 2003): 5–19. http://dx.doi.org/10.1177/153660060302500103.

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29

Charlton, Benjamin D. "Menstrual cycle phase alters women's sexual preferences for composers of more complex music." Proceedings of the Royal Society B: Biological Sciences 281, no. 1784 (June 7, 2014): 20140403. http://dx.doi.org/10.1098/rspb.2014.0403.

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Over 140 years ago Charles Darwin first argued that birdsong and human music, having no clear survival benefit, were obvious candidates for sexual selection. Whereas the first contention is now universally accepted, his theory that music is a product of sexual selection through mate choice has largely been neglected. Here, I provide the first, to my knowledge, empirical support for the sexual selection hypothesis of music evolution by showing that women have sexual preferences during peak conception times for men that are able to create more complex music. Two-alternative forced-choice experiments revealed that woman only preferred composers of more complex music as short-term sexual partners when conception risk was highest. No preferences were displayed when women chose which composer they would prefer as a long-term partner in a committed relationship, and control experiments failed to reveal an effect of conception risk on women's preferences for visual artists. These results suggest that women may acquire genetic benefits for offspring by selecting musicians able to create more complex music as sexual partners, and provide compelling support for Darwin's assertion ‘that musical notes and rhythm were first acquired by the male or female progenitors of mankind for the sake of charming the opposite sex’.

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30

Davidson, Mary Wallace, and Diane Peacock Jezic. "Women Composers: The Lost Tradition Found." Notes 47, no. 3 (March 1991): 801. http://dx.doi.org/10.2307/941923.

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31

Gelfand, Janelle Magnuson. "The pioneering spirit: Women composers of the older generation." Contemporary Music Review 16, no. 1-2 (January 1997): 5–19. http://dx.doi.org/10.1080/07494469700640021.

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32

Kabdurakhmanova, Luiza. "Three Generations Of Women-Composers In Uzbekistan." Eurasian music science journal, no. 1 (June 10, 2021): 75–85. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_1/54.

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The years of independence have been given to the musical art, and in particular to the piano creativity of the composers of Uzbekistan to realize the richest potential of spiritual and creative opportunities, to deeply understand their past, national culture, to open its potential in the context of cultural and spiritual renewal. This article is devoted to the problem of gender equality in Uzbekistan on the example of women music artists, despite the small percentage of female composers. From the first day of independence, the composers actively joined the process of spiritual revival and growth of national self-consciousness, inspired by the spirit of faith in their own strengths, freedom of creativity, confident of the bright future of our country and our people. This article examines the work of three women composers of Uzbekistan and their attempt to express through it their vision of the world.

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33

McAulay, Karen. "Representation of Women Composers in the Whittaker Library." Journal of Perspectives in Applied Academic Practice 11, no. 1 (February 22, 2023): 21–26. http://dx.doi.org/10.56433/jpaap.v11i1.533.

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The Whittaker Library at the Royal Conservatoire of Scotland has been making a concerted effort to improve the equality and diversity of our stock for some time. In this paper, I begin by outlining my own efforts to increase the Whittaker Library’s stock of music by women composers, and scholarly literature not only by but also about women composers. As a small library in a small specialist institution, the Royal Conservatoire of Scotland, resources are not limitless, but it has been possible to make this project one of our priority areas. I describe the measures taken to build up stock in this area, alongside building a dedicated page on the library’s portal. Running alongside this, I have made a similar drive to improve representation of music by composers of colour. Over and above all this, we have increased our social media activity; meanwhile, another colleague; has been working with some of our academic colleagues in terms of EDI in course reading lists, as I shall also describe; and a third has been working on EDI in the drama collection. Recognising the limitations not only of budgets, but also the comparative availability of materials by and about women only a few short decades ago – not to mention historically – I aim to provide food for thought, underlining the importance of close collaboration between the library and academic colleagues.

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34

MILLER, BONNY H. "Augusta Browne: From Musical Prodigy to Musical Pilgrim in Nineteenth-Century America." Journal of the Society for American Music 8, no. 2 (May 2014): 189–218. http://dx.doi.org/10.1017/s1752196314000078.

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AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publications, Augusta Browne “put herself into the text—as into the world, into history—by her own movement,” as feminist writer Hélène Cixous urged of women a century later. Browne maintained a presence in the periodical press for four decades in a literary career that spanned music journalism, memoir, humor, fiction, poetry, and Christian devotional literature, but one essay, “The Music of America” (1845), generated attention through the twentieth century. With much of her work now easily available in digitized sources, Browne's life can be recovered, her music experienced, and her prose reassessed, which taken together yield a rich picture of the struggles, successes, and opinions of a singular participant and witness in American music of her era.

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35

Doherty, Brian, Adel Heinrich, and Sally Jo Sloane. "Organ and Harpsichord Music by Women Composers: An Annotated Catalog." Notes 49, no. 4 (June 1993): 1485. http://dx.doi.org/10.2307/899405.

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36

Fuller, Sophie. "Unearthing a world of music: Victorian and Edwardian women composers." Women: A Cultural Review 3, no. 1 (June 1992): 16–22. http://dx.doi.org/10.1080/09574049208578100.

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37

Liao, Lin-Ni. "Taiwanese Women Composers of Mixed Music with Their Cultural Heritage." Contemporary Music Review 37, no. 1-2 (March 4, 2018): 161–73. http://dx.doi.org/10.1080/07494467.2018.1453363.

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38

Green, Lucy. "Book Review: The New Grove Dictionary of Women Composers." International Journal of Music Education os-26, no. 1 (November 1995): 84. http://dx.doi.org/10.1177/025576149502600110.

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39

Baker, Vicki, and Carter Biggers. "Research-to-Resource: Programming Ensemble Literature Composed by Women." Update: Applications of Research in Music Education 36, no. 3 (March 4, 2018): 51–54. http://dx.doi.org/10.1177/8755123318761915.

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Research has indicated that a gender imbalance exists in the field of music composition. This inequitable distribution is clearly demonstrated in a state-mandated repertoire list in which women represent 3% of the wind band composers and 12% of the choral composers (all voicings). Ensemble directors are in a position to affect a change by purchasing, performing, and promoting works by female composers, thus increasing their visibility and creating a demand for women’s publications. Intentional programming of works by female composers is an important factor in equalizing the gender representation of composers on a concert program. Lists of women composers and their works are readily available online, simplifying the repertoire selection process. Ensemble directors can also play a role in inspiring future generations of female composers, which is a fundamental solution to achieving gender parity.

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Tsou, Judy, Julie Anne Sadie, and Rhian Samuel. "The Norton/Grove Dictionary of Women Composers." Notes 53, no. 2 (December 1996): 423. http://dx.doi.org/10.2307/900111.

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Johnson, Naomi, and Matthew Dewey. "CONTENT TARGETS WORK: A PRACTICAL EXAMPLE OF CHANGING BEHAVIOURS AND PROCESSES IN PROGRAMMING WOMEN COMPOSERS." Tempo 74, no. 292 (March 6, 2020): 38–48. http://dx.doi.org/10.1017/s0040298219001165.

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AbstractIn September 2015, ABC Classic set a target of 5 per cent women composers on air as the beginning of a push to combat serious gender imbalance in the works broadcast on the network. This target has gradually changed broadcast culture, encouraging content makers to champion women's music and allowing for major programming events and goals, and it has led to an increase of women composers broadcast from 2.2 per cent in 2015 to 9.9 per cent in the 2018/19 reporting cycle. This article examines our journey over this time, arguing for targets as a means to enact change and establish concrete outcomes. It explores the ways in which a target has encouraged us to consider gaps in the content offered along with new opportunities to present music by hitherto under-represented composers. It also reflects on the work ahead, acknowledging the ongoing importance of targets in moving towards better gender representation in classical music programming.

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Simoni, Mary, Julie Anne Sadie, and Rhian Samuel. "The Norton/Grove Dictionary of Women Composers." Computer Music Journal 20, no. 3 (1996): 84. http://dx.doi.org/10.2307/3680830.

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Gergis, Sonia. "The Power of Women Musicians in the Ancient and Near East: The Roots of Prejudice." British Journal of Music Education 10, no. 3 (November 1993): 189–96. http://dx.doi.org/10.1017/s0265051700001741.

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Amongst the most fascinating discoveries made in recent years was the identification of the Egyptian songstress Iti (2450 BC) as the first woman composer to have been mentioned by name in musical history. This paper examines the status of professional women musicians in Ancient Egypt, their role in society and their contribution to various aspects of life and death. Reviewing the range of styles, practices and variety of instrumental and vocal ensembles in which women took part as composers, performers and instructors, the author traces the development of a musical tradition which would appear to throw light upon some long standing prejudices, and to have important implications for music education in multi-cultural schools today.

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Hinkle-Turner, Elizabeth. "Women and music technology: pioneers, precedents and issues in the United States." Organised Sound 8, no. 1 (April 2003): 31–47. http://dx.doi.org/10.1017/s1355771803001043.

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The origins of women's pioneering contributions to the repertoire and history of electroacoustic music can often be linked to the growth of academic and commercial electronic and computer music studios in North America. A signific ant number of early female composers in the medium received their initial training and experience in the United States and their accomplishments begin in the earliest decades of the twentieth century. Women's achievements in the educational and entertainment sectors have laid the foundation for subsequent generations who have influenced the aesthetic and technical path of electroacoustic music.Excerpted from several chapters of the author's historical series on women composers and music technology, the article outlines the contributions of several of the earliest women in the United States to the utilisation of music technology in creative work. Also discussed are research precedents in this area and issues regarding women and music technology in the United States today. With the creation of her book series outlining the achievements of women working with music technology, the author hopes to offer a valuable contribution to research on the history of electroacoustic music in general and women's representation in the genre in particular.

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Morishita, Chikako. "‘A SILENT AND INVISIBLE PRESSURE’: A PANEL DISCUSSION WITH EIGHT JAPANESE WOMEN COMPOSERS." Tempo 73, no. 290 (September 12, 2019): 25–39. http://dx.doi.org/10.1017/s004029821900055x.

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AbstractOn 27 August 2018, the first Women Composers Meeting (中堅女性作曲家サミット vol. 1) was held at the Social Business Lab in Tokyo as part of the Project PPP Summer Composition Academy. Eight Japanese women composers in their mid-thirties to early forties were invited to speak: Noriko Koide, Yu Kuwabara, Tomoko Momiyama, Chikako Morishita (moderator), Akiko Ushijima, Ai Watanabe, Yukiko Watanabe, and Akiko Yamane. This article is a compilation drawn from their three-hour discussion as well as from the opening and closing dialogues. All conversations were held in Japanese and are here translated for publication by the author with the aid of Michiko Saiki.

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Rolland, Nina. "When the poet becomes the muse." Journal of Romance Studies 21, no. 3 (December 1, 2021): 351–74. http://dx.doi.org/10.3828/jrs.2021.20.

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Women are ubiquitous in Charles Baudelaire’s poetry, presented either as ideal, unattainable figures, or as earthly, abominable creatures. Instead of examining the gaze of the poet on women, it is interesting to reverse the roles and to explore the gaze of women on Baudelaire, or more precisely what women hear in Baudelaire’s poetry: what happens when the poet becomes the muse? While the most famous musical settings of Baudelaire’s poems have been composed by men (Duparc, Fauré, Debussy), this article aims to uncover musical settings of Baudelaire’s poetry by twentieth-century female composers. In a first instance, this article offers an overview of twentieth-century songs by female composers; from the mélodies of Marie Jaëll to the contemporary settings of Camille Pépin, what do song settings of Baudelaire tell us about the visibility of female composers? Secondly, the article provides a detailed analysis of L’Albatros (1987), a music-theatre piece by Adrienne Clostre. By deconstructing Baudelaire’s poems, Clostre offers a reflection on creativity that cannot be separated from a general understanding of the place of female composers in society.

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Prado, Sharon S. "New wine into old bottles: Traditional media and contemporary women composers." Contemporary Music Review 16, no. 1-2 (January 1997): 45–57. http://dx.doi.org/10.1080/07494469700640061.

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Fuller, Sophie. "‘Putting the BBC and T. Beecham to Shame’: The Macnaghten–Lemare Concerts, 1931–7." Journal of the Royal Musical Association 138, no. 2 (2013): 377–414. http://dx.doi.org/10.1080/02690403.2013.830488.

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ABSTRACTThis article explores and contextualizes the Macnaghten–Lemare concerts, a London concert series run for six seasons in the 1930s by the violinist Anne Macnaghten and the conductor Iris Lemare, with the help of the composer Elisabeth Lutyens and others. Notable for their performances of the work of emerging British composers such as Benjamin Britten and Elizabeth Maconchy, the concerts are also remarkable for the central role played by women – as performers, organizers and composers – and for the space they provided for the unconventional and ignored. Drawing on interviews with Macnaghten and Lemare as well as extensive archival research, the article provides details of the 20 concerts and argues for their hitherto overlooked importance in understanding the British concert life of this decade.

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Bosma, Hannah. "Musical Washing Machines, Composer-Performers, and Other Blurring Boundaries: How Women Make a Difference in Electroacoustic Music." Articles 26, no. 2 (December 7, 2012): 97–117. http://dx.doi.org/10.7202/1013229ar.

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This essay explores the possibilities and limitations of an écriture féminine musicale in electroacoustic music. Theories by Cox, Dame, and Citron about "women's music" are discussed alongside research on women electroacoustic composers by McCartney and Hinkle-Turner, and analyses of works by Rudow, Isadora, and LaBerge. The operation of gendered musical categories is analysed in the appropriation of Cathy Berberian's "voice" by Berio. Strategies for destabilizing historically gendered categories in music are discussed, including feminine/feminist content, composer-performers, interdisciplinarity, and collaboration. The interdisciplinary character of many women's work may hamper its documentation and thus its survival. The author's research at NEAR/Donemus focuses on this problem.

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Olszanowski, Magdalena. "What to Ask Women Composers: Feminist Fieldwork in Electronic Dance Music." Dancecult 4, no. 2 (2012): 3–26. http://dx.doi.org/10.12801/1947-5403.2012.04.02.01.

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