The Routledge Handbook of Women s Work in Music Routledge Music Handbooks 1st Edition by Rhiannon 9780429575044 042957504

The Routledge Handbook of Women s Work in Music Routledge Music Handbooks 1st Edition Rhiannon Mathias – Ebook Instant Download/Delivery ISBN(s): 9780429575044, 042957504

Product details:

• ISBN 10:042957504
• ISBN 13:9780429575044
• Author:  Rhiannon 

The Routledge Handbook of Women’s Work in Music

Table contents:

PART I: Challenging gender inequalities
1 Grace, Betty, Maude and Me: 30 years of fighting for women composers
Organisations dedicated to women in music
Notes
References
2 ‘Where are we now?’: teaching and studying women composers post-Citron
2.1 Introduction
2.2 Contexts for the study of women composers
2.3 Gender and genre
2.4 Women composers and stylistic categories
2.5 Analysing women’s music
2.6 Conclusion
Notes
References
3 ‘Because I’m a girl’: exploring experiences, practices and challenges relating to gender and sexuality for female musicians in popular music higher education
3.1 Introduction
3.2 Gender in the music industry and popular music higher education
3.3 Young musicians, gender and sexuality research project
3.4 Musical instruments and technologies
3.5 Music-making and group dynamics
3.6 Performance and songwriting
3.7 Persona and image
3.8 Conclusion
Notes
References
4 Composer, mother
Notes
References
5 ‘The Algerian woman is very strong’: music, identity and gender in Algerian London
5.1 Gender and Algerian musics
5.2 Rachida
5.3 Yasmine
5.4 Tia
5.5 Conclusions
Notes
References
6 In search of the field: reflections on an ethnomusicological project in India
6.1 Introduction
6.2 An introduction to the Bauls of Bengal
6.3 Learning music and fieldwork relationships
6.4 Gender issues
6.5 Defining fieldwork roles, gender and performance
6.6 Conclusion
Notes
References
7 Women’s work in ethnomusicology: alternative spaces
7.1 Introduction
7.2 Jean Jenkins: public ethnomusicologist
7.3 Ethnomusicology today: women’s work?
Notes
References
PART II: (Re)Discoveries
8 A brief historical and sociological examination of twentieth-century Arab women composers and performers in Egypt
8.1 Introduction
8.2 Why this research?
8.3 Research questions and aims
8.4 A brief review of scholarship concerning women in music
8.5 Scholarship concerning Arab women composers
8.6 The influence of Western art music on the Arab world
8.7 The National Congress of Arabic Music, 1932
8.8 A brief historical discussion of Arab women composers
8.9 Conclusion and opportunities for further research
Notes
References
9 The rise and rise of women in Australian composition
Notes
References
10 Women composers and the Proms: the first 100 years (1895–1994)
10.1 The first decade (1895–1904)
10.2 The second decade (1905–1914)
10.3 Performances in the third, fourth and fifth decades (1915–1944)
10.4 The BBC Proms
10.5 The Proms and William Glock
10.6 Proms gender statistics: past, present … and the future
List of women composers whose works were performed in the first 100 years of the Proms (1895–1994)
Notes
References
11 Chasing María Teresa Lara: an autoethnographic account of trying to recuperate the story of a ‘lost’ woman composer
11.1 Introduction
11.2 Before the journey
11.3 The journey
11.4 A conclusion, for now
Notes
References
12 The artistic path and achievement of Polish composer Ewa Synowiec
12.1 Introduction
12.2 Methodological conception
12.3 The piano and first attempts at composing in childhood
12.4 The meeting with Bogusław Schaeffer: the phase of initial creativity
12.5 Rebellion in the years of maturity: getting away from performing
12.6 Drama of disease on the threshold of peak creativity
12.7 Last works
12.8 Conclusion
Notes
References
13 Composer, performer, teacher: Jeanne Barbillion (1895–1992) and the Scholar cantorum, Paris
13.1 Introduction
13.2 Jeanne Barbillion’s musical education at the Schola cantorum, Paris
13.3 Barbillion’s breakthrough as a composer: awards, concerts and successes in the inter-war years
13.4 Compositions, publishers and dedicatees: a preliminary survey
13.5 Conclusion
Notes
References
RISM Sigla
14 How Theocritus sang: Eleanor Everest Freer’s Sonnets from the Portuguese
Notes
References
15 A life in fragments: Morfydd Owen (1891–1918)
Notes
References
PART III: Aesthetics and music creation
16 Overcoming the ‘male gaze’ of music: towards renewed compositional strategies
16.1 Introduction
16.2 Proper and respectable contemporary music
16.3 Five compositional strategies
16.4 Composition: social science in the making
References
17 Voices, sounds and herstories: constructing feminist research in experimental music
17.1 Introduction
17.2 The project eight women for 8M: methodology and results
17.3 Discussing the interviews
Notes
References
18 Invisible canons: a reflective commentary on the formation of my personal canon of women composers
18.1 The Western art-canon and my pedagogical canon
18.2 Invisible canons: towards a canon of female composers
Notes
References
19 Storytelling in autoethnography – The Poetess
Notes
References
20 Chen Yi: trauma, myths, and representation
20.1 Experiences into compositional resources
20.2 Chinese Myths Cantata – background
20.3 Movement 2: Nü Wa creates human beings
20.4 Conclusion
Notes
References
21 Considering autonomy and collaboration in three concerti by Jennifer Higdon
21.1 Introduction
21.2 Collaborating with musicians: the soloist(s)
21.3 Collaborating with musicians: the conductor
21.4 Collaboration with listeners: the audience
Notes
References
22 Decoding the riddle: the tea-party scene in Unsuk Chin’s Alice in Wonderland
Notes
References
23 Kate Bush’s uncanny harmonic language
Notes
References
PART IV: Performance and reception
24 Notions of virtuosity, female accomplishment, and the violin as forbidden instrument in early-mid nineteenth-century England
24.1 Introduction
24.2 The female realm
24.3 Education
24.4 Music as accomplishment
24.5 Female intellect
24.6 Musical culture and virtuosity
24.7 The publicly performing woman musician in the nineteenth century
24.8 Conclusions
References
25 Visitors from ‘the merry town by the Danube’: Viennese ladies’ orchestras, public image and variety shows in Finland from 1870 to 1914
25.1 Introduction
25.2 Different marketing strategies for ladies’ orchestras
25.3 Visual and fictional representations of ladies’ orchestras
25.4 Journalism and music criticism: case Finland
25.5 Conclusion
Notes
References
26 Women song composers and the London Ballad Concerts
26.1 Introduction
26.2 The London Ballad Concert series
26.3 Popular women song composers at the London Ballad Concerts, their songs and singers
26.4 Conclusion
Notes
References
27 Sara González: a different song about women
27.1 Introduction
27.2 Formative confluences: popular music and art music
27.3 Grupo de Experimentación Sonora del ICAIC: the incidences of the female voice in an experimental project
27.4 A different voice: a women representing an epic discourse in the song
Notes
References
28 Changing roles of women in the gospel music performance space in Ghana
28.1 Introduction
28.2 A brief historical note on gospel music in Ghana
28.3 Women enter gospel music
28.4 Changing roles of women in the gospel music scene in Ghana
28.5 The Experience with Diana Antwi Hamilton
28.6 Women in Worship
28.7 The Tehillah Experience
28.8 Women Called to Worship
28.9 Conclusion
Notes
References
29 Māori women at the forefront of Aotearoa/New Zealand music in the mid 1980s and early 1990s
29.1 Introduction – contemporary popular Māori music
29.2 ‘Poi E’
29.3 Songs of protest
29.4 Mahinaarangi Tocker and Moana Maniapoto
29.5 Hinewehi Mohi, Emma Paki and Maree Sheehan
29.6 Conclusion
Glossary of Māori words
Notes
References
30 The stereotypical image and body representation of Taiwanese female musicians
30.1 Introduction
30.2 The stereotype and the visuality
30.3 The influence of the image on life
30.4 The forces of the stereotype
30.5 Conclusion
Notes
References
PART V: Opportunities and leadership in the music professions
31 Climb every mountain
31.1 Introduction
31.2 Four favourite landmarks for women in music
31.3 Five big mountains we still have to climb
Notes
References
32 Celebrating women composers on BBC Radio 3
32.1 Celebrating International Women’s Day (IWD)
32.2 IWD 2015
32.3 IWD 2016
32.4 IWD 2017
32.5 IWD 2018
32.6 IWD 2019
32.7 Conclusion
Notes
References
33 Contested spaces: gender dynamics in independent radio stations in London
33.1 Introduction
33.2 Literature review: gender in music, media and alternative media studies
33.3 Data analysis: the spaces of independent radio
33.4 Conclusion
Note
References
34 ‘And her voice is a backwards record’: the gendering of phonograph technology
34.1 Introduction
34.2 Pre-war neutrality?
34.3 Post-war audiomania
34.4 Technological otherness
34.5 Social sanctions
34.6 Internalised patriarchal capital in action
34.7 Conclusion
Note
References
35 Cracks in the glass ceiling: women conductors, new trends, old challenges
35.1 Introduction and background
35.2 Training programmes and professional initiatives
List of training programmes and opportunities for women conductors
References
36 Personal reflections on professional experience of women’s liturgical leadership as musicians in the Roman Catholic Church
The interview questions, process (summarised) and participants (anonymised)
Notes
References
37 Re-mapping and connecting bodies of women musicians
37.1 Introduction
37.2 Body Mapping
37.3 Gender
37.4 In music settings
37.5 Movement
37.6 How does this translate to a musical setting?
37.7 Space
37.8 The ideal feminine body
37.9 In musical settings
37.10 Media messages and self-perception
37.11 Conclusions
References
PART VI: New perspectives on women’s work in music
38 Materiality, editorship and canonisation in Wang Duanshu’s Collection of Elegance (1667)
38.1 Introduction
38.2 Materialisation of late Ming (1573–1644), female-authored songs: texts and contexts
38.3 Wang Duanshu’s critical values: reading womanly virtue, music aesthetics and canonicity in the Collection of Elegance
38.4 Conclusion
Notes
References
39 Mary Carlisle Howe (1882–1964) and Adella Prentiss Hughes (1869–1950): creating an arts culture in America, one woman at a time
39.1 Introduction
39.2 Mary Howe and the Friday Morning Music Club
39.3 Adella Prentiss Hughes and the Fortnightly Musical Club of Cleveland
Notes
References
40 Louise Hanson-Dyer (1884–1962): patroness of music publishing
40.1 Introduction
40.2 A woman with her own press
40.3 Unafraid of new adventures
40.3.1 ‘Remember me!!!’
Notes
References
41 Lady Llanover and the Swedish connection: a Welsh musical legacy
41.1 Augusta Hall – Lady Llanover
41.2 The Welsh triple harp
41.3 The Swedish harpist Adolf Sjödén
41.4 Music making in Wales and London – Lady Llanover and Adolf Sjödén
41.5 Lady Llanover’s legacy
41.6 Conclusion
Notes
References
42 The women musicians of the British ethical movement, 1887–1927
42.1 Introduction
42.2 How music shaped the ethical movement
42.3 Composers
42.4 Performers
42.5 Conclusion
Notes
References
43 The role of women in Irish music institutions in the early twentieth century
43.1 Introduction
43.2 Musical foundations
43.3 Hidden figures in Irish music institutions
43.4 The quest for an independent Irish music institution
43.5 Conclusion
Notes
References
44 The Beedle-Carter correspondence: an analysis of the cultural work undertaken by Maureen Beedle to promote Elliott Carter’s music in the UK and Europe
44.1 Composers and their publishers
44.2 The Correspondents
Maureen Beedle
Elliott Carter
Helen Carter
44.3 In Sleep, in Thunder (1981)
44.4 Significance of cultural work
Notes
References
Index

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