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Part I - Themes in Studying Women Composers

Published online by Cambridge University Press:  23 May 2024

Edited by
Matthew Head  and
Susan Wollenberg
Matthew Head
Affiliation:
King's College London
Susan Wollenberg
Affiliation:
University of Oxford
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The Cambridge Companion to Women Composers , pp. 17 - 92
Publisher: Cambridge University Press
Print publication year: 2024

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References

Further Reading

Head, Matthew. Sovereign Feminine: Music and Gender in Eighteenth-Century Germany (Berkeley: University of California Press, 2013).Google Scholar
Higgins, Paula. ‘The Apotheosis of Josquin des Prez and Other Mythologies of Musical Genius’, Journal of the American Musicological Society, 57 (2004), 443–510.CrossRefGoogle Scholar
Hisama, Ellie M. ‘Power and Equity in the Academy: Change from Within’, Current Musicology, 102 (2018), 81–92.Google Scholar
Lang, Gladys Engel, and Lang, Kurt. Etched in Memory: The Building and Survival of Artistic Reputation (Chapel Hill: University of North Carolina Press, 1990).Google Scholar
Lerner, Gerda. The Creation of Feminist Consciousness from the Middle Ages to Eighteen-Seventy (New York: Oxford University Press, 1993).CrossRefGoogle Scholar
Pollock, Griselda. Vision and Difference: Femininity, Feminism, and the Histories of Art (London: Routledge, 1988; classic edition with new preface, London: Routledge, 2003).Google Scholar

Further Reading

Citron, Marcia J. Gender and the Musical Canon [Citron, GMC], Chapter 4, ‘Music as Gendered Discourse’, 120–64.Google Scholar
Curtis, Liane. ‘Rebecca Clarke and Sonata Form: Questions of Gender and Genre’, Musical Quarterly, 81/3 (1997), 393–429.CrossRefGoogle Scholar
Grönke, Kadja. ‘Contrasting Concepts of Love in Two Songs by Alma Schindler (-Mahler) and Gustav Mahler’, in Women and the Nineteenth-Century Lied, ed. Kenny, Aisling and Wollenberg, Susan (Farnham: Ashgate, 2015), 217–29.Google Scholar
Head, Matthew. ‘Genre, Romanticism and Female Authorship: Fanny Hensel’s “Scottish” Sonata in G minor (1843)’ in ‘Fanny Hensel (née Mendelssohn Bartholdy) and Her Circle’: Proceedings of the Bicentenary Conference, Oxford, July 2005, special issue, ed. Susan, Wollenberg, Nineteenth-Century Music Review, 4/2 (December 2007), 67–87.CrossRefGoogle Scholar
Latham, Edward D. ‘Gapped Lines and Ghostly Flowers in Amy Beach’s “Phantoms”, Op. 15, No. 2 (1892)’, in Analytical Essays on Music by Women Composers, ed. Parsons, Laurel and Ravenscroft, Brenda, vol. 1, Secular and Sacred Music to 1900 (New York: Oxford University Press, 2018), 228–42.Google Scholar
Wollenberg, Susan. ‘“New Paths to Analysis”: The Case of Women Composers’, in L’Analyse musicale aujourd’hui/ Music Analysis Today, ed. Hascher, Xavier, Ayari, Mondher, and Bardez, Jean-Michel (Sampzon: Delatour, 2015), 291–312.Google Scholar

Further Reading

Beard, Mary. Women and Power: A Manifesto (London: Profile Books, 2017).Google Scholar
Citron, Marcia J. ‘Feminist Approaches to Musicology’, in Cecilia Reclaimed: Feminist Perspectives on Gender and Music, ed. Cook, Susan C. and Tsou, Judy (Urbana: University of Illinois Press, 1994), 15–34.Google Scholar
Cusick, Suzanne. ‘Gender, Musicology, and Feminism’, in Rethinking Music, ed. Cook, N. and Everist, M. (Oxford: Oxford University Press, 1999), 471–98.Google Scholar
McClary, Susan. ‘Foreword: Ode to Cecilia’, in Cecilia Reclaimed: Feminist Perspectives on Gender and Music, ed. Cook, Susan C. and Tsou, Judy (Urbana: University of Illinois Press, 1994), ix–xii.Google Scholar
Reich, Nancy B. ‘Women as Musicians: A Question of Class’, in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. Solie, R. A. (Berkeley: California University Press, 1993), 125–46.Google Scholar

Further Reading

Citron, Marcia J. Gender and the Musical Canon (1993), reprinted edition (Urbana: University of Illinois Press, 2000), Chapter 2, ‘Creativity’, 44–79, and Chapter 3, ‘Professionalism’, 80–119.Google Scholar

Listening

Amy Beach. Gaelic Symphony; Piano Concerto, Nashville Symphony Orchestra cond. Kenneth Schermerhorn, Naxos Classics: 8559139 (2003).

Cécile Chaminade. 6 Etudes de concert, op. 35: No. 2, ‘Automne’, Cécile Chaminade (piano), YouTube, www.youtube.com/watch?v=KyJ6wBj-kcQ.

Elizabeth Maconchy. The Land, Concertino for Piano and Orchestra, Music for Wind and Brass, Symphony for Double String Orchestra, BBC Scottish Symphony Orchestra cond. Odaline de la Martinez, Lorelt: LNT133 (2011).

Ethel Smyth. Concerto for Violin, Horn and Orchestra; Serenade in D, BBC Philharmonic cond. Odaline de la Martinez, Chandos: 5117610 (1996).

Maude Valérie White. ‘So We’ll Go No More A’roving’, Felicity Lott (soprano) and Graham Johnson (piano), YouTube, www.youtube.com/watch?v=9Ud-JEKc1LU.

Further Reading

Broad, Leah. Quartet: How Four Women Changed the Musical World (London: Faber & Faber, 2023).Google Scholar
Cusick, Suzanne G. ‘Feminist Theory, Music Theory, and the Mind/Body Problem’, Perspectives of New Music, 32/1 (Winter 1994), 8–27.CrossRefGoogle Scholar
DONNE: Women in Music. Equality and Diversity in Global Repertoire (September 2022).Google Scholar
Hisama, Ellie M. ‘Feminist Music Theory into the Millennium: A Personal History’, in Feminisms at a Millennium, ed. Allen, Carolyn and Judith, A. Howard (Chicago: University of Chicago Press, 2001), 276–80. Reprinted from special millennial issue of Signs: Journal of Women in Culture and Society, 25/4 (Summer 2000).Google Scholar
Macarthur, Sally. Feminist Aesthetics in Music (London: Greenwood Press, 2002).Google Scholar
Walters, Margaret. Feminism: A Very Short Introduction (New York: Oxford University Press, 2005).Google Scholar
White, Barbara. ‘Difference or Silence? Women Composers between Scylla and Charybdis’, Indiana Theory Review, 17/1 (1996), 77–85.Google Scholar

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