Book contents
- The Cambridge Companion to Women in Music since 1900
- Cambridge Companions to Music
- The Cambridge Companion to Women in Music since 1900
- Copyright page
- Dedication
- Contents
- Figures
- Boxes
- Notes on Contributors
- Preface
- Abbreviations
- Part I The Classical Tradition
- 1 Women in Composition before the Second World War
- 2 Women in Composition during the Cold War in Music
- 3 Behind the Iron Curtain: Female Composers in the Soviet Bloc
- 4 Still Exceptional? Women in Composition Approaching the Twenty-First Century
- 5 On the Podium: Women Conductors
- 6 Soloists and Divas: Evolving Opportunities, Identity, and Reception
- In Her Own Words: Practitioner Contribution 1
- Part II Women in Popular Music
- Part III Women and Music Technology
- Part IV Women’s Wider Work in Music
- Appendix: Survey Questions for Chapter 14, The Star-Eaters: A 2019 Survey of Female and Gender-Non-Conforming Individuals Using Electronics for Music
- Select Bibliography
- Index
- References
3 - Behind the Iron Curtain: Female Composers in the Soviet Bloc
from Part I - The Classical Tradition
Published online by Cambridge University Press: 17 April 2021
By
Edited by
Book contents
- The Cambridge Companion to Women in Music since 1900
- Cambridge Companions to Music
- The Cambridge Companion to Women in Music since 1900
- Copyright page
- Dedication
- Contents
- Figures
- Boxes
- Notes on Contributors
- Preface
- Abbreviations
- Part I The Classical Tradition
- 1 Women in Composition before the Second World War
- 2 Women in Composition during the Cold War in Music
- 3 Behind the Iron Curtain: Female Composers in the Soviet Bloc
- 4 Still Exceptional? Women in Composition Approaching the Twenty-First Century
- 5 On the Podium: Women Conductors
- 6 Soloists and Divas: Evolving Opportunities, Identity, and Reception
- In Her Own Words: Practitioner Contribution 1
- Part II Women in Popular Music
- Part III Women and Music Technology
- Part IV Women’s Wider Work in Music
- Appendix: Survey Questions for Chapter 14, The Star-Eaters: A 2019 Survey of Female and Gender-Non-Conforming Individuals Using Electronics for Music
- Select Bibliography
- Index
- References
Summary
Chapter 3, ‘Behind the Iron Curtain: Female Composers in the Soviet Bloc’, turns to the specific situation of women composers working within the Soviet Bloc, where despite the public advocation of gender equality by state-socialist regimes, more traditional constructs of gender difference actually tended to be propagated. With a particular focus on the careers of Galina Ustvolskaya and Sofia Gubaidulina in the USSR, Ruth Zechlin in the GDR, and Grażyna Bacewicz in Poland, Elaine Kelly probes the possibilities open to female composers working under state socialism.
Keywords
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- Information
- The Cambridge Companion to Women in Music since 1900 , pp. 33 - 47Publisher: Cambridge University PressPrint publication year: 2021
References
Further Reading
Lukomsky, Vera. ‘“The Eucharist in My Fantasy”: Interview with Sofia Gubaidulina.’ Tempo, vol. 206 (1998), 29–35.Google Scholar
Lukomsky, Vera. ‘“Hearing the Subconscious”: Interview with Sofia Gubaidulina.’ Tempo, vol. 209 (1999), 27–31.CrossRefGoogle Scholar
Morrison, Simon. ‘Galina Ustvolskaya Outside, Inside, and Beyond Music History.’ Journal of Musicology, vol. 36 (2019), 96–129.Google Scholar
Noeske, Nina. ‘Gender Discourse and Musical Life in the GDR’, in Kelly, Elaine and Wlodarski, Amy (eds.), Art Outside the Lines: New Perspectives on GDR Art Culture (Amsterdam & New York: Rodopi, 2011), 175–91.Google Scholar