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
- 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
Part I - The Classical Tradition
Published online by Cambridge University Press: 17 April 2021
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
- 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
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- The Cambridge Companion to Women in Music since 1900 , pp. 1 - 100Publisher: Cambridge University PressPrint publication year: 2021
References
Further Reading
Block, Adrienne Fried. Amy Beach: Passionate Victorian: The Life and Work of an American Composer 1867–1944 (New York and Oxford: Oxford University Press, 1998).Google Scholar
Brown, Rae Linda, The Heart of a Woman: The Life and Music of Florence B. Price (Urbana, Chicago and Springfield: University of Illinois Press, 2020).Google Scholar
Hamer, Laura. Female Composers, Conductors, Performers: Musiciennes of Interwar France, 1919–1939 (Abingdon and New York: Routledge, 2018).Google Scholar
Mathias, Rhiannon. Lutyens, Maconchy, Williams and Twentieth-Century British Music: A Blest Trio of Sirens (Farnham: Ashgate, 2012).Google Scholar
Tick, Judith. Ruth Crawford Seeger: A Composer’s Search for American Music (Oxford and New York: Oxford University Press, 1997).Google Scholar
Further Reading
Gideon, Miriam and Pinnolis, Judith Shira. ‘A Conversation with Miriam Gideon (1906–1996).’ Musica Judaica, vol. 17 (June 1977), 106–41.Google Scholar
Jolas, Betsy. Molto Espressivo (Paris: L’itineraire, 1999). Collected writings (in French).Google Scholar
Mathias, Rhiannon. Lutyens, Maconchy and Williams and Twentieth Century Music: A Blest Trio of Sirens (Farnham: Ashgate, 2012).Google Scholar
Musgrave, Thea and Oteri, Frank J.. ‘Thea Musgrave: Where the Practicality Comes In’, NewMusicBox, New York (December 2017); available at https://nmbx.newmusicusa.org/thea-musgrave-where-the-practicality-comes-in/ (accessed 11 December 2020).Google Scholar
Further Reading
Lukomsky, Vera. ‘“The Eucharist in My Fantasy”: Interview with Sofia Gubaidulina.’ Tempo, vol. 206 (1998), 29–35.CrossRefGoogle Scholar
Lukomsky, Vera. ‘“Hearing the Subconscious”: Interview with Sofia Gubaidulina.’ Tempo, vol. 209 (1999), 27–31.Google 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
Further Reading
Kelly, Jennifer. In Her Own Words: Conversations with Composers in the United States (Urbana: University of Illinois Press, 2013).Google Scholar
Macarthur, Sally. ‘The Woman Composer, New Music and Neoliberalism.’ Musicology Australia, vol. 36, no. 1 (2014), 36–52.Google Scholar
Rutherford-Johnson, Tim. Music After the Fall: Modern Composition and Culture since 1989 (Oakland: University of California Press, 2017).CrossRefGoogle Scholar
Further Reading
Brooks, Jeanice. ‘Noble et grande servant de la musique: Telling the Story of Nadia Boulanger’s Conducting Career.’ Journal of Musicology, vol. 14, no. 1 (Winter 1996), 92–116.Google Scholar
Edwards, J. Michele. ‘Women on the Podium’, in Bowen, José (ed.), The Cambridge Companion to Conducting (Cambridge and New York: Cambridge University Press, 2003), 220–36.Google Scholar
Hamer, Laura. ‘On the Conductor’s Podium: Jane Evrard and the Orchestre féminin de Paris.’ The Musical Times, vol. 152, no. 1916 (Autumn 2011), 81–100.Google Scholar
Neuls-Bates, Carol. ‘Women’s Orchestras in the United States, 1925–45’, in Bowers, Jane and Tick, Judith (eds.), Women Making Music: The Western Art Tradition, 1150–1950 (Urbana and Chicago: University of Illinois Press, 1986), 349–69.Google Scholar
Further Reading
Auslander, Philip. ‘Musical Personae.’ The Drama Review, vol. 50, No. 1 (2006), 100–19.Google Scholar
Davidson, Jane. ‘The Solo Performer’s Identity’, in MacDonald, Raymond, Hargreaves, David J., and Miell, Dorothy (eds.), Musical Identities (Oxford: Oxford University Press, 2002), 97–115.Google Scholar
Mulvey, Laura. ‘Visual Pleasure and Narrative Cinema.’ Screen, vol. 16, no. 3 (1975), 6–18.Google Scholar