1st Edition
The Routledge Companion to Women and Musical Leadership The Nineteenth Century and Beyond
The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond provides a comprehensive exploration of women’s participation in musical leadership from the nineteenth century to the present. Global in scope, with contributors from over 30 countries, this book reveals the wide range of ways in which women have taken leadership roles across musical genres and contexts, uncovers new histories, and considers the challenges that women continue to face.
The volume addresses timely issues in the era of movements such as #MeToo, digital feminisms, and the resurgent global feminist movements. Its multidisciplinary chapters represent a wide range of methodologies, with historical musicology, models drawn from ethnomusicology, analysis, philosophy, cultural studies, and practice research all informing the book. Including almost fifty chapters written by both researchers and practitioners in the field, it covers themes including:
· Historical Perspectives
· Conductors and Impresarios
· Women’s Practices in Music Education
· Performance and the Music Industries
· Faith and Spirituality: Worship and Sacred Musical Practices
· Advocacy: Collectives and Grass-Roots Activism
The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond draws together both new perspectives from early career researchers and contributions from established world-leading scholars. It promotes academic-practitioner dialogue by bringing contributions from both fields together, represents alternative models of women in musical leadership, celebrates the work done by women leaders, and shows how women challenge accepted notions of gendered roles. Offering a comprehensive overview of the varied forms of women’s musical leadership, this volume is a vital resource for all scholars of women in music, as well as professionals in the music industries and music education today.
List of Music Examples
List of Figures
List of Tables
Contributors Biographies
Abbreviations
Dedication and Acknowledgements
Chapter 1:
Laura Hamer and Helen Julia Minors, Introduction: Defining, Surveying and Interrogating Women in Musical Leadership, with suggested reading
Part 1: Historical Perspectives
Laura Hamer and Helen Julia Minors, Historical Perspectives, An Introduction
Chapter 2:
Sarah Clarke, Augusta Hervey: Lady of ‘The Ladies’ Guitar and Mandoline Band’,
Chapter 3:
Kathy Acosta Zavala, Examining the Birth of Guitar Societies in America: Vahdah Olcott-Bickford and the American Guitar Society
Chapter 4:
Bella Powell, ‘Scatter[ing] all prejudices to the winds’: Wilma Norman-Neruda and Camilla Urso as Leaders of the Nineteenth-Century All-Male String Quartet
Chapter 5:
Nuppu Koivisto-Kaasik, ‘The white slave trader’, Julius Onczay and his Ensemble: Patriarchal Power Structures and Strategies of Resistance in Late 19th-Century Ladies’ Orchestras
Chapter 6:
Ann Grindley, Sites of Empowerment: Fin-de-Siècle Salon Culture and the Music of Cécile Chaminade
Chapter 7:
Laura Hamer, ‘Une belle manifestation féministe’: The Formation of the Union des Femmes Professeurs et Compositeurs de Musique
Chapter 8:
Orla Shannon, The Forgotten Woman: Joan Trimble (1915 –2000) and the Canon of Twentieth-Century Irish Art Song
Chapter 9:
Elsa Calero-Carramolino, ‘There is no gate, no lock, no bolt that you can set upon the freedom of my mind’: Being a woman in Franco’s prisons: A Glimpse through Music
Chapter 10:
Walter Kurt Kreyszig, Sophie-Carmen Eckhardt-Gramatté (1899-1974) : “F2” —
Fact and Fiction of a Neglected Woman Composer
Part 2: Conductors and Impresarios
Laura Hamer and Helen Julia Minors, Conductors and Impresarios, An Introduction
Chapter 11:
Kenneth Baird, Rediscovering Lilian Baylis
Chapter 12:
Arianne Johnson Quinn and Sarah K. Whitfield, Musical Ghosts: Re-Instating Elsie April in Historical Narratives of the British Musical
Chapter 13:
Matteo Paoletti, ‘She is a degenerate cocaine addict’: Emma Carelli, a Diva-Impresario Facing her Opponents
Chapter 14:
Temina Cadi Sulumuna, Henriette Renié as a Harp Ensemble Leader, Choral and Orchestral Conductor, and Impresario in the Light of Archival Sources
Chapter 15:
Jean-Christoph Branger, translation by Kiefer Oakley, An American Women Violinist and Conductor in Paris: La Kazanova et ses Tziganes (1933–1938)
Chapter 16:
Kira Alvarez, Edis de Philippe, the Israel National Opera (INO), and the Politics of Music
Chapter 17:
Carola Darwin, Odaline de la Martinez – Conductor, Composer, Entrepreneur, Leader
Part 3: Women’s Practices in Music Education
Laura Hamer and Helen Julia Minors, Women’s Practices in Music Education, An Introduction
Chapter 18:
Judith Francois, Embodying the Rhythm of Self in Leadership
Chapter 19:
Jane Booth and Jane Cook, Learning to Coach, Coaching to Lead
Chapter 20:
Anne-Marie Beaumont, The Work that (Irish) Women Do: Reframing Leadership in a British University Céilí Band
Chapter 21:
Margaret J. Flood, ‘It’s Not About Me!’: The Life and Leadership of Cathi Leibinger
Chapter 22:
Abigail Bruce and Chamari Wedamulla, Addressing Cyclic Gender Constructs in Music and Music Education in the U.K.
Chapter 23:
Katherine Hanckel, Pipeline to the Podium Can Gender Differentiated Pedagogical Approaches Address the Underrepresentation of Women Conductors?
Chapter 24:
Michelle Phillips, Women Leading Change in Assessment Calibration
Chapter 25:
Cynthia Stephens-Himonides, Margaret Young and Melanie Bowers, Innovation and Leadership in Group Teaching across the Lifespan: Three Case Studies
Chapter 26:
Rebecca Berkley, Training Young Female Teachers in Choral Leadership: Building a Community of Practice
Part 4: Performance and the Music Industries
Laura Hamer and Helen Julia Minors, Performance and the Music Industries, An Introduction
Chapter 27:
Laura Hamer and Helen Julia Minors with Alice Farnham, Katy Hamilton, Emma Haughton, Sarah MacDonald, Jessy McCabe, Davina Vencatasamy and Eleanor Wilson, Conversations and Dialogues across Women’s Musical Leadership in the Industry
Chapter 28:
Rebekah E. Moore, Elizabeth Markow, Allison Gurland and Shannon Pires, Preparing Women for Musical Leadership: Student and Faculty Voices
Chapter 29:
Elizabeth Jones, Women Leading Opera (An Ethnography): How UK Opera Companies with Female Founders, Executives and Directors Create New Cultures of Consumerism and Innovation
Chapter 30:
Valentina Bertolani and Luisa Santacesaria, Women in the Italian Music Programming: Milan
Chapter 31:
Jenni Roditi, ‘What do we want our music to be?’: Critical Reflections on Creative Practice
Part 5: Faith and Spirituality: Worship and Sacred Musical Practices
Laura Hamer and Helen Julia Minors, Faith and Spirituality: Worship and Sacred Musical Practices, An Introduction
Chapter 32:
Danielle Padley, Leading the Way: Victorian Premonitions for the Female Voice in Anglo-Jewish Music
Chapter 33:
Rachel Adelstein, Sisters in Song: Women cantors and musical creativity in progressive Jewish Worship
Chapter 34:
Luis Gabriel Mesa Martinez, Maruja Hinestrosa: faith and introspection in a Colombian composer
Chapter 35:
Fung Ying Loo and Fung Chiat Loo, Undoing Sanctity: Imee Ooi’s Popular Contemporary Buddhist Music
Chapter 36:
Ahmed Al-Badr, The Female Role in Sacred Musical Practices in Shīʿah Rituals in Iraq
Chapter 37:
Theresa Parvin Stewart, A Muslim in a Baptist Church: Discovering My Calling as a Sacred Musician
Chapter 38:
John Martin, Power, Pop and Performance
Chapter 39:
Enya HL Doyle and Katherine Dienes-Williams, ‘No lady need apply’: Women and Girls in Cathedral Musical Leadership
Chapter 40:
Caroline Lesemann-Elliott, Unsuitable for Evensong: Examining Exclusion and Diversity in the Repertoire of Oxford Collegiate Anglican Choirs
Part 6: Advocacy: Collectives and Grass-Roots Activism
Laura Hamer and Helen Julia Minors, Advocacy: Collectives, and Grass-Roots Activism, An Introduction
Chapter 41:
Nicky Gluch, Power, Care and the Paradox of Leadership: A Kabbalistic Enquiry
Chapter 42:
Tahira Clayton, Amanda Ekery and Hannah Grantham, Toppling Systematic Exclusion: Women’s Roles in a Century of Jazz
Chapter 43:
Briony Cox-Williams, Mapping The Boundaries: Encountering Women’s Creativity in the Salon
Chapter 44:
Ananay Aguilar, Women’s leadership within Latin American Musicians’ Unions: Opportunities and Challenges
Chapter 45:
Helen Julia Minors, ‘Taking Race Live’ and ‘Equality, Diversity and Inclusion in Music Studies Network’: establishing collaborative networks for change
Chapter 46:
Hilary Friend and Helen Julia Minors, Women’s Revolutions Per Minute: access to, distribution and recognition of music by women
Chapter 47:
Stellan Veloce*, Brandon Farnsworth*, Rosanna Lovell*, Heidi Johnson~, Abi Bliss~, and Eddie Dobson~, Gender Relations in New Music (GRiNM)* and Yorkshire Sound Women Network (YSWN)~: Case Studies in Activism and Organisation for Change
Chapter 48:
Laura Watson, Sounding the Feminists: Campaigning for Institutional Change to Support Women in Music in Contemporary Ireland
Index
Biography
Laura Hamer is Senior Lecturer in Music at The Open University.
Helen Julia Minors is Professor and Head of the School of the Arts at York St John University.
The Routledge Global Companion to Women and Musical Leadership brings a fresh perspective to the growing body of research about women and music through its focus on leadership, and in fact it is the first volume of research dedicated to this topic. This spotlight on leadership allows the authors to articulate the broader effects of strategies to remedy the underrepresentation of women in many areas of musical activity and to examine these issues at an institutional level. This edited collection looks at women exercising leadership in many areas of music and from many different angles. The volume is strengthened by its wide-ranging dimensions, from the sixty-nine authors coming from throughout Europe as well as North and South America, Australia, and South Asia to the diversity of topics as well as varied methodologies utilized. The issues addressed move well beyond those most frequently addressed, e.g., composers, conductors, and performers to include women in faith and spiritual leadership roles (Jewish, Anglican, and different strands of spiritual music in India) and to advocacy and activism in music. From my outlook as both a musicologist and conductor—someone who has endeavored throughout my career to let each facet inform the other aspect of my work—this collection pays generous attention to both lived experiences and theoretical foundations. As someone who was intrigued by the conference, which fostered this volume, I look forward to its publication and to reading these new, fresh ideas.
—J. Michele Edwards, professor emerita of music, Macalester College, St. Paul, MN, USA
