The Routledge Handbook of Women’s Work in Music  book cover
1st Edition

The Routledge Handbook of Women’s Work in Music

Edited By

Rhiannon Mathias

  • Available for pre-order. Item will ship after December 24, 2021
ISBN 9780367192099
December 24, 2021 Forthcoming by Routledge
496 Pages 71 B/W Illustrations

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Book Description

The Routledge Handbook of Women’s Work in Music presents a unique collection of core research by academics and music practioners from around the world, engaging with an extraordinarily wide range of topics on women’s contributions (both historical and present-day) to Western and Eastern art music, popular music, world music, music education, ethnomusicology, music technology as well as in the music industries.

The Handbook falls into six parts. Part I serves as an introduction to the rich variety of subject matter the reader can expect to encounter in the handbook as a whole. Part II focuses on what might be termed the more traditional strand of feminist musicology – research which highlights the work of historical and/or neglected composers. Part III explores topics concerned with feminist aesthetics and music creation, and Part IV focuses on questions addressing the performance and reception of music and musicians. The narrative of the handbook shifts in Part V to focus on opportunities and leadership in the music professions from a Western perspective. The final section of the handbook (Part VI), provides new frames of context for women’s social positions as workers, educators, patronesses, activists and promoters of music.

This is a key reference work for advanced undergraduates, postgraduates and researchers in music and gender.

Table of Contents


Editor’s Introduction

Part I: Challenging Gender Inequalities

  1. Sophie Fuller, Grace, Betty, Maude and Me: 30 Years of Fighting for Women Composers
  2. Susan Wollenberg, ‘Where Are We Now?’: Teaching and Studying Women Composers post-Citron
  3. Helen Elizabeth Davies, ‘Because I’m a Girl’: Exploring Experiences, Practices and Challenges Relating to Gender and Sexuality for Female Musicians in Popular Music Higher Education
  4. Emily Doolittle, Composer, Mother
  5. Stephen Wilford, ‘The Algerian woman is very strong’: Music, Identity and Gender in Algerian London
  6. Valentine Harding, In Search of the Field: Reflections on an Ethnomusicological Project in India
  7. Christina Homer, Women’s Work in Ethnomusicology: Alternative Spaces
  8. Part II: (Re)Discoveries

  9. Zaina Shihabi, A Brief Historical and Sociological Examination of Twentieth Century Arab Women Composers and Performers in Egypt
  10. Sally Macarthur, The Rise and Rise of Women in Australian Composition
  11. Susan Clauson-Elliott, Women Composers and the Proms: The First 100 Years (1895-1994)
  12. Claudia Chibici-Revneanu, Chasing María Teresa Lara: An Autoethnographic Account of Trying to Recuperate the Story of a ‘Lost’ Woman Composer
  13. Joanna Schiller-Rydzewska, The Artistic Path and Achievement of Polish Composer Ewa Synowiec
  14. Eva M. Maschke, Composer, Performer, Teacher: Jeanne Barbillion (1895-1992) and the Schola Cantorum de Paris
  15. Elisabeth Honn Hoegberg, How Theocritus Sang: Eleanor Everest Freer’s Sonnets from the Portuguese
  16. Rhian Davies, A Life in Fragments: Morfydd Owen (1891-1918)
  17. Part III: Aesthetics and Music Creation

  18. Rebecka Sofia Ahvenniemi, Overcoming the ‘Male Gaze’ of Music: Towards Renewed Compositional Strategies
  19. Isabel Nogueira, Voices, Sounds and Herstories: Constructing Feminist Research in Experimental Music
  20. Angela Slater, Invisible Canons: A Reflective Commentary on the Formation of my Personal Canon of Women Composers
  21. Lucy Hollingworth, Storytelling in Autoethnography – The Poetess
  22. J. Michele Edwards, Chen Yi: Trauma, Myths, and Representation
  23. Laura Dallman, Considering Autonomy and Collaboration in Three Concerti by Jennifer Higdon
  24. Ji Yeon Lee, Decoding the Riddle: The Tea-Party Scene in Unsuk Chin’s Alice in Wonderland
  25. David Forrest, Kate Bush’s Uncanny Harmonic Language
  26. Part IV: Performance and Reception

  27. Bella Powell, Notions of Virtuosity, Female Accomplishment, and the Violin as Forbidden Instrument in Early-Mid Nineteenth-Century England
  28. Nuppu Koivisto, Visitors from ‘the Merry Town by the Danube’: Viennese Ladies’ Orchestras, Public Image and Variety Shows in Finland from 1870-1914
  29. Maren Bagge, Women Song Composers and the London Ballad Concerts
  30. Ivette Janet Céspedes Gómez, Sara Gonzáles: A Different Song About Women
  31. Grace Takyi Donkor, Changing Roles of Women in the Gospel Music Performance Space in Ghana
  32. Maree Sheehan, Māori Women at the Forefront of Aotearoa/New Zealand Music in the Late 1980s and Early 1990s
  33. Li-ming Pan, The Stereotypical Image and Body Representation of Taiwanese Female Musicians
  34. Part V: Opportunities and Leadership in the Music Professions

  35. Jessica Duchen, Climb Every Mountain
  36. Edwina Wollstencroft, Celebrating Women Composers on BBC Radio 3
  37. Miia Laine, Contested Spaces: Gender Dynamics in Independent Radio Stations in London
  38. Karlyn King, ‘And her voice is a backwards record’: The Gendering of Phonograph Technology
  39. Carolyn Watson, Cracks in the Glass Ceiling: Women Conductors, New Trends, Old Challenges
  40. Frances Novillo, Personal Reflections on Professional Experience of Women’s Liturgical Leadership as Musicians in the Roman Catholic Church
  41. Gabriela Sanchez Diaz, Re-Mapping and Connecting Bodies of Women Musicians
  42. Part IV: New Perspectives on Women’s Work in Music

  43. Yuemin He, Materiality, Editorship and Canonisation in Wang Duanshu’s Collection of Elegance (1667)
  44. Jennifer Cable, Mary Carlisle Howe (1882-1964) and Adella Prentiss Hughes (1869-1950): Creating an Arts Culture in America, One Woman at a Time
  45. Elina G Hamilton, Louise Hanson-Dyer (1884-1962): Patroness of Music Publishing
  46. Lia Lonnert and Helen Davies Mikkelborg, Lady Llanover and the Swedish Connection: A Welsh Musical Legacy
  47. Jessica Beck, The Women Musicians of the British Ethical Movement, 1887-1927
  48. Kirsite Alison Muldoon, The Role of Women in Irish Music Institutions in the Early Twentieth Century
  49. Helen C. Thomas, 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

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Dr. Rhiannon Mathias is a Lecturer and Music Fellow at Bangor University, UK, and Director of the International Conferences on Women’s Work in Music (2017, 2019, 2021, Bangor University).