1st Edition
The Routledge Handbook of Women’s Work in Music
The Routledge Handbook of Women’s Work in Music presents a unique collection of core research by academics and music practitioners from around the world, engaging with an extraordinarily wide range of topics on women’s contributions to Western and Eastern art music, popular music, world music, music education, ethnomusicology 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 positions as workers, educators, patrons, activists and promoters of music.
This is a key reference work for advanced undergraduates, postgraduates and researchers in music and gender.
Part I: Challenging Gender Inequalities
- Sophie Fuller, Grace, Betty, Maude and Me: 30 Years of Fighting for Women Composers
- Susan Wollenberg, ‘Where Are We Now?’: Teaching and Studying Women Composers post-Citron
- 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
- Emily Doolittle, Composer, Mother
- Stephen Wilford, ‘The Algerian woman is very strong’: Music, Identity and Gender in Algerian London
- Valentine Harding, In Search of the Field: Reflections on an Ethnomusicological Project in India
- Christina Homer, Women’s Work in Ethnomusicology: Alternative Spaces
- Zaina Shihabi, A Brief Historical and Sociological Examination of Twentieth-Century Arab Women Composers and Performers in Egypt
- Sally Macarthur, The Rise and Rise of Women in Australian Composition
- Susan Clauson-Elliott, Women Composers and the Proms: The First 100 Years (1895–1994)
- Claudia Chibici-Revneanu, Chasing María Teresa Lara: An Autoethnographic Account of Trying to Recuperate the Story of a ‘Lost’ Woman Composer
- Joanna Schiller-Rydzewska, The Artistic Path and Achievement of Polish Composer Ewa Synowiec
- Eva M. Maschke, Composer, Performer, Teacher: Jeanne Barbillion (1895-1992) and the Schola Cantorum de Paris
- Elisabeth Honn Hoegberg, How Theocritus Sang: Eleanor Everest Freer’s Sonnets from the Portuguese
- Rhian Davies, A Life in Fragments: Morfydd Owen (1891–1918)
- Rebecka Sofia Ahvenniemi, Overcoming the ‘Male Gaze’ of Music: Towards Renewed Compositional Strategies
- Isabel Nogueira, Voices, Sounds and Herstories: Constructing Feminist Research in Experimental Music
- Angela Elizabeth Slater, Invisible Canons: A Reflective Commentary on the Formation of my Personal Canon of Women Composers
- Lucy Hollingworth, Storytelling in Autoethnography – The Poetess
- J. Michele Edwards, Chen Yi: Trauma, Myths, and Representation
- Laura Dallman, Considering Autonomy and Collaboration in Three Concerti by Jennifer Higdon
- Ji Yeon Lee, Decoding the Riddle: The Tea-Party Scene in Unsuk Chin’s Alice in Wonderland
- David Forrest, Kate Bush’s Uncanny Harmonic Language
- Bella Powell, Notions of Virtuosity, Female Accomplishment, and the Violin as Forbidden Instrument in Early-Mid Nineteenth-Century England
- Nuppu Koivisto, Visitors from ‘the Merry Town by the Danube’: Viennese Ladies’ Orchestras, Public Image and Variety Shows in Finland from 1870 to 1914
- Maren Bagge, Women Song Composers and the London Ballad Concerts
- Ivette Janet Céspedes Gómez, Sara Gonzáles: A Different Song About Women
- Grace Takyi Donkor, Changing Roles of Women in the Gospel Music Performance Space in Ghana
- Maree Sheehan, Māori Women at the Forefront of Aotearoa/New Zealand Music in the Mid 1980s and Early 1990s
- Li-ming Pan, The Stereotypical Image and Body Representation of Taiwanese Female Musicians
- Jessica Duchen, Climb Every Mountain
- Edwina Wolstencroft, Celebrating Women Composers on BBC Radio 3
- Miia Laine, Contested Spaces: Gender Dynamics in Independent Radio Stations in London
- Karlyn King, ‘And her voice is a backwards record’: The Gendering of Phonograph Technology
- Carolyn Watson, Cracks in the Glass Ceiling: Women Conductors, New Trends, Old Challenges
- Frances Novillo, Personal Reflections on Professional Experience of Women’s Liturgical Leadership as Musicians in the Roman Catholic Church
- Gabriela Sanchez Diaz, Re-Mapping and Connecting Bodies of Women Musicians
- Yuemin He, Materiality, Editorship and Canonisation in Wang Duanshu’s Collection of Elegance (1667)
- Jennifer Cable, Mary Carlisle Howe (1882–1964) and Adella Prentiss Hughes (1869–1950): Creating an Arts Culture in America, One Woman at a Time
- Elina G. Hamilton, Louise Hanson-Dyer (1884–1962): Patroness of Music Publishing
- Lia Lonnert and Helen Davies Mikkelborg, Lady Llanover and the Swedish Connection: A Welsh Musical Legacy
- Jessica Beck, The Women Musicians of the British Ethical Movement, 1887–1927
- Kirstie Alison Muldoon, The Role of Women in Irish Music Institutions in the Early Twentieth Century
- 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
Part II: (Re)Discoveries
Part III: Aesthetics and Music Creation
Part IV: Performance and Reception
Part V: Opportunities and Leadership in the Music Professions
Part VI: New Perspectives on Women’s Work in Music
Biography
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).
