1st Edition

The Routledge Handbook of Women’s Work in Music

Edited By Rhiannon Mathias Copyright 2022
    488 Pages 71 B/W Illustrations
    by Routledge

    488 Pages 71 B/W Illustrations
    by Routledge

    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.

    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 (18951994)

    13. Claudia Chibici-Revneanu, Chasing María Teresa Lara: An Autoethnographic Account of Trying to Recuperate the Story of a ‘Lost’ Woman Composer
    14. Joanna Schiller-Rydzewska, The Artistic Path and Achievement of Polish Composer Ewa Synowiec
    15. Eva M. Maschke, Composer, Performer, Teacher: Jeanne Barbillion (1895-1992) and the Schola Cantorum de Paris
    16. Elisabeth Honn Hoegberg, How Theocritus Sang: Eleanor Everest Freer’s Sonnets from the Portuguese
    17. Rhian Davies, A Life in Fragments: Morfydd Owen (18911918)
    18. Part III: Aesthetics and Music Creation

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

    27. David Forrest, Kate Bush’s Uncanny Harmonic Language
    28. Part IV: Performance and Reception

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

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

    45. Yuemin He, Materiality, Editorship and Canonisation in Wang Duanshu’s Collection of Elegance (1667)

    47. Jennifer Cable, Mary Carlisle Howe (18821964) and Adella Prentiss Hughes (1869–1950): Creating an Arts Culture in America, One Woman at a Time

    49. Elina G. Hamilton, Louise Hanson-Dyer (18841962): Patroness of Music Publishing

    51. Lia Lonnert and Helen Davies Mikkelborg, Lady Llanover and the Swedish Connection: A Welsh Musical Legacy
    52. Jessica Beck, The Women Musicians of the British Ethical Movement, 18871927

    54. Kirstie Alison Muldoon, The Role of Women in Irish Music Institutions in the Early Twentieth Century
    55. 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


    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).