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
- 1 Women in Composition before the Second World War
- 2 Women in Composition during the Cold War in Music
- 3 Behind the Iron Curtain: Female Composers in the Soviet Bloc
- 4 Still Exceptional? Women in Composition Approaching the Twenty-First Century
- 5 On the Podium: Women Conductors
- 6 Soloists and Divas: Evolving Opportunities, Identity, and Reception
- In Her Own Words: Practitioner Contribution 1
- 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
1 - Women in Composition before the Second World War
from 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
- 1 Women in Composition before the Second World War
- 2 Women in Composition during the Cold War in Music
- 3 Behind the Iron Curtain: Female Composers in the Soviet Bloc
- 4 Still Exceptional? Women in Composition Approaching the Twenty-First Century
- 5 On the Podium: Women Conductors
- 6 Soloists and Divas: Evolving Opportunities, Identity, and Reception
- In Her Own Words: Practitioner Contribution 1
- 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
In Chapter 1, Sophie Fuller considers the musical landscape which composers working in the earlier twentieth century inhabited. From the early days of the twentieth century, when women were expected to concentrate upon song and small-scale piano works, to the wider opportunities which opened up during the interwar period, Fuller considers a range of composers, including Cécile Chaminade, Maude Valérie White, Louise Adolpha Le Beau, Ethel Smyth, Adela Maddison, Poldowski (Irene Wieniawska), Marguerite Canal, Jeanne Leleu, Elizabeth Maconchy, Grace Williams, Ruth Crawford Seeger, Elsa Barraine, Germaine Tailleferre, and Alma Mahler.
Keywords
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- Information
- The Cambridge Companion to Women in Music since 1900 , pp. 3 - 17Publisher: 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).CrossRefGoogle 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