Women and Music

Description

A Main Selection of the Performing Arts Book Club

This updated, expanded, and reorganized edition of Women and Music features even more women composers, performers, and patrons, even more musical contexts, and an expanded view of women in music outside Europe and North America. A popular university textbook, Women and Music is enlightening for scholars, a good source of programming ideas for performers, and a pleasure for other music lovers.

Preliminary Table of Contents:

Contents

Preface
Abbreviations

Feminist Aesthetics
1. Recovering Jouissance: Feminist Aesthetics and Music / Renée Cox Lorraine

Ancient and Medieval Music
2. Women and Music in Greece and Rome / Ann N. Michelini
3. Women in Music to ca. 1450 / J. Michele Edwards

The Fifteenth through the Eighteenth Centuries
4. Musical Women in Early Modern Europe / Karin Pendle
5. Musical Women of the Seventeenth and Eighteenth Centuries / Barbara Garvey Jackson

The Nineteenth Century and the Great War
6. European Composers and Musicians, ca. 1800-1890 / Nancy B. Reich
7. European Composers and Musicians, 1880-1918 / Marcia Citron
8. Women in American Music, 1800-1918 / Adrienne Fried Block, assisted by Nancy Stewart

Modern Music around the Globe
9. Contemporary British Composers / Catherine Roma
10. Composers of Modern Europe, the Near East, Australia, and New Zealand / Karin Pendle and Robert Zierolf
11. North America since ca. 1920 / J. Michele Edwards, with contributions by Leslie Lassetter
12. American Popular Music in the Twentieth Century / S. Kay Hoke

Women in the World of Music: Three Approaches
Introduction / Robert Whitney Templeman
13. Women and Music around the Mediterranean / L. JaFran Jones
14. Women in the World of Music: Latin America / Robert Whitney Templeman
15. American Women in Blues and Jazz / Michael J. Budds

The Special Roles of Women
16. Women's Support and Encouragement of Music and Musicians / Linda Whitesitt

General Bibliography
Recordings
Contributors
Index

Sujets

• Musique
• Histoire de la musique
• Music
• History
• The Women
• Woman
• History of classical music traditions
• Criticism
• Multiple signal classification
• Women

Informations

• Publié par: Indiana University Press
• Date de parution: 22 avril 2001
• Nombre de lectures: 3
• EAN13: 9780253115034
• Langue: English

Extrait

Women & Music
A HISTORY
SECOND EDITION
EDITED BY
KARIN PENDLE
I NDIANA U NIVERSITY P RESS     B LOOMINGTON & I NDIANAPOLIS
This book is a publication of
Indiana University Press 601 North Morton Street Bloomington, IN 47404-3797 USA
http://www.indiana.edu/~iupress
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© 1991, 2001 by Indiana University Press
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses' Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Women & music: a history / edited by Karin Pendle.
    p. cm.
Includes bibliographical references and indexes.
ISBN 0-253-33819-0 (cl : alk. paper)—ISBN 0-253-21422-X (pa : alk. paper)
1. Women musicians. 2. Women composers. 3. Music—History and criticism. I. Title: Women and music: II. Pendle, Karin, date
ML82.W6 2000 780'.82—dc21                                                                            00-044886
1 2 3 4 5 05 04 03 02 01 00
C ONTENTS
Preface
Abbreviations Used in This Book
 
F eminist Aesthetics
      I. Recovering Jouissance: Feminist Aesthetics and Music
Renée Cox Lorraine
A ncient and Medieval Music
    II. Women and Music in Ancient Greece and Rome
Ann N. Michelini
   III. Women in Music to ca. 1450
J. Michele Edwards
T he Fifteenth through the Eighteenth Centuries
   IV. Musical Women in Early Modern Europe
Karin Pendle
     V. Musical Women of the Seventeenth and Eighteenth Centuries
Barbara Garvey Jackson
T he Nineteenth Century and the Great War
   VI. European Composers and Musicians, ca. 1800-1890
Nancy B. Reich
  VII. European Composers and Musicians, 1880-1918
Marcia J. Citron
VIII. Women in American Music, 1800-1918
Adrienne Fried Block, assisted by Nancy Stewart
M odern Music around the Globe
   IX. Contemporary British Composers
Catherine Roma
    X. Composers of Modern Europe, Israel, Australia, and New Zealand
Karin Pendle and Robert Zierolf
   XI. North America since 1920
J. Michele Edwards, with contributions by Leslie Lassetter
  XII. American Popular Music
S. Kay Hoke
W omen in the World of Music: Three Approaches
     Introduction
Robert Whitney Templeman
XIII. Women and Music around the Mediterranean
L. JaFran Jones
XIV. Women in the World of Music: Latin America, Native America, and the African Diaspora
Robert Whitney Templeman
   XV. American Women in Blues and Jazz
Michael J. Budds
T he Special Roles of Women
XVI. Women's Support and Encouragement of Music and Musicians
Linda Whitesitt
 
G ENERAL B IBLIOGRAPHY
C ONTRIBUTORS
I NDEX
Preface
Women and Music: A History is a survey of women's activities in music performance, composition, teaching, and patronage from the time of the ancient Greeks to the present, with an emphasis on art music in Europe and North America. This focus is not meant to suggest that women's musical activities, or even their most significant ones, are in any way limited to these areas of the world, but rather to enable students and teachers in standard music history courses to coordinate the material in this book with the topics normally covered in undergraduate surveys. As such surveys have broadened in accordance with today's educational goals, so this edition of Women and Music also moves beyond Western art music to include chapters on women in popular music and jazz, as well as approaches to researching and evaluating women's practices and contributions in cultures not part of the Western tradition. The first chapter, dealing with feminist aesthetics as they relate to music, suggests some ways in which music and music making by women could be approached differently from music and music making by men.
The feminist movement of the 1960s and 1970s was the driving force behind the emergence of a wide range of studies and theories focusing on the lives, positions, and contributions of women in society through the ages. As in other fields, scholars in music began to show an interest in the work of the half of the world's population that had been ignored in earlier studies of music history and development. Women's studies came to the fore even more slowly in music than in many other fields, however, perhaps because musicology was (and to some extent still is) dominated by men schooled in traditional methodologies. Even as late as the 1970s, Women and Music could not have been written: serious, reliable information on women's musical activities still was too limited and the subjects too widely spread across music's history to support a continuous chronological narrative.
But here, about a decade after Women and Music first appeared, we are launching a second edition. This has proved necessary because research and resources have increased beyond expectations, perhaps even beyond dreams. Feminist aesthetics and the application to music of interpretive strategies developed in psychology, literature, and other arts have yielded revelations and controversy. Questions abound: How far can we go in thinking about music in ways that perhaps its composers did not intend? To what extent do nonmusical factors determine a work's style or content? Why is a feminine quality in music only laudable if the composer is a man? Is music by women excluded from study because it is deemed to be of inferior quality in comparison with music by men? What counts as quality anyway? Do evaluative standards differ according to the gender of the composer? Has society shaped the criteria for greatness in ways that keep women out? What, in the end, does it mean to be a woman in music?
For a moment, let us concentrate on selected areas of recent research that have enlightened concepts of society and women's place in it, research that makes this second edition necessary. Materials, programs, and conferences in celebration of the nine-hundredth birthday of Hildegard von Bingen were not entirely about music, but they brought into clearer perspective not only the figure of Hildegard but also the position of nuns and women mystics in the medieval world. Suddenly, it seemed, the doors to the medieval church opened to the varied interior, with Hildegard and her music inside, not outside, society as a whole.
In the mid-1990s, studies of nuns and their music in the years ca. 1600–1725 brought to our attention some brilliant and heretofore neglected published music of North Italian nuns. In so doing, scholars Robert Kendrick and Craig Monson led the way to important revisions of traditional views about the place of nuns, convents, and their music in early modern Europe. 1 No longer could these women (most often patricians) be set aside on the margins of their society. The discovery of their music influenced in turn a reinterpretation of the edicts of the Council of Trent dealing with nuns and their music. These decrees, not unlike pronouncements on nuns' behavior from earlier centuries, had largely been ignored by everyone save the male clerics who continued to debate the issues they raised. But our knowing of women who had actively participated in their society through its convents and music put to question, among other things, handed-down, male-defined views of history and its traditional periodization. For it became obvious that the work of these holy women represented continuity, not a reawakening after a medieval sleep. Surely research that opened to question the accepted place of an important group of people in their society, and the traditional periodization of history as well, also called for rewriting certain basic elements of the ways we have studied and learned history.
On the other end of the chronology adopted here, modern women's expanding roles in music are revolutionizing views of women in music. The sheer numbers of women in areas of music formerly closed to them is quite amazing. Women study, play, and even make their livings as performers on all orchestral instruments as well as all instruments used in jazz, rock, or pop music. Despite such exceptions as the Berlin and Vienna Philharmonics, most orchestras now employ numerous women, playing even such traditionally “male” instruments as trumpet, trombone, or double bass. And the leader on the podium is sometimes a woman, perhaps conducting a piece by a woman. Despite lingering patterns of discrimination, the number of women composers has ballooned—hence the greatly expanded chapters on twentieth-century music of many kinds in many cultures.
Another twentieth-century phenomenon that has inspired better focus and greater interest lately is music outside the Euro-American tradition. The music studied by ethnomusicologists has become as important to a good musical education as the music of Bach, Beethoven, and Brahms. As Robert Whitney Templeman points out in his introduction to Women in the World of Music, the field has broadened to include different methodologies and has even brought some key provisions of these methodologies to bear on the study of Western music. The position of women in any given society can often be seen in an anthropology-based study of its music. Expanded coverage in Women and Music of ethnomusicology's contributions has been not a desideratum but a necessity. 2
The past decade has seen another forgotten group of women emerge from the shadows: those who supported with their activities and fortunes the composers, conductors, performers, and