Through musical analysis of compositions written between the mid-twelfth to late nineteenth centuries, this volume celebrates the achievements of eight composers, all women: Hildegard of Bingen, Maddalena Casulana, Barbara Strozzi, Elisabeth Jacquet de la Guerre, Marianne Martines, Josephine Lang, Fanny Hensel, Clara Schumann, and Amy Beach. Written by outstanding music theorists and musicologists, the essays provide fascinating in-depth critical-analytic explorations of representative compositions, often linking analytical observations with questions of meaning and sociohistorical context. Each essay is introduced by a brief biographical sketch of the composer by the editors. The collection-Volume 1 in an unprecedented four-volume series of analytical studies on music by women composers-is designed to challenge and stimulate a wide range of readers. For academics, these thoughtful analytical essays can open new paths into unexplored research areas in the fields of music theory and musicology. Post-secondary instructors may be inspired by the insights offered in these essays to include new works in music theory and history courses at both graduate and upper-level undergraduate levels, or in courses on women and music. Finally, for soloists, ensembles, conductors, and music broadcasters, these detailed analyses can offer enriched understandings of this repertoire and suggest fresh, new programming possibilities to share with listeners.
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This collection of in-depth analytical essays celebrates music by female composers from the twelfth to nineteenth centuries. The essays, written by leading music theorists and musicologists, examine select compositions in detail, collectively establishing a foundation for new scholarly research into outstanding compositions created by women.
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The many compelling analyses offered by this volume have the potential to inform and enrich analytical thinking beyond as well as within the community of scholars, students and musicians with special interests in women composers, and thereby not only to join but also to transform the mainstream * Susan Wollenberg, Revue de musicologie *This book has much to offer, showcasing, as it does, relatively unknown repertoire and employing a variety of analytical approaches... This diversity is also a strength, with music spanning almost 700 years carefully analyzed through a wide range of methods. I highly recommend it. * Roxane Prevost, University of Ottawa, CAML Review *In this beautifully produced volume...The essays, well-documented in the endnotes, are illustrated with a wealth of musical examples, tables, and figures...Significantly, this volume offers college and university instructors an engaging body of music analysis, scholarly writing, and writings in music theory to share with their students. Deborah Hayes, College of Music at the University of Colorado Boulder. * Deborah Hayes, College of Music at the University of Colorado Boulder, Journal of the International Alliance for Women in Music *
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Produktdetaljer

ISBN
9780190077136
Publisert
2019
Utgiver
Vendor
Oxford University Press Inc
Vekt
442 gr
Høyde
232 mm
Bredde
153 mm
Dybde
18 mm
Aldersnivå
06, P
Språk
Product language
Engelsk
Format
Product format
Heftet
Antall sider
288

Biographical note

Laurel Parsons, Ph.D., is a music theorist who has taught at the University of Victoria, University of British Columbia, Queen's University, and the University of Oregon. Her research interests include post-tonal music by Elisabeth Lutyens, Elizabeth Maconchy, and Danish electroacoustic composer Else-Marie Pade, representation of Inuit poetry in late 20th-century Canadian and British music, and post-secondary music pedagogy for students with learning differences. She has published articles on Lutyens's music in Theory & Practice and Canadian University Music Review, and on aural skills pedagogy for students with dyslexia in Music Theory Online. In addition, she has contributed chapters to Arctic Discourses (Cambridge Scholars Press, 2010) and British Modernism and Music 1895-1960 (Ashgate, 2010). From 2012 to 2015, she chaired the Society for Music Theory's Committee on the Status of Women. Brenda Ravenscroft, Ph.D., is Associate Professor of Music Theory and Associate Dean of Teaching and Learning in the Faculty of Arts and Science at Queen's University. Her research focuses on post-tonal American music, text and music, rhythmic organization, the music of South African composer Priaulx Rainier, and pedagogy in higher education. In addition to articles on music by Elliott Carter, John Cage and Lou Harrison in such journals as Music Analysis, Perspectives of New Music, and Music Theory Spectrum, she has contributed a chapter on Carter's vocal music to Elliott Carter Studies (Cambridge University Press, 2012) and authored the "Case Study on Music Analysis" in The Flipped College Classroom (Springer, 2015). She chaired the Society for Music Theory's Committee on the Status of Women from 2006 to 2009.