Skip to Content
Analytical essays on music by women composers

Analytical essays on music by women composers

Parsons, Laurel, editor; Ravenscroft, Brenda, 1961- editor

Over the past 30 years, musicologists have produced a remarkable new body of research literature focusing on the lives and careers of women composers in their socio-historical contexts. But detailed analysis and discussion of the works created by these composers are still extremely rare. This is particularly true in the domain of music theory, where scholarly work continues to focus almost exclusively on male composers. Moreover, while the number of performances, broadcasts, and recordings of music by women has unquestionably grown, these works remain significantly underrepresented in comparison to music by male composers. Addressing these deficits is not simply a matter of rectifying a scholarly gender imbalance: the lack of knowledge surrounding the music of female composers means that scholars, performers, and the general public remain unfamiliar with a large body of exciting repertoire. Analytical Essays on Music by Women Composers: Concert Music, 1960-2000 is the first to appear in a groundbreaking four-volume series devoted to compositions by women across Western art music history. Each chapter opens with a brief biographical sketch of the composer before presenting an in-depth critical-analytic exploration of a single representative composition, linking analytical observations with questions of meaning and sociohistorical context. Chapters are grouped thematically by analytical approach into three sections, each of which places the analytical methods used in the essays that follow into the context of late twentieth-century ideas and trends. Featuring rich analyses and critical discussions, many by leading music theorists in the field, this collection brings to the fore repertoire from a range of important composers, thereby enabling further exploration by scholars, teachers, performers, and listeners

eBook, Electronic resource, Book. English. Electronic books.
Published New York: Oxford University Press, 2017
Rate this

Available: Online

This item is not reservable because:

  • You can only request items from our lending collections. You cannot reserve journals.
  • Online – One available in E-book

    Barcode Shelfmark Loan type Status
    E-book Online Available

Details

Statement of responsibility: edited by Laurel Parsons and Brenda Ravenscroft
ISBN: 0190236876, 9780190236878
Note: Originally published: 2016.
Physical Description: 258 pages : illustrations (black and white)
Subject: Music.; Art music, orchestral & formal music; Women composers.; Theory of music & musicology; Music; Music History and criticism.; Musicians, singers, bands & groups
Alternative Title: Concert music, 1960-2000
Reproduction: Electronic reproduction. Askews and Holts. Mode of access: World Wide Web.
Other formats: Also available in printed form ISBN 9780190665814

Author note

Laurel Parsons has taught music theory and aural skills at the University of Victoria, the University of British Columbia, Queen's University, and the University of Oregon. Her research interests include aural skills pedagogy and the serial music of Elisabeth Lutyens. From 2012-15 she chaired the Society for Music Theory's Committee on the Status of Women.

Brenda Ravenscroft 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, and pedagogy. She chaired the Society for Music Theory's Committee on the Status of Women from 2006 to 2009.

Description

Over the past 30 years, musicologists have produced a remarkable new body of research literature focusing on the lives and careers of women composers in their socio-historical contexts. But detailed analysis and discussion of the works created by these composers are still extremely rare. This is particularly true in the domain of music theory, where scholarly work continues to focus almost exclusively on male composers. Moreover, while the number of performances,

broadcasts, and recordings of women's compositions has unquestionably grown, they remain significantly underrepresented in comparison to music by male composers. Addressing these deficits is not simply a matter of rectifying a scholarly gender imbalance: the lack of knowledge surrounding the music of

women composers means that scholars, performers, and the general public remain unfamiliar with a large body of exciting repertoire.

Analytical Essays on Music by Women Composers: Concert Music from 1960-2000 is the first to appear in an exciting a four volume series devoted to the work of women composers across Western art music history. Each chapter, many by leading music theorists, opens with a brief biographical sketch of the composer before presenting an in-depth critical-analytic exploration of a single representative composition, linking analytical observations with questions of meaning and sociohistorical

context. Chapters are grouped thematically by analytical approach into three sections, each of which places the analytical methods used in the essays that follow into the context of late twentieth-century ideas and trends. Featuring rich analyses and detailed study by the most reputed music theorists in the

field, along with brief biographical sketches for each composer, this collection brings to the fore the essential repertoire of a range of important composers, many of whom otherwise stand outside the standard canon.