The Routledge Handbook of Women’s Work in Music

Contents

• Editor’s Introduction
• Part I: Challenging Gender Inequalities
• Sophie Fuller, Grace, Betty, Maude and Me: 30 Years of Fighting for Women Composers
• Susan Wollenberg, ‘Where Are We Now?’: Teaching and Studying Women Composers post-Citron
• 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
• Emily Doolittle, Composer, Mother
• Stephen Wilford, ‘The Algerian woman is very strong’: Music, Identity and Gender in Algerian London
• Valentine Harding, In Search of the Field: Reflections on an Ethnomusicological Project in India
• Christina Homer, Women’s Work in Ethnomusicology: Alternative Spaces
• Part II: (Re)Discoveries
• Zaina Shihabi, A Brief Historical and Sociological Examination of Twentieth-Century Arab Women Composers and Performers in Egypt
• Sally Macarthur, The Rise and Rise of Women in Australian Composition
• Susan Clauson-Elliott, Women Composers and the Proms: The First 100 Years (1895 – 1994)
• Claudia Chibici-Revneanu, Chasing María Teresa Lara: An Autoethnographic Account of Trying to Recuperate the Story of a ‘Lost’ Woman Composer
• Joanna Schiller-Rydzewska, The Artistic Path and Achievement of Polish Composer Ewa Synowiec
• Eva M. Maschke, Composer, Performer, Teacher: Jeanne Barbillion (1895-1992) and the Schola Cantorum de Paris
• Elisabeth Honn Hoegberg, How Theocritus Sang: Eleanor Everest Freer’s Sonnets from the Portuguese
• Rhian Davies, A Life in Fragments: Morfydd Owen (1891 – 1918)
• Part III: Aesthetics and Music Creation
• Rebecka Sofia Ahvenniemi, Overcoming the ‘Male Gaze’ of Music: Towards Renewed Compositional Strategies
• Isabel Nogueira, Voices, Sounds and Herstories: Constructing Feminist Research in Experimental Music
• Angela Elizabeth Slater, Invisible Canons: A Reflective Commentary on the Formation of my Personal Canon of Women Composers
• Lucy Hollingworth, Storytelling in Autoethnography – The Poetess
• J. Michele Edwards, Chen Yi: Trauma, Myths, and Representation
• Laura Dallman, Considering Autonomy and Collaboration in Three Concerti by Jennifer Higdon
• Ji Yeon Lee, Decoding the Riddle: The Tea-Party Scene in Unsuk Chin’s Alice in Wonderland
• David Forrest, Kate Bush’s Uncanny Harmonic Language
• Part IV: Performance and Reception
• Bella Powell, Notions of Virtuosity, Female Accomplishment, and the Violin as Forbidden Instrument in Early-Mid Nineteenth-Century England
• Nuppu Koivisto, Visitors from ‘the Merry Town by the Danube’: Viennese Ladies’ Orchestras, Public Image and Variety Shows in Finland from 1870 to 1914
• Maren Bagge, Women Song Composers and the London Ballad Concerts
• Ivette Janet Céspedes Gómez, Sara Gonzáles: A Different Song About Women
• Grace Takyi Donkor, Changing Roles of Women in the Gospel Music Performance Space in Ghana
• Maree Sheehan, Māori Women at the Forefront of Aotearoa/New Zealand Music in the Mid 1980s and Early 1990s
• Li-ming Pan, The Stereotypical Image and Body Representation of Taiwanese Female Musicians
• Part V: Opportunities and Leadership in the Music Professions
• Jessica Duchen, Climb Every Mountain
• Edwina Wolstencroft, Celebrating Women Composers on BBC Radio 3
• Miia Laine, Contested Spaces: Gender Dynamics in Independent Radio Stations in London
• Karlyn King, ‘And her voice is a backwards record’: The Gendering of Phonograph Technology
• Carolyn Watson, Cracks in the Glass Ceiling: Women Conductors, New Trends, Old Challenges
• Frances Novillo, Personal Reflections on Professional Experience of Women’s Liturgical Leadership as Musicians in the Roman Catholic Church
• Gabriela Sanchez Diaz, Re-Mapping and Connecting Bodies of Women Musicians
• Part VI: New Perspectives on Women’s Work in Music
• Yuemin He, Materiality, Editorship and Canonisation in Wang Duanshu’s Collection of Elegance (1667)
• Jennifer Cable, Mary Carlisle Howe (1882 – 1964) and Adella Prentiss Hughes (1869–1950): Creating an Arts Culture in America, One Woman at a Time
• Elina G. Hamilton, Louise Hanson-Dyer (1884 – 1962): Patroness of Music Publishing
• Lia Lonnert and Helen Davies Mikkelborg, Lady Llanover and the Swedish Connection: A Welsh Musical Legacy
• Jessica Beck, The Women Musicians of the British Ethical Movement, 1887 – 1927
• Kirstie Alison Muldoon, The Role of Women in Irish Music Institutions in the Early Twentieth Century
• 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