Pre-order,The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond

Contents

• List of Music Examples
• List of Figures
• List of Tables
• Contributors Biographies
• Abbreviations
• Dedication and Acknowledgements
• Chapter 1: Laura Hamer and Helen Julia Minors, Introduction: Defining, Surveying and Interrogating Women in Musical Leadership, with suggested reading
• Part 1: Historical Perspectives
• Laura Hamer and Helen Julia Minors, Historical Perspectives, An Introduction
• Chapter 2:Sarah Clarke, Augusta Hervey: Lady of ‘The Ladies’ Guitar and Mandoline Band’,
• Chapter 3:Kathy Acosta Zavala, Examining the Birth of Guitar Societies in America: Vahdah Olcott-Bickford and the American Guitar Society
• Chapter 4:Bella Powell, ‘Scatter[ing] all prejudices to the winds’: Wilma Norman-Neruda and Camilla Urso as Leaders of the Nineteenth-Century All-Male String Quartet
• Chapter 5:Nuppu Koivisto-Kaasik, ‘The white slave trader’, Julius Onczay and his Ensemble: Patriarchal Power Structures and Strategies of Resistance in Late 19th-Century Ladies’ Orchestras
• Chapter 6:Ann Grindley, Sites of Empowerment: Fin-de-Siècle Salon Culture and the Music of Cécile Chaminade
• Chapter 7:Laura Hamer, ‘Une belle manifestation féministe’: The Formation of the Union des Femmes Professeurs et Compositeurs de Musique
• Chapter 8:Orla Shannon, The Forgotten Woman: Joan Trimble (1915 –2000) and the Canon of Twentieth-Century Irish Art Song
• Chapter 9:Elsa Calero-Carramolino, ‘There is no gate, no lock, no bolt that you can set upon the freedom of my mind’: Being a woman in Franco’s prisons: A Glimpse through Music
• Chapter 10:Walter Kurt Kreyszig, Sophie-Carmen Eckhardt-Gramatté (1899-1974) : “F2” —
• Fact and Fiction of a Neglected Woman Composer
• Part 2: Conductors and Impresarios
• Laura Hamer and Helen Julia Minors, Conductors and Impresarios, An Introduction
• Chapter 11:Kenneth Baird, Rediscovering Lilian Baylis
• Chapter 12:Arianne Johnson Quinn and Sarah K. Whitfield, Musical Ghosts: Re-Instating Elsie April in Historical Narratives of the British Musical
• Chapter 13:Matteo Paoletti, ‘She is a degenerate cocaine addict’: Emma Carelli, a Diva-Impresario Facing her Opponents
• Chapter 14:Temina Cadi Sulumuna, Henriette Renié as a Harp Ensemble Leader, Choral and Orchestral Conductor, and Impresario in the Light of Archival Sources
• Chapter 15:Jean-Christoph Branger, translation by Kiefer Oakley, An American Women Violinist and Conductor in Paris: La Kazanova et ses Tziganes (1933–1938)
• Chapter 16:Kira Alvarez, Edis de Philippe, the Israel National Opera (INO), and the Politics of Music
• Chapter 17:Carola Darwin, Odaline de la Martinez – Conductor, Composer, Entrepreneur, Leader
• Part 3: Women’s Practices in Music Education
• Laura Hamer and Helen Julia Minors, Women’s Practices in Music Education, An Introduction
• Chapter 18:Judith Francois, Embodying the Rhythm of Self in Leadership
• Chapter 19:Jane Booth and Jane Cook, Learning to Coach, Coaching to Lead
• Chapter 20:Anne-Marie Beaumont, The Work that (Irish) Women Do: Reframing Leadership in a British University Céilí Band
• Chapter 21:Margaret J. Flood, ‘It’s Not About Me!’: The Life and Leadership of Cathi Leibinger
• Chapter 22:Abigail Bruce and Chamari Wedamulla, Addressing Cyclic Gender Constructs in Music and Music Education in the U.K.
• Chapter 23:Katherine Hanckel, Pipeline to the Podium Can Gender Differentiated Pedagogical Approaches Address the Underrepresentation of Women Conductors?
• Chapter 24:Michelle Phillips, Women Leading Change in Assessment Calibration
• Chapter 25:Cynthia Stephens-Himonides, Margaret Young and Melanie Bowers, Innovation and Leadership in Group Teaching across the Lifespan: Three Case Studies
• Chapter 26:Rebecca Berkley, Training Young Female Teachers in Choral Leadership: Building a Community of Practice
• Part 4: Performance and the Music Industries
• Laura Hamer and Helen Julia Minors, Performance and the Music Industries, An Introduction
• Chapter 27:Laura Hamer and Helen Julia Minors with Alice Farnham, Katy Hamilton, Emma Haughton, Sarah MacDonald, Jessy McCabe, Davina Vencatasamy and Eleanor Wilson, Conversations and Dialogues across Women’s Musical Leadership in the Industry
• Chapter 28:Rebekah E. Moore, Elizabeth Markow, Allison Gurland and Shannon Pires, Preparing Women for Musical Leadership: Student and Faculty Voices
• Chapter 29:Elizabeth Jones, Women Leading Opera (An Ethnography): How UK Opera Companies with Female Founders, Executives and Directors Create New Cultures of Consumerism and Innovation
• Chapter 30:Valentina Bertolani and Luisa Santacesaria, Women in the Italian Music Programming: Milan
• Chapter 31:Jenni Roditi, ‘What do we want our music to be?’: Critical Reflections on Creative Practice
• Part 5: Faith and Spirituality: Worship and Sacred Musical Practices
• Laura Hamer and Helen Julia Minors, Faith and Spirituality: Worship and Sacred Musical Practices, An Introduction
• Chapter 32:Danielle Padley, Leading the Way: Victorian Premonitions for the Female Voice in Anglo-Jewish Music
• Chapter 33:Rachel Adelstein, Sisters in Song: Women cantors and musical creativity in progressive Jewish Worship
• Chapter 34:Luis Gabriel Mesa Martinez, Maruja Hinestrosa: faith and introspection in a Colombian composer
• Chapter 35:Fung Ying Loo and Fung Chiat Loo, Undoing Sanctity: Imee Ooi’s Popular Contemporary Buddhist Music
• Chapter 36:Ahmed Al-Badr, The Female Role in Sacred Musical Practices in Shīʿah Rituals in Iraq
• Chapter 37:Theresa Parvin Stewart, A Muslim in a Baptist Church: Discovering My Calling as a Sacred Musician
• Chapter 38:John Martin, Power, Pop and Performance
• Chapter 39:Enya HL Doyle and Katherine Dienes-Williams, ‘No lady need apply’: Women and Girls in Cathedral Musical Leadership
• Chapter 40:Caroline Lesemann-Elliott, Unsuitable for Evensong: Examining Exclusion and Diversity in the Repertoire of Oxford Collegiate Anglican Choirs
• Part 6: Advocacy: Collectives and Grass-Roots Activism
• Laura Hamer and Helen Julia Minors, Advocacy: Collectives, and Grass-Roots Activism, An Introduction
• Chapter 41:Nicky Gluch, Power, Care and the Paradox of Leadership: A Kabbalistic Enquiry
• Chapter 42:Tahira Clayton, Amanda Ekery and Hannah Grantham, Toppling Systematic Exclusion: Women’s Roles in a Century of Jazz
• Chapter 43:Briony Cox-Williams, Mapping The Boundaries: Encountering Women’s Creativity in the Salon
• Chapter 44:Ananay Aguilar, Women’s leadership within Latin American Musicians’ Unions: Opportunities and Challenges
• Chapter 45:Helen Julia Minors, ‘Taking Race Live’ and ‘Equality, Diversity and Inclusion in Music Studies Network’: establishing collaborative networks for change
• Chapter 46:Hilary Friend and Helen Julia Minors, Women’s Revolutions Per Minute: access to, distribution and recognition of music by women
• Chapter 47:Stellan Veloce*, Brandon Farnsworth*, Rosanna Lovell*, Heidi Johnson~, Abi Bliss~, and Eddie Dobson~, Gender Relations in New Music (GRiNM)* and Yorkshire Sound Women Network (YSWN)~: Case Studies in Activism and Organisation for Change
• Chapter 48:Laura Watson, Sounding the Feminists: Campaigning for Institutional Change to Support Women in Music in Contemporary Ireland
• Index