Read e-book online British Women Composers and Instrumental Chamber Music in PDF

By Laura Seddon

This can be the 1st full-length learn of British women's instrumental chamber tune within the early 20th century. Laura Seddon argues that the Cobbett competitions, instigated by way of Walter Willson Cobbett in 1905, and the formation of the Society of ladies Musicians in 1911 contributed to the explosion of instrumental track written through girls during this interval and highlighted women's position in British musical society within the years major as much as and through the 1st international conflict. Seddon investigates the connection among Cobbett, the Society of ladies Musicians and girls composers themselves. The book's six case reports - of Adela Maddison (1866-1929), Ethel Smyth (1858-1944), Morfydd Owen (1891-1918), Ethel Barns (1880-1948), Alice Verne-Bredt (1868-1958) and Susan Spain-Dunk (1880-1962) - provide important perception into the women's musical schooling and compositional careers. Seddon's dialogue in their chamber works for differing instrumental combos contains an exploration of formal approaches, a subject matter a lot mentioned through modern assets. the person composers' reactions to the controversy instigated through the Society of girls Musicians, at the way forward for women's song, is taken into account in terms of their lives, careers and the chamber song itself. because the composers during this learn weren't a cohesive crew, creatively or ideologically, the ebook attracts on fundamental resources, in addition to the writings of latest commentators, to evaluate the legacy of the chamber works produced.

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Sometimes I am tempted to envy girls I see going off on their bicycles to golf or hockey; or the others who write books, lecture, and earn their living in some way or another. 15 By the end of the nineteenth century, given the fact that musical education for women was increasingly established at public institutions, piano teaching as an industry flourished. The start of a woman composer’s musical education was very often the private piano lesson. The industry provided a very necessary income for unmarried women, though the repertoire was mainly ‘salon’ music and the teaching quality was sometimes poor.

73 Cohen had an international career as a concert pianist, had studied composition at the RAM with Frederick Corder (1852–1932), producing a violin concerto and a nocturne for cor anglais and orchestra, but gave up composition after the composer Arnold Bax (1883–1953) became her lover, although she does not indicate that he discouraged her from continuing. 74 Joseph took private composition lessons from Gustav Holst and also worked as one of his ‘scribes’, copying parts as well as teaching him Greek.

Forrester and Eagleton were both addressing this issue twenty years before Marcia Citron published Gender and the Musical Canon. 39 Samuel, ‘Women’s Music’, pp. xiii–xiv. 40 Citron, Gender and the Musical Canon. 41 Marcia Citron, ‘Feminist Approaches to Musicology’, in Cecilia Reclaimed: Feminist Perspectives on Gender and Music, eds Susan C. Cook and Judy S. Tsou (Illinois, 1994), p. 25. 42 Ellie Hisama, Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (Cambridge, 2001) and Joanna Bailey, ‘Gender as Style: Feminist Aesthetics and Postmodernism’, Contemporary Music Review, 17/2 (1998): 105–113.

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