Women in Music

by Neuls-Bates, Carol

• ISBN13: 9781555532406
• ISBN10: 1555532403
• Edition: 2nd
• Format: Paperback
• Copyright: 1995-11-02
• Publisher: UNIV PRESS OF NEW ENGLAND

Summary

The voices of women such as Abbess Hildegard of Bingen, Clara Schumann, and Marian Anderson resonate as they emerge from the wide range of materials in this volume, which includes letters, diaries, poems, novels, and reviews that reveal women's achievements not only as patrons and educators but also as composers and performers.

Table of Contents

Introduction
Introduction to the 1995 Edition
Women as Singers in Christian Antiquity	p. 3
Music in an Early Community of Women	p. 6
Life at a Twelfth-Century Benedictine Convent	p. 11
Hildegard of Bingen: Abbess and Composer	p. 14
Three Women Troubadours	p. 21
Women Among the Minstrels and as Amateur Musicians	p. 28
The Renaissance Lady	p. 37
Vocal and Instrumental Music Performance at an Italian Convent	p. 43
The Rise of Women as Virtuoso Singers	p. 50
Francesca Caccini: Singer-Composer	p. 55
Elisabeth-Claude Jacquet de la Guerre: Composer and Harpsichordist	p. 62
The Venetian Conservatories	p. 65
Music as an Accomplishment	p. 73
Marianne von Martinez: Composer and Singer	p. 80
Maria Theresia von Paradis: Pianist on Tour	p. 85
Corona Schroter and Julie Candeille: Two Composers Speak Out	p. 87
Clara Schumann: Pianist	p. 91
Amy Fay: Pianist	p. 109
Lillian Nordica: Operatic Soprano	p. 122
Margaret Blake-Alverson: Contralto	p. 131
Sissieretta Jones: Soprano	p. 135
Fanny Mendelssohn Hensel	p. 143
Clara Schumann	p. 153
Ethel Smyth	p. 156
Luise Adolpha Le Beau	p. 167
Cosima Wagner	p. 175
The Female Amateur: From Accomplishment to Achievement	p. 179
Women as Teachers	p. 184
Women as Patrons in the Club Movement	p. 188
The Vienna Damen Orchester in New York, 1871	p. 192
Caroline B. Nichols and the Boston Fadette Lady Orchestra	p. 194
Camilla Urso on Professional Equity for Women Violinists, 1893	p. 198
Should Women Perform in the Same Orchestra with Men?	p. 202
George Upton: A Classic Formulation of Women's Inferiority	p. 206
Helen J. Clarke: Regarding Unequal Education in the Past	p. 211
Frederick Meadows-White: Regarding the "Great Composer" Aspect of the Question	p. 214
Amy Fay: Women Have Too Well Aided Men	p. 217
Mabel Daniels: Fighting Generalizations About Women	p. 219
A Corollary to the Question: Sexual Aesthetics in Music Criticism	p. 223
Elizabeth Sprague Coolidge: Patron of Chamber Music	p. 231
Nadia Boulanger: Teacher of Composers	p. 239
Women's Symphony Orchestras	p. 247
American Women Demand "Mixed" Orchestras	p. 251
Three Musicians Recall Their Careers: Antonia Brico Frederique Petrides, and Jeannette Scheerer	p. 253
Marian Anderson: Contralto	p. 273
Ethel Smyth: "Female Pipings in Eden"	p. 278
Carl E. Seashore: "Why No Great Women Composers?"	p. 297
Ruth Crawford-Seeger	p. 303
Elisabeth Lutyens	p. 312
Nancy Van de Vate	p. 323
The Women's Philharmonic	p. 335
Joan Tower: Composer	p. 343
Marcia J. Citron: Musicologist	p. 359
Select Bibliography	p. 373
Index	p. 387
Table of Contents provided by Blackwell. All Rights Reserved.