Women in Music

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  • Edition: 2nd
  • Format: Paperback
  • Copyright: 1995-11-02
  • Publisher: Northeastern Univ Pr
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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 to the 1995 Edition
Women as Singers in Christian Antiquityp. 3
Music in an Early Community of Womenp. 6
Life at a Twelfth-Century Benedictine Conventp. 11
Hildegard of Bingen: Abbess and Composerp. 14
Three Women Troubadoursp. 21
Women Among the Minstrels and as Amateur Musiciansp. 28
The Renaissance Ladyp. 37
Vocal and Instrumental Music Performance at an Italian Conventp. 43
The Rise of Women as Virtuoso Singersp. 50
Francesca Caccini: Singer-Composerp. 55
Elisabeth-Claude Jacquet de la Guerre: Composer and Harpsichordistp. 62
The Venetian Conservatoriesp. 65
Music as an Accomplishmentp. 73
Marianne von Martinez: Composer and Singerp. 80
Maria Theresia von Paradis: Pianist on Tourp. 85
Corona Schroter and Julie Candeille: Two Composers Speak Outp. 87
Clara Schumann: Pianistp. 91
Amy Fay: Pianistp. 109
Lillian Nordica: Operatic Sopranop. 122
Margaret Blake-Alverson: Contraltop. 131
Sissieretta Jones: Sopranop. 135
Fanny Mendelssohn Henselp. 143
Clara Schumannp. 153
Ethel Smythp. 156
Luise Adolpha Le Beaup. 167
Cosima Wagnerp. 175
The Female Amateur: From Accomplishment to Achievementp. 179
Women as Teachersp. 184
Women as Patrons in the Club Movementp. 188
The Vienna Damen Orchester in New York, 1871p. 192
Caroline B. Nichols and the Boston Fadette Lady Orchestrap. 194
Camilla Urso on Professional Equity for Women Violinists, 1893p. 198
Should Women Perform in the Same Orchestra with Men?p. 202
George Upton: A Classic Formulation of Women's Inferiorityp. 206
Helen J. Clarke: Regarding Unequal Education in the Pastp. 211
Frederick Meadows-White: Regarding the "Great Composer" Aspect of the Questionp. 214
Amy Fay: Women Have Too Well Aided Menp. 217
Mabel Daniels: Fighting Generalizations About Womenp. 219
A Corollary to the Question: Sexual Aesthetics in Music Criticismp. 223
Elizabeth Sprague Coolidge: Patron of Chamber Musicp. 231
Nadia Boulanger: Teacher of Composersp. 239
Women's Symphony Orchestrasp. 247
American Women Demand "Mixed" Orchestrasp. 251
Three Musicians Recall Their Careers: Antonia Brico Frederique Petrides, and Jeannette Scheererp. 253
Marian Anderson: Contraltop. 273
Ethel Smyth: "Female Pipings in Eden"p. 278
Carl E. Seashore: "Why No Great Women Composers?"p. 297
Ruth Crawford-Seegerp. 303
Elisabeth Lutyensp. 312
Nancy Van de Vatep. 323
The Women's Philharmonicp. 335
Joan Tower: Composerp. 343
Marcia J. Citron: Musicologistp. 359
Select Bibliographyp. 373
Indexp. 387
Table of Contents provided by Blackwell. All Rights Reserved.

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