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12 - First-Wave Feminism and Professional Status

from Part IV - Women Composers circa 1880–2000

Published online by Cambridge University Press:  23 May 2024

Matthew Head
Affiliation:
King's College London
Susan Wollenberg
Affiliation:
University of Oxford
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Summary

Writers and scholars define the period of first-wave feminism in the Western world in various ways. For some the first ‘wave’ grew out of the demands for equality from women during the French Revolution, for others it had its roots in the Women’s Rights Convention in New York, United States, in 1848. However, it is generally agreed that the period 1880–1920 saw the height of feminist activity from a wide variety of women in Britain, Europe, and the United States.1

Women organized together to demand rights to employment and education, and most agreed that the right to suffrage, being able to vote and take part in political power, was fundamentally important. By 1920, certain women in Canada, Germany, Russia, the UK, and the United States, had been granted the right to vote. But full suffrage was not granted to women in the UK until 1928, in France not until 1944, and Italy not until 1945, for example.2

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Publisher: Cambridge University Press
Print publication year: 2024

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References

Further Reading

Chaminade, Cécile. Piano Music (New York: Dover Publications, 2002).Google Scholar
Lehmann, Liza. 14 Songs for Soprano/Mezzo Soprano and Piano (London: Thames Publishing, 1999).Google Scholar
White, Maude Valérie. Friends and Memories, reprinted ed. (London: Forgotten Books, 2018).Google Scholar
Boulanger, Lili. Clairières dans le ciel, Les Sirènes, Renouveau, Soir sur la plaine, Hymne au Soleil, Pour les funérailles d’un soldat, Martyn Hill (tenor), Andrew Ball (piano), New London Chamber Choir cond. James Wood, Hyperion: CDH55153 (1996).Google Scholar
Her Voice: Piano Trios by Farrenc, Beach and Clarke. Neave Trio, Chandos: CHAN20139 (2019).Google Scholar
Holmès, Augusta. ‘La Nuit et L’Amour’, interlude from Ludus pro Patria on La Nuit étoilée: Hector Berlioz, Augusta Holmès, Orchestre Pasdeloup cond. Wolfgang Doerner, Gramola: B09DJCGXPX (2021).Google Scholar
Boulanger, Lili. Clairières dans le ciel, Les Sirènes, Renouveau, Soir sur la plaine, Hymne au Soleil, Pour les funérailles d’un soldat, Martyn Hill (tenor), Andrew Ball (piano), New London Chamber Choir cond. James Wood, Hyperion: CDH55153 (1996).Google Scholar
Her Voice: Piano Trios by Farrenc, Beach and Clarke. Neave Trio, Chandos: CHAN20139 (2019).Google Scholar
Holmès, Augusta. ‘La Nuit et L’Amour’, interlude from Ludus pro Patria on La Nuit étoilée: Hector Berlioz, Augusta Holmès, Orchestre Pasdeloup cond. Wolfgang Doerner, Gramola: B09DJCGXPX (2021).Google Scholar

Listening

Boulanger, Lili. Clairières dans le ciel, Les Sirènes, Renouveau, Soir sur la plaine, Hymne au Soleil, Pour les funérailles d’un soldat, Martyn Hill (tenor), Andrew Ball (piano), New London Chamber Choir cond. James Wood, Hyperion: CDH55153 (1996).Google Scholar
Her Voice: Piano Trios by Farrenc, Beach and Clarke. Neave Trio, Chandos: CHAN20139 (2019).Google Scholar
Holmès, Augusta. ‘La Nuit et L’Amour’, interlude from Ludus pro Patria on La Nuit étoilée: Hector Berlioz, Augusta Holmès, Orchestre Pasdeloup cond. Wolfgang Doerner, Gramola: B09DJCGXPX (2021).Google Scholar

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