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2 - In Search of a Feminist Analysis

from Part I - Themes in Studying Women Composers

Published online by Cambridge University Press:  23 May 2024

By
Susan Wollenberg
Edited by
Matthew Head  and
Susan Wollenberg
Matthew Head
Affiliation:
King's College London
Susan Wollenberg
Affiliation:
University of Oxford
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Summary

‘I don’t think you intend to be discouraging in your book. I think you have merely overlooked those who are routinely overlooked, that is to say half the world’s population.’1

The words of Reta, in Carol Shields’s Unless, are applicable to the analysis of women composers’ works. Among areas forming a musical canon, the sub-discipline of musical analysis has only recently displayed awareness of the attention to women composers and their music that has taken root in the practice and productions of musicology over the past few decades. Yet at the time from the 1980s onwards when literature on women composers began to present a significant challenge to the pedagogical canon, a new wave of interest in analysis was sparking the publication of textbooks and journals that could have offered an opportunity to include women’s works as valid subjects for analytical interpretation.2

Type
Chapter
Information
The Cambridge Companion to Women Composers , pp. 36 - 49
Publisher: Cambridge University Press
Print publication year: 2024

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References

Further Reading

Citron, Marcia J. Gender and the Musical Canon [Citron, GMC], Chapter 4, ‘Music as Gendered Discourse’, 120–64.Google Scholar
Curtis, Liane. ‘Rebecca Clarke and Sonata Form: Questions of Gender and Genre’, Musical Quarterly, 81/3 (1997), 393–429.CrossRefGoogle Scholar
Grönke, Kadja. ‘Contrasting Concepts of Love in Two Songs by Alma Schindler (-Mahler) and Gustav Mahler’, in Women and the Nineteenth-Century Lied, ed. Kenny, Aisling and Wollenberg, Susan (Farnham: Ashgate, 2015), 217–29.Google Scholar
Head, Matthew. ‘Genre, Romanticism and Female Authorship: Fanny Hensel’s “Scottish” Sonata in G minor (1843)’ in ‘Fanny Hensel (née Mendelssohn Bartholdy) and Her Circle’: Proceedings of the Bicentenary Conference, Oxford, July 2005, special issue, ed. Susan, Wollenberg, Nineteenth-Century Music Review, 4/2 (December 2007), 67–87.CrossRefGoogle Scholar
Latham, Edward D. ‘Gapped Lines and Ghostly Flowers in Amy Beach’s “Phantoms”, Op. 15, No. 2 (1892)’, in Analytical Essays on Music by Women Composers, ed. Parsons, Laurel and Ravenscroft, Brenda, vol. 1, Secular and Sacred Music to 1900 (New York: Oxford University Press, 2018), 228–42.Google Scholar
Wollenberg, Susan. ‘“New Paths to Analysis”: The Case of Women Composers’, in L’Analyse musicale aujourd’hui/ Music Analysis Today, ed. Hascher, Xavier, Ayari, Mondher, and Bardez, Jean-Michel (Sampzon: Delatour, 2015), 291–312.Google Scholar

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