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2 - Women in Composition during the Cold War in Music

from Part I - The Classical Tradition

Published online by Cambridge University Press:  17 April 2021

By
Rhiannon Mathias
Edited by
Laura Hamer
Laura Hamer
Affiliation:
The Open University, Milton Keynes
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Summary

Chapter 2, ‘Women in Composition during the Cold War in Music’, focuses on women active in the West, where, for all the apparent government liberalism, in musical terms, composers had to face what could often, at the time, seem like the monolithic regime of total serialism, as advocated by Pierre Boulez and his circle. Through a range of case studies, including Grace Williams, ElizabethMaconchy (whose pre-war careers are both also discussed in Chapter 1), Elisabeth Lutyens, Thea Musgrave, Betsy Jolas, Louise Talma, Julia Perry, and Miriam Gideon, Rhiannon Mathias deftly considers the compositional strategies which women developed to respond to this musical environment.

Keywords

Cold Warthe Westtotal serialismNadia Boulangercomposition awardsGrace WilliamsBetsy JolasElisabeth LutyensElizabeth Maconchy
Type
Chapter
Information
The Cambridge Companion to Women in Music since 1900 , pp. 18 - 32
Publisher: Cambridge University Press
Print publication year: 2021

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References

Further Reading

Gideon, Miriam and Pinnolis, Judith Shira. ‘A Conversation with Miriam Gideon (1906–1996).’ Musica Judaica, vol. 17 (June 1977), 106–41.Google Scholar
Jolas, Betsy. Molto Espressivo (Paris: L’itineraire, 1999). Collected writings (in French).Google Scholar
Mathias, Rhiannon. Lutyens, Maconchy and Williams and Twentieth Century Music: A Blest Trio of Sirens (Farnham: Ashgate, 2012).Google Scholar
Musgrave, Thea and Oteri, Frank J.. ‘Thea Musgrave: Where the Practicality Comes In’, NewMusicBox, New York (December 2017); available at https://nmbx.newmusicusa.org/thea-musgrave-where-the-practicality-comes-in/ (accessed 11 December 2020).Google Scholar

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