Women Composers And Musicians

Of the many genres and types of groups young composers learn to write for, orchestra can be especially challenging, requiring both depth and breadth of training. Studies have shown that the practical experience in working with an orchestra is essential to the development of the composer’s craft, and that the score is the primary source of communication between the composer and interpreters, including performers and conductors. Based on the research literature and my extensive experience as a conductor and coach of student composers, I provide suggestions and strategies for teaching and learning to compose for orchestra.

In her close professional relationship to composers, such as Luciano Berio, John Cage, Hans Werner Henze, Igor Stravinsky and Sylvano Bussotti, Cathy Berberian has productively tainted historical preconceptions about the authorial “work” and the role of the singer in the realization of the composer’s creation. Her flamboyant character on the concert stage, where she showcased her more popular work, captured the public’s imagination. The success of this performer–audience rapport was intrinsic to the singer’s performative persona; however Pieter Verstraete argues that through her own composed work ("Stripsody" is the best known), Berberian presented a myriad of personas. She achieved this primarily by deconstructing her own voice as instrument and object, thereby subverting the stability of her relationship to the authorial power of the musical score. Consequently, Berberian’s work invites us to rethink the authorial position of the composer in relation to the singer/performer as well as the enhanced position of the listener whose function it is to imagine such personas in relation to seeing and hearing the performer’s singing body over a number of changing instances.

Abstract: The pianist and composer Eugénie-Victorine-Jeanne Alombert once held a
notable position in Parisian cultural life; the Bibliothèque Nationale in Paris has more than
a dozen of her compositions, almost all of them digitized and available to the world through
the Gallica website. Her dates of birth and death are unknown; she was probably born
between 1860 and 1870, and can be documented until 1906. Her teachers included Mary
Moll and Pompilio Sudessi; those performing her works included Célestin Bourdeau and
(probably) Nicolas Gervasio.

Cicely Foster (1903-2002) va ser una compositora anglesa, alumna entre d'altres d'Alfredo Casella, Alfred Cortot i Nadia Boulanger. El 1932 ella i el seu marit, el pintor nord-americà Archie Gittes, es varen instal·lar a Mallorca. L'illa era aleshores un refugi de bohemis i artistes estrangers, entre els quals Robert Graves, Albert Vigoleis Thelen o Manuel de Falla, amb qui la compostora tenia amistat. En aquest article presentam per primera vegada l'arribada de Cicely Foster a Mallorca i la seva relació amb els cercles musicals i artístics de l'illa que la va inspirar.



Cicely Foster (1903-2002) was an English composer, a student of Alfredo Casella, Alfred Cortot and Nadia Boulanger, among others. In 1932 she and her husband, the American painter Archie Gittes, moved to Mallorca. The island was then a refuge for bohemians and foreign artists, including Robert Graves, Albert Vigoleis Thelen and Manuel de Falla, with whom the composter was friends. In this article we present for the first time the arrival of Cicely Foster in Mallorca and her relationship with the musical and artistic circles of the island that inspired her.

Although regarded in 1954 as the “first Czech woman composer of importance” by the Grove’s Dictionary, Julie Reisserová’s name has since disappeared from all successive printed editions of the great English dictionary. Few reference
works devote even a brief entry to her. Similarly, she was the subject of only two short monographs in 1941 and 1948 respectively. However, Julie Reisserová played a major role in the spread of Czech culture in Europe between the two Wars and was responsible for the creation of Albert Roussel’s Le Testament de la tante Caroline at the Olomouc Opera House on 14 November 1936. Her disappearance from the musical landscape is probably due to her unexpected death and the lack of access to her rare published works. These are virtually absent from the collections of major public libraries, with the exception of a few copies of the Esquisses for piano and the Březen melody cycle. The discovery in the library of the Conservatoire régional du Grand Nancy of the manuscript – apparently an autograph – and of the original edition of the Pastorale maritimo, which propelled Reisserová to the forefront of the international scene in 1935, is therefore of real importance for the knowledge of this artist. The present article aims to place this instrumental page in its historical context, to trace its reception and to offer a summary analysis.

This article is a distillation of an ethnography conducted in the fall of 2008 of female rock instrumentalists performing in bands in the Tampa, Florida bay area. The study looked into why there are comparatively very few female rock instrumentalists (five percent of the total number of instrumentalists playing in bands in the Tampa area), what social processes need to be in place for a woman to get involved in a rock band, and what unique social challenges women face as instrumentalists in a male-dominated field. The ethnography employs Pierre Bourdieu's work on fields of cultural production, specifically his ideas of embodied cultural capital and habitus, to demonstrate that women are absent from rock because they lack the unique cultural capital necessary to participate in rock bands, and, furthermore, to explore what extraordinary social circumstances need to be in place for women to accumulate this cultural capital. Specifically, in this article I interpret Bourdieu's t...

RESUMEN: Ante el Plan de Educación para Todos (EPT) 2000-2015 de la Organización de las Naciones Unidas para la Educación, la Ciencia y la Cultura-UNESCO, la educación musical y artística debe reivindicarse como medio de reflexión, comprometido con el ejercicio del pensamiento crítico, interdisciplinar y humanista, la investigación y educación de calidad. Por esta razón, y desde la propuesta de una Educación en paridad, este artículo considerará los objetivos del EPT, en consonancia con el Plan de Acción 2008-2013 por la Igualdad de Género de la UNESCO, la Iniciativa de las Naciones Unidas para la Educación de las Niñas (UNGEI), y el libro Música y Músicas (2009) de Gemma Salas Villar.

PALABRAS CLAVE: Musicología, feminismo, género, educación, calidad, paridad.


ABSTRACT: In front of Education for All (EFA) Plan 2000-2015 of the United Nations Educational, Scientific and Cultural Organization-UNESCO, musical and artistic education must be claimed as a means of reflection, committed to the exercise of thought critical, interdisciplinary and humanistic research and quality education. For this reason, and since to a Parity education, this article will consider the goals of EFA, in line with the 2008-2013 Action Plan for Gender Equality by UNESCO, the United Nations initiative for Education Girls' (UNGEI), and the book Música y Músicas (2009) by Gemma Salas Villar.

KEYWORDS: Musicology, feminism, gender, education, quality, parity.

In the seventeenth and eighteenth centuries, hundreds of Venetian women began musical training in childhood to become professional musicians, known as figlie di coro (daughters of the choir), in the four charitable Ospedali Maggiori. These women overcame childhood poverty and abandonment to awe prestigious guests with their skills and even become sought-after music teachers for daughters of noble families. Through the study of institutional records regarding the care of the wards, little-studied personal requests the female musicians wrote, and musical manuscripts containing both pedagogical materials and publicly performed works, this dissertation recounts the educations and careers of specific figlie di coro and responds to two main lines of inquiry: first, how Venice's institutional and gendered structures shaped the musical education and careers of women, and second, how the work of professionally trained female musicians contributed to and fit in the society around them. Ultimately, this in-depth study of archival documents about the figlie di coro challenges the centrality of male composers and their works in Venetian music history and reinforces the significance and contributions of female performers and educators.

Recent decades have seen gender and feminist research emerge as major fields of enquiry in musicology and to a far lesser extent, music education. While these fields have increased awareness of the issues confronting women and other marginalised groups, the pedagogical practices and curricular design that might support aspiring women composers are in urgent need of attention. This article reports from an international survey of women composers (n=225), who in western art music continue to experience a masculine bias that has its roots in the past. The findings in the survey were focused on income, work and learning, relationships and networks, and gender. Numerous composers surveyed noted the under-representation of music composed by women in their higher education curricula. They also described their unpreparedness for a career in music. The article explores the issue of gender in music composition and makes practical recommendations for a more gender balanced music curriculum in h...

Este libro electrónico reúne algunos resultados académicos producidos por dos equipos de investigación vigentes dentro de las programaciones científicas 2013-2014 y 2015-2017 de la Universidad Nacional de las Artes. Radicados en la cátedra "Historia de la música argentina" del Departamento de Artes Musicales y Sonoras "Carlos López Buchardo" a cargo de Silvina Luz Mansilla, sendos proyectos fueron acreditados mediante concurso, en función del Programa Nacional de Incentivos de la Secretaría de Políticas Universitarias del Ministerio de Educación y Deportes de la Presidencia de la Nación.
Entre los integrantes del equipo que se abocaron principalmente a este trabajo se encuentran, en primer plano, Romina Dezillio y Ricardo Jorge Jeckel. Sin los escritos comprometidos de Dezillio con que se ingresa en el tema, no se comprendería la existencia misma del libro. Sin el cuidado editorial de Jeckel, no se contaría con un material musical confiable y de uso, directamente destinado a la interpretación pianística. Desde tareas colaborativas, participamos asimismo Félix Junghanns, Laura Otero, Silvia Trachcel (con su trabajo tanto pianístico como de artista visual) y Silvina Luz Mansilla. Agradezco especialmente a Inés Torrá, sobrina-nieta de la compositora, por permitir la edición de la partitura. También, a la profesora y arpista entrerriana Marcela Méndez, referencia ineludible en la producción de conocimiento sobre Celia Torrá, por su calidad humana y por la gentileza de su prólogo.

En esta entrevista, Liana Serbescu (1934) comparte generosamente vivencias y pensamientos sobre su amplia actividad como pianista, musicóloga, conferencista y editora. A través de sus palabras, podemos apreciar los distintos matices que acompañan a la investigación, especialmente cuando se enfoca en el trabajo creativo de mujeres.
Dentro de los muchos aportes de Liana Serbescu se encuentran la primera edición de la obra completa para piano de Ethel Smyth (1858-1944), así como de Das Jahr (El Año, vol. I y II) y de tres sonatas para piano de Fanny Mendelssohn (1805-1847). Tiene varias grabaciones en disco compacto con obras de Clara Wieck (1819-1896), Fanny Mendelssohn, Ethel Smyth, entre otras.
Este volumen doble se encuentra disponible en acceso abierto en: https://lapalabrayelhombre.uv.mx/index.php/palabrahombre/issue/view/304

This thesis is the sequel of a bachelorpaper which had two major purposes: to reveal who Eva Dell’Acqua (1856-1930) was and what her oeuvre consists of. The aim of this masterpaper is to examine in which way her lyrical plays fit into the theatrical life of Brussels during the belle époque. Therefore we first explore the meaning of terms like operetta, opéra-comique, opéra-buffa and pantomime and how they are part of the theatrical scene in Brussels. Afterwards we connect the lyrical part of her oeuvre with the tradition of the théâtre de société, a private form of theatre practice. A following linkage can be found within the official theatre practice in Brussels. Finally we give more information about the plays of Eva Dell’Acqua themselves like author, synopsis, reception and the evolution we notice in her lyrical oeuvre.

À la veille de la Première Guerre mondiale, le milieu musical français – depuis les sociétés de concerts jusqu’au très convoité concours du prix de Rome – semble entrouvrir sa porte aux compositrices. Si cette parenthèse enchantée se referme avec les premiers coups de canon, la période aura néanmoins permis de faire émerger des figures de créatrices, telles que Mélanie Domange, née Bonis (1858-1937). Pianiste autodidacte, elle fait partie des rares femmes à avoir fréquenté, au cours des années 1880, les classes d’écriture du Conservatoire, dont celle de César Franck. Dès cette période, elle associe le diminutif de son prénom et son nom de jeune fille pour signer ses partitions, laissant ainsi planer un doute sur le genre de leur auteure. Un mariage bourgeois et la maternité l’écartent pendant quinze ans des scènes publiques : l’éclosion de la musicienne n’advient qu’à l’extrême fin du XIXe siècle. Défendant alors elle-même ses œuvres au salon ou au concert, Mel Bonis livre une production riche et variée, touchant à tous les domaines (à l’exception du théâtre lyrique). Elle s’y montre proche de la sensibilité de Gabriel Fauré et en dialogue avec les figures de proue de l’avant-garde musicale (notamment Debussy, Ravel et d’Indy). Marquée par l’esprit de la Belle Époque, elle trouvera difficilement sa place dans le nouveau paysage esthétique des Années folles. Ce livre collectif, qui participe au débat sur la place des femmes dans l’histoire de la musique, s’adresse à ceux qui souhaitent découvrir cette figure singulière, approfondir leur connaissance de sa production ou encore comprendre le cheminement de ses œuvres vers la lumière.

Georg Braun’s Civitates Orbis Terrarum (Cologne, 1572-1617), a six-volume world atlas containing 546 views of cities, includes a panoramic of Granada, Spain, created by the Flemish artist Joris Hoefnagel (1542-1601) in 1565 in which three women are depicted as playing square frame drum, round frame drum with jingles, and dancing and snapping fingers, respectively; two of them are holding rosaries. Hoefnagel’s illustration of Seville also contains a musical scene with women dancing and playing the same percussion instruments, and a similar dance performance forms part of his depiction of Cádiz. It is striking that these scenes including women performing music and dancing are depicted in the foreground of the views of these cities, given the invisibility of women in the records that document the history of sixteenth-century Spanish music. It might be argued that these women were performing music and dancing in the Morisco manner, which would explain the importance attributed by Hoefnagel to musical practices specifically in Andalusia and particularly in Granada as the last Muslim-ruled kingdom in Spain. Similar scenes appear under the caption ‘Der Spanichs Dantz’ in a German codex containing illustrations of European costume dated in the first half of the sixteenth century. The association of the Spanish dance with female percussion players and the Muslim heritage makes these female musical practices problematic as regards religious orthodoxy and moral rectitude. This paper studies, from a musicological perspective, this iconography with the aim of imagining the music that sounded in these scenes, and analyses the role of sixteenth-century women in the transmission of secular Spanish musics in the light of the moral restrictions imposed upon them in that period.

El presente trabajo tiene como objetivo realizar una investigación de carácter analítico sobre
la obra sinfónica de la compositora uruguayense Celia Tomasa Torrá Urbach, mejor conocida como
Celia Torrá. Nacida el 18 de Septiembre de 1884 en Concepción del Uruguay, Entre Ríos, Torrá es
una de las personalidades artísticas más destacadas emergidas de dicha ciudad. Ha sido muy
significativa a nivel nacional (e incluso con proyección internacional) su labor no sólo como
compositora, sino también como intérprete virtuosa del violín, directora y pedagoga.
El presente trabajo se propone, mediante el análisis, dar cuenta de los principales aspectos
compositivos de las dos obras sinfónicas compuestas por Torrá durante su vida, para luego
compararlos y extraer conclusiones. Se pretende abordar cuestiones técnicas y estilísticas de las
mismas, teniendo en cuenta además el contexto histórico, social y cultural de su producción, como
así también posibles influencias de otros compositores, entre otros aspectos.

This dissertation sprang from a combination of two personal interests: cowboy culture and classical art song. The union of my cowgirl heritage with my career as a classical vocalist has long fueled an interest in a particular niche of repertoire: soprano art song with thematic connections to the North American cowboy. A conducted state of research reveals no scholarly literature exploring this specific topic. Libby Larsen’s collection, Cowboy Songs, fulfills the aforementioned niche, successfully capturing the spirit, musical idioms, and cultural themes of the North American cowboy.

Chapter I lays a contextual foundation for cowboy song, providing a catalogue of critically accepted “cowboy art songs” in the classical vocal canon as well as a brief state of research, and discussing the difficulties of creating a cowboy-art song fusion. Chapter II presents a biography of Libby Larsen and establishes her compositional philosophy. Chapter III provides an analysis of Cowboy Songs utilizing the parameters of Larsen’s self-stated compositional philosophy. Chapter IV informally notes three additional “cowboy art songs” by Larsen, Ives, and Previn, then delivers its closing remarks. The document includes three appendices containing the full email interview with Larsen, a letter of permission to use the score, and the appropriate IRB approval letter.

All'inizio del 1967 Carla Bley non aveva ancora compiuto ventinove anni né inciso dischi a proprio nome, anche se nei mesi precedenti erano stati pubblicati dalla Fontana i primi due album cui aveva preso parte: COMMUNICATION della Jazz Composer's Orchestra e JAZZ REALITIES dell'omonimo quintetto con Michael Mantler, Steve Lacy, Kent Carter e Aldo Romano. Sue composizioni avevano però incominciato ad apparire fin dalla fine del decennio precedente su dischi di Paul Bley («Una sera Paul mi disse: "Domani ho una seduta di registrazione per la Savoy e mi servono sei brani"»), George Russell, Jimmy Giuffre, Art Farmer, Steve Kuhn e Don Ellis. Prima ancora, da ragazzina, aveva scritto «little operas, cowboy songs, religious songs» e (come in un cinematografico flash forward) «dodici variazioni su Onward Christian Soldiers: una era una marcia, un'altra un valzer, un'altra ancora una polka e quelle conclusive un canto funebre e un coro di alleluia». 5 10 15 20

La fortune contemporaine d'une figure musicale du passé est toujours délicate à expliquer. Travaux de recherche, propositions de programmateurs, intérêt des interprètes, promotion médiatique, effort des descendants, volonté politique, effets de mode : de nombreux facteurs concourent à l'émergence de compositeurs restés jusqu'alors confidentiels, mais ne garantissent pas pour autant une réhabilitation complète. De même, l'enthousiasme ponctuel du public lors d'auditions d'oeuvres rares n'aura que peu d'impact si des voix prescriptives – venues par exemple des journalistes ou du monde académique – ne s'élèvent pour en valider la valeur esthétique. Aux enfers et purgatoire de notre canon musical patiente ainsi une cohorte d'artistes attendant qu'une curiosité nouvelle et une légitimation posthume soufflent sur la poussière recouvrant leurs noms.

Las mujeres han sido, y son, privilegiadas garantes del patrimonio heredado por la tradi-ción oral, incluido el musical. La música de la sociedad que levantó los edificios románi-cos, fundamentalmente canto (voz), se transmitió a través de esta vía, si bien el arte mu-sical, por naturaleza una manifestación que se consume con su interpretación, histórica-mente ha acusado importantes problemas a la hora de ser representado en la escultura monumental.
Hugo Leichtentritt planteó una pregunta en 1905: What can works of art teach us about music? que se nos antoja más pertinente si se refiere a la época del Románico. Es muy difícil tallar “el canto” de manera plástica, el flatus vocis no tiene forma, y la voz fue el principal instrumento musical que se utilizó, al menos, hasta el siglo XVI. La música desa-parece, porque no se puede representar, podríamos decir parafraseando a San Isidoro en sus Etimologías cuando todavía no se había inventado la notación musical.
Este panorama general se dobla de un problema añadido cuando nos referimos a las mu-jeres, y es la consideración que en la cultura cristiana ha tenido la voz femenina como tabú cultural, coherente con esas políticas del cuerpo que el patriarcado ha mantenido hacia todo lo que suponga carnalidad y performatividad femenina.

El objetivo del presente trabajo es dar a conocer y contextualizar las composiciones que Clara Schumann (1819-1896) escribió para el piano como instrumento solista. Para ello es necesario comprender las características particulares y la evolución del recital de piano a lo largo del siglo XIX, así como poner de manifiesto los intercambios musicales que tuvieron lugar entre dicha artista y los compositores contemporáneos que le resultaban más próximos.

In “How to Disappear,” a song from
her last album, Norman Fucking Rockwell!, Lana Del Rey leads us
to expect a how-to manual, but she
gives us a poem instead:
“Now it’s been years since I left New York /
I got a kid and two cats in the yard /
The California sun and the movie stars
I watch the skies getting light as I write / As I think about those years / As I whisper in your ear / I’m always gon’ to be right here / No one’s going anywhere.”
Such an unabashed display of sentimentality is compounded by the photographic and/or painterly image on the album’s cover, in which Del Rey clings to a man, a handsome man, and she clings to the American flag and Americana, and she clings to kitsch and she clings to melodrama and the problematic histories that each of these normative and patriarchal phenomena might provide, even as they all sink together. Staying with the doomed ship (loving the doomed ship, even) is an act of radical generosity.

Rukopisna verzija rada “Žene i glazba: Analiza diskurza jednog općeg leksikona”, objavljenog pod naslovom “Glazbene umjetnice”.
Sažetak: U radu se razmatra zastupljenost i način predstavljanja žena vezanih uz glazbu u jednom općem leksikonu, konkretno u Hrvatskom općem leksikonu, te poredbeno u jednom specijaliziranom glazbenom leksikonu. Činjenice o glazbenicama i glazbenicima zastupljenima u općem leksikonu analizira se na razini strukture ženskih glazbenih profesija u hrvatskoj i drugim glazbama; posebno se analiziraju glazbenice u odnosu na važne glazbenike popraćene portretima; na posljetku, analizira se način na koji se one opisuju, pri čemu se pokazuju određeni obrasci ženskih opisa i vrijednosti, povezani s obrascima opisa i vrijednosti pojedinih glazbenih profesija, područja, žanrova i nacionalnih tradicija. Veća je pozornost posvećena četirima glazbenim profesijama: pjevačkoj, skladateljskoj, pijanističkoj te etno/muzikološkoj i glazbeno-publicističkoj, koje su rodno i spolno različito pozicionirane u sustavu vrijednosti visoke kulture.

The piano rolls of the American pianist and composer Edythe Baker (1899-1971) have been sought by collectors for decades. Prized for their rarity — but mainly for their musical excellence -- in them we hear a uniquely identifiable voice. Her seventy-five known piano rolls also trace Baker’s remarkable musical journey through the period when ragtime and the blues ascended, the Broadway musical coalesced, and the player piano idiom achieved maturity.

El documento que presentamos, La marcha de las mujeres (The March of the Women), es una partitura compuesta en el año 1911 por la compositora inglesa Dr. Ethel Smyth (1858-1944), una pieza que se convertiría en el himno del movimiento sufragista. La compositora, tras conocer durante un mitin a Emmeline Pankhurst, líder de la Unión Social y Política de las Mujeres (Women's Social and Political Union, WSPU), abandonó durante dos años su intensa y reconocida actividad musical para dedicarse plenamente a la causa sufragista. La composición de este himno proporcionó a este movimiento un canto propio de identificación y cohesión que representó y simbolizó la lucha de aquellas mujeres. Su música, arraigada en la tradición de los himnos patrióticos y revolucionarios del siglo xix, fue cantada por las sufragistas inglesas en sus actos y la propia autora hizo diferentes versiones de la misma. Se trata de un documento relevante, histórica y musicalmente, que revela la importancia de la música para expresar los ideales de un movimiento colectivo, en este caso el sufragismo, y las emociones de quienes con él se identificaban.

Eva Dell’Acqua is een vergeten Brusselse componiste geboren in 1856 en gestorven in 1930. Deze bachelorpaper wil bijdragen tot toekomstig onderzoek naar deze interessante figuur, alsook naar het muzikale leven van de belle époque, dit door de bespreking van biografische aspecten en de samenstelling van een oeuvrecatalogus. De persoon van Eva Dell’Acqua wordt benaderd vanuit een kunsthistorische invalshoek. In historische kranten en tijdschriften en documenten van de burgerlijke stand gingen we op zoek naar biografische en oeuvre-gerelateerde informatie. Gelijkaardig onderzoek, met de focus op metadata, werd gevoerd in Eva Dell’Acqua’s beschikbare partituren. Lexica en algemene literatuur werden aangewend om de componist in een groter geheel te situeren.

Hoofdstuk 1 reconstrueert de familiale context van Eva Dell’Acqua waarbij haar bekende vader, kunstschilder Cesare Dell’Acqua de meeste aandacht krijgt. In hoofdstuk 2, dat handelt over Eva Dell’Acqua zelf, worden dubbelzinnigheden betreffende haar naam, geboortedatum en geboorteplaats weggewerkt en worden aspecten aangeraakt zoals haar woonplaats, opleiding, beroep en professionele relaties. Het laatste hoofdstuk bespreekt Dell’Acqua’s oeuvre en biedt met behulp van de bijlagen een oeuvrecatalogus ingedeeld in drie logische categorieën.

En el presente trabajo propongo una aproximación a Rapsodia Entrerriana, primera obra sinfónica de la compositora argentina Celia Torrá, premiada por la Asociación del Profesorado Orquestal en el concurso de 1931. Para ello parto de un acercamiento al desenvolvimiento profesional de la autora como violinista, compositora, y directora de coro y orquesta; y del análisis musical de la obra, mediante el estudio de la partitura y la grabación sonora. Me interesa reflexionar acerca de los sentidos atribuidos a la obra a partir del análisis de elementos y procedimientos estilísticos del discurso musical, las implicancias de su premiación, y su recepción dentro del campo musical, a la luz de una perspectiva de género que problematice sus alcances.

El presente trabajo realiza un breve recorrido por la parte más desconocida de la Historia de la Música, impregnada especialmente por un hegemónico machismo que, incuestionable, ha palpado cada uno de los aspectos de la vida de una mujer desde su nacimiento.
Supone la significación del género femenino, difuminado siempre entre sus compañeros músicos, exponiendo a las principales compositoras de todas las etapas junto con algunas de sus partituras y piezas musicales en los anexos.
La explicación de cada personaje se encuentra dividida en dos partes: biografía y producción musical. En la biografía se comentan los rasgos esenciales de la vida, como sus estudios y principales logros u otros datos a destacar; y, respecto a la producción musical, ésta varía dependiendo de las obras que se hayan conservado de la compositora, desde indicar todas las piezas de su catálogo, por no ser muy numerosas, hasta señalar únicamente algunas de las más relevantes, por ser un catálogo demasiado extenso.
Al final de cada uno de los periodos de la Historia de la Música se citan los nombres y fechas de otras compositoras que, debido a la restricción que supone el límite de espacio, no es posible incluirlas en el planteamiento.
Tras la parte dedicada al siglo XX, aparecen mencionadas en último lugar las compositoras españolas, ciertamente descontextualizadas de su época, pero intencionadamente situadas para otorgarles una relevancia especial.
El trabajo, por un lado, da la importancia merecida a todas aquellas mujeres compositoras privadas de su posición correspondiente en la Historia de la Música occidental, exentas en la inmensa mayoría de los tratados y escasamente mencionadas en una minoría; y, por otro, expone una propuesta educativa para que en los centros se tenga en cuenta también esta parte “oculta” de la Historia de la Música, no por separado, sino como parte del todo, igual que ocurre con el resto de compositores que conocemos, con la intención de que el alumnado reciba una enseñanza igualitaria en la que predomine el desarrollo de una serie de valores de respeto, tolerancia y aceptación, evitando así cualquier tipo de discriminación.

Findings and recommendations from an M3C (AHRC) funded Creative Economy Engagement Fellowship, undertaken in partnership with Cheltenham Jazz Festivals Jan-Oct 2019.

Written by Dr Sarah Raine and with contributions from: Emily Jones (CJF / Sage Gateshead), Maxie Gedge (Keychange), Steve Mead (Manchester Jazz Festival), Mike Flynn (Jazzwise), Dave Gaydon (CFJ), David Porter (Hull Jazz Festival), Jill Rodger (Glasgow Jazz Festival), and researchers at Kings College London.

This article provides a musical and historical overview of the orchestral music of Elfrida Andrée (1841-1929). Although she was among the most prominent Swedish composers of her time, as well as the first Swedish woman to compose a symphony or a grand opera, conduct a major orchestra, or become a professional cathedral organist, only recently has her music begun to receive renewed attention among musicians. Despite her professed interest in the orchestra as an expressive medium, she is best known today for her chamber music. Considering the availability of clean manuscript sources for most of her orchestral works, the quality of this music, and its broad suitability for college and professional orchestras, I argue that this repertoire is ripe for reassessment and revival.

Bu çalışma, Türk musiki geleneğinde ve bu geleneğin önemli bölümünü oluşturan Osmanlı saray çevresinde kadının yerini ve musiki kimliğini, yazılı ve görsel belgelere dayanarak incelemeyi amaçlamaktadır. Çalışmanın ilk bölümünde genel olarak Türk toplumlarında kadın ve musiki ilişkisi incelenmektedir. Arkasından Osmanlı toplumunda ve özellikle saray çevresinde, kadın bestekârlığı ve kadın bestekârların Türk musikisindeki yeri ele alınmakta ve kadının musiki kimliğini ve kadın bestekârlığını anlamak için özellikle saray ve çevresinde musiki eği-timi almış ya da icra etmiş önemli kadın bestekârların musiki kişiliği incelenmektedir.
This study aims to examine the women and her musical identity in Turkish musical tradition and in the Ottoman Court which constitutes its the most important part by means of written and visual documents. In the study's first part, it has been examined in general sense the relationship of women and music in Turkish societies. Later, it deals withs the importance of women musicial identity and women musicians in Ottoman society, court and Turkish musical tradition. In addition, to undestand the women's musical idendity in Ottoman society, the study attempts to examine the musician identity of some women composers and musicians who had performed music or had been trained in the court and its circle.

Tujuan penulisan karya ilmiah ini adalah untuk menjelaskan pengertian dari menjadi seorang musisi gereja yang terampil dan profesional berdasarkan kitab 1 dan 2 Tawarikh serta bagaimana menjadi seorang musisi gereja yang terampil dan professional berdasarkan kitab 1 dan 2 Tawarikh. Adapun hasil penelitian ini dapat disimpulkan sebagai berikut: Pertama, untuk menjadi musisi gereja yang terampil dan profesional dari sisi kerpibadian, seorang musisi gereja haruslah mengembangkan karakter: dewasa, rendah hati, setia, menghindari persaingan, bertanggungjawab, memiliki integritas, disiplin dan loyal. Kedua, pelayanan seorang musisi gereja didasarkan sebagaimana pelayanan kaum Lewi yaitu mereka yang dikhususkan Allah untuk melayani-Nya melalui peribadatan di Bait Suci dengan demikian mereka adalah pelayan yang terampil dan profesional dari sisi kepribadian: kerohanian, sosialita, dan musikalitas. Ketiga, untuk menjadi musisi gereja yang terampil dan profesional dari sisi kerohanian, seorang musisi gereja adalah orang yang telah lahir baru, memiliki panggilan pelayanan, hidup dalam penyerahan diri yang total dalam Tuhan, taat firman Tuhan, hidup dalam iman, menjadi berkat, dan tidak tergantung pada bayaran. Keempat, untuk menjadi musisi gereja yang terampil dan profesional dari sisi musikalitas, seorang musisi perlu mengembangkan kemampuan dalam memahami teori musik dan praktik, kreatif dan memiliki kepekaan terhadap musik itu sendiri. Kelima, untuk menjadi musisi gereja yang terampil dan profesional dari sisi sosialita, seorang musisi gereja perlu menjadi contoh dan teladan dalam hubungan dengan sesama pelayan, terhadap jemaat, dan masyarakat.

Kata Kunci: Musisi Gereja, Terampil, Profesional, 1 dan 2 Tawarikh

La imperiosa necesidad de decir guió la larga e intensa vida de esta abadesa benedictina, conformando una de las autorías musicales más importantes de toda la Edad Media.Varias categorías guiarán el acercamiento a su figura en el plano musical: el monasterio como “comunidad de canto”; la búsqueda de un lenguaje que entroncase con el de Adán antes de la Caída; y la centralidad del cuerpo femenino, una somaticidad musical que se plasma en una sonoridad románica singular, que todavía hoy sorprende. En definitiva, una teología musical vertida en una obra insólita, que impugna la manera de pensar la propia historia de la música, así como el llamado “Renacimiento del siglo XII”, alumbrando puntos de fuga imprevisibles para la Historia de las mujeres.

Not long after his death in 1848, a claim began to circulate that Gaetano Donizetti's prodigious success in both serious and comic opera derived from a neurological idiosyncrasy. As biographer Filippo Cicconetti related, the composer had been ambidextrous, in a unique sense. Examining the failing composer, doctors noticed that he had »two founts of inspiration, one on the left side, which gave forth comic music, and the other on the right, from which sprung the serious music. When he sat down to compose it worked like a valve, which opened on one side or the other depending on the genre of the opera.« 1 This is just the most whimsical of the innumerable anecdotes that highlight the speed with which the Italian composers of the era worked. Elsewhere Donizetti is described as tossing off melodies in quarter-hours in coffee houses, and Rossini's facility was supposedly such that it was easier for him to rewrite a page from Il barbiere di Siviglia than to retrieve a page of music that had blown out of his hands. 2 These indications of haste were compounded by accusations of opportunistic recycling of musical material. With Italian opera early in the nineteenth century still more securely defined as »act« than as »text,« the question of who deserved to be called an »author« was an important topic of debate in journalistic discourse, broached implicitly whenever vignettes of speed or self-borrowing were retailed in the press. In light of the disapproval that informs such anecdotes, contemporary accounts of the composerly acitivities of mezzo-soprano Maria Malibran make surprising reading. In memoirs and early biographies, Malibran is celebrated for just the kind of speed and distraction that raised critical eyebrows when 1 Filippo Cicconetti, Vita di Gaetano Donizetti, Rome 1864, p. 178. 2 Donizetti's biographer Cicconetti relates that »often fearing that the ideas that came to mind during his walks through the city and during his pleasant conversations would flee from his memory before he returned home, [Donizetti] would enter some restaurant and, taking up a piece of paper, would notte his ideas with lightning speed«. Ibidem, pp. 69-70. The Rossini anecdote was first recounted in Geltrude Giorgi Righetti, Cenni di una donna già cantante sopra di maestro Rossini, Bologna 1823, and reprinted in Luigi Rognoni, Rossini, Parma 1956 (Biblioteca di Cultura Musicale 6), pp. 304-305. Philip Gossett discusses these tropes of speed and carelessness in his »Gioachino Rossini and the Conventions of Composition,« in: Acta Musicologica 42/No. 1-2 (1970), pp. 48-58, here: pp. 49-50.

Öz
Türkiye’de Cumhuriyetle beraber değişen kültürel yaşamın ülke genelinde ilerici ve modern bir görünüm kazanmasıyla beraber kadın kimliğinin bağımsız bir birey olarak toplumda yer almaya başlaması ülke tarihinin büyük dönüm noktalarındandır. Cumhuriyetin müzik eğitimi alanında yaptığı yenilikler tevhid-i tedrisat politikasına dahil olmakla birlikte bilimsel bir nitelik de kazanmıştır. Yetenekli gençleri eğitim almaları amacıyla yurtdışına göndermenin yanında yurtiçinde de çoksesli müzik eğitimi veren konservatuvarlar ve müzik öğretmenleri yetiştiren akademiler kurulur. Önemli sanatçı ve eğitimcilerin ders verdiği bu kurumlardan zaman içinde büyük besteciler yetişir. Yurtdışında eğitim alıp gelen yetenekli gençler ise sonrasında Türk Beşleri olarak anılacak olan bestecileri de kapsayan yetkin sanatçılar olarak yurda hizmet etmeye dönerler. Cumhuriyetin yeni yetişen bestecilerinin içinde elbette
kadınlar da vardır. Ancak dünyada olduğu gibi Türkiye’de de kadın besteciler erkeklere göre sayıca oldukça azdır. Yine de Türkiye örneğinde kadın bestecilerin tanınması ve çoğalmasında Cumhuriyetin rolü oldukça büyüktür. Nazife Güran, Yüksel Koptagel, Meliha Doğuduyal, Sıdıka Özdil, Nihan Atlığ, Perihan Önder Ridder, Deniz İnce ve İpek Mine Altınel Cumhuriyetin sanat politikalarıyla yetişmiş ve günümüze önemli eserler bırakmış önde gelen kadın bestecilerdir. Bu çalışmada Cumhuriyet döneminde besteci yetiştirme politikalarından kısaca bahsedilerek Türkiye’de batı müziğinin önde gelen kadın bestecileri hakkında bilgiler verilecektir. Çalışmanın amacı, bu bestecilerin tanınmasına katkıda
bulunmaktır.
Anahtar kelimeler: Cumhuriyet dönemi bestecileri, Kadın besteciler, Cumhuriyet dönemi müzik politikaları.