Abstract
The introductory chapter gives an overview of the collection’s breadth of focus, arising from the composer-authors themselves, and pointing to the wealth of divergent approaches embraced by women in contemporary composition. I tease apart the sub-themes that come to light in the chapters and the commonalities and points of divergence between the authors’ accounts of their work, and, in many cases, of their career in composition over a lifetime. Issues pertaining to race, non-heteronormative gender/sexuality and ethnicity are canvassed; composers’ musical languages are detailed, with particular attention on distinct philosophically-based approaches to musical time and the phenomenology of sound. Collaborative processes, traversing a wide range of applications, are also a feature. The discussion situates the chapters within Fourth-Wave feminism, elucidating the ways in which the collection not only showcases the creative work of women composers, but at the same time, tests the appositeness of contemporary feminist theory for new “classical” music as it manifests in practice. The insights arising from this book serve to address the question of whether the current era can truly be termed “post-feminist” for composers who are women.
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Notes
- 1.
Peggy Glanville Hicks in Interview with John Tristram, dir., P.G-H: A Musical Odyssey (Sydney: Juniper Films & ABC, 1991).
- 2.
We acknowledge the problematic aspect of assuming that, by the use of the term “composer,” one infers “of Western art music.”
- 3.
An obvious further group of composers deserving of the spotlight is people whose gender is non-binary.
- 4.
Also see, for example, Part II in Linda Kouvaras, Maria Grenfell and Natalie Williams, eds, A Century of Composition by Women: Music Against the Odds (Cham: Palgrave Macmillan, 2022).
- 5.
Jennifer Kelly and Augusta Read Thomas, “Augusta Read Thomas,” In Her Own Words: Conversations with Composers in the United States, by Jennifer Kelly, 265–280 (University of Illinois Press, 2013). Our book is, similarly, a collection by women composers on their own work. Prior compendia on women composers would include such titles as The Pandora Guide to Women Composers: Britain and the United States 1629–Present, by Sophie Fuller (London: Pandora, 1994); and Les Compositrices en France a XIXe Siècle by Florence Launay (Paris: Fayard, 2006).
- 6.
Some recent titles on this issue include Kouvaras, Grenfell, and Williams, eds, A Century of Composition; Siobhan McAndrew and Martin Everett, “Symbolic versus Commercial Success among British Female Composers,” in Social Networks and Music Worlds, ed. Nick Crossley, Siobhan McAndrew and Paul Widdop (New York: Routledge, 2014), 61–88; Laurel Parsons and Brenda Ravenscroft, eds, Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900 (London: Oxford University Press, 2018); and Michael K. Slayton, ed., Women of Influence in Contemporary Music: Nine American Composers (Lanham: Scarecrow Press, 2010); Roxane Prevost and Kimberly Francis, “Teaching Silence in the Twenty-First Century: Where are the Missing Women Composers?” in The Oxford Handbook of Music Censorship, ed. Patricia Hall (New York: Oxford University Press, 2018): 637–60. Also see Susanna Eastburn, “We Need More Women Composers—and It’s Not About Tokenism, It’s About Talent,” The Guardian, March 6, 2017, https://www.theguardian.com/music/2017/mar/06/sound-and-music-susanna-eastburn-we-need-more-women-composers-talent-not-tokenism, and Clarissa Sebag-Montefiore, “Beyond the ‘Dead White Dudes’: How to Solve the Gender Problem in Australian Classical Music,” The Guardian, August 20, 2019, https://www.theguardian.com/music/2019/aug/20/beyond-the-dead-white-dudes-how-to-solve-the-gender-problem-in-australian-classical-music.
- 7.
- 8.
See, for example, Elaine J. Hall and Marnie Salupo Rodriguez, “The Myth of Postfeminism,” Gender and Society 17, no. 6 (2003): 878–902.
- 9.
N.a., “Feminism,” Inside History, https://www.history.com/topics/womens-history/feminism-womens-history (accessed 28 April 2021). For the prime trail-blazers in feminist musicology see especially Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 2002). First edition appeared 1991; Marcia Citron, Gender and the Musical Canon, 3rd ed. (Champaign: University of Illinois Press 2000); Renee Cox Lorraine, “Recovering Jouissance: An Introduction to Feminist Musical Aesthetics,” in Women and Music: A History, edited by Karin Pendle, 2nd ed., 3–18 (Bloomington: Indiana University Press, 2001); Ruth M. Solie, ed., Musicology and Difference: Gender and Sexuality in Music Scholarship (Berkeley: University of California Press, 1993).
- 10.
Nicola Rivers, Postfeminism(s) and the Arrival of the Fourth Wave (London: Palgrave Macmillan, 2017); Martha Rampton, “Four Waves of Feminism,” Pacific Magazine, Fall (2008), https://www.pacificu.edu/magazine/four-waves-feminism (accessed 22 December 2020).
- 11.
Hall and Salupo Rodriguez, “The Myth of Postfeminism.”
- 12.
Chapter 2, present volume.
- 13.
Chapter 2, present volume.
- 14.
Chapter 2, present volume.
- 15.
Chapter 3, present volume.
- 16.
See, for example, Citron, Gender and the Musical Canon; Nancy B. Reich, Clara Schumann: The Artist and the Woman (Ithaca: Cornell University Press, 2001).
- 17.
Chapter 3, present volume.
- 18.
Chapter 4, present volume.
- 19.
Chapter 5, present volume.
- 20.
Chapter 5, present volume.
- 21.
Chapter 5, present volume.
- 22.
Maria Carbin and Sara Edenheim, “The Intersectional Turn in Feminist Theory: A Dream of a Common Language?” European Journal of Women’s Studies, 20(3) (2013): 233–48; Stéphanie Genz and Benjamin A. Brabon, Postfeminism: Cultural Texts and Theories (Edinburgh: Edinburgh University Press, 2018).
- 23.
See, for example, Ron Eyerman, Giuseppe Sciortino (eds), The Cultural Trauma of Decolonization: Colonial Returnees in the National Imagination (London: Palgrave Macmillan, 2020); Jeffrey C. Alexander et al., Cultural Trauma and Collective Identity (Berkeley: University of California Press, 2004).
- 24.
Also see Kouvaras, Grenfell, and Williams, eds, A Century: Part III: Creating; Collaborating: Composer and Performer Reflections.
- 25.
Chapter 6, present volume.
- 26.
Chapter 6, present volume.
- 27.
Chapter 7, present volume.
- 28.
Chapter 7, present volume.
- 29.
Chapter 7, present volume.
- 30.
Chapter 7, present volume.
- 31.
Chapter 7, present volume.
- 32.
Chapter 8, present volume.
- 33.
Australian author Alice Pung’s autobiography also comes to mind here. Unpolished Gem (Melbourne: Black Inc., 2006).
- 34.
Chapter 5, present volume.
- 35.
Chapter 9, present volume.
- 36.
Chapter 11, present volume.
- 37.
Chapter 10, present volume.
- 38.
Chapter 10, present volume.
- 39.
Chapter 11, present volume.
- 40.
- 41.
Chapter 12, present volume.
- 42.
Chapter 12, present volume.
- 43.
Chapter 13, present volume.
- 44.
Chapter 14, present volume.
- 45.
Chapter 14, present volume.
- 46.
Chapter 15, present volume.
- 47.
Jonathan D. Kramer, The Time of Music: New Meanings, New Temporalities, New Listening Strategies (London: Collier Macmillan, 1988).
- 48.
Chapter 16, present volume.
- 49.
Chapter 17, present volume.
- 50.
Chapter 18, present volume.
- 51.
Chapter 19, present volume.
- 52.
Chapter 4, present volume.
- 53.
Chapter 19, present volume.
- 54.
Chapter 2, present volume.
- 55.
Chapter 5, present volume.
- 56.
Daniel Kreiss, Recoding the Boys’ Club: The Experiences and Future of Women in Political Technology (New York: Oxford University Press, 2020).
- 57.
Chapter 5, present volume.
- 58.
Chapter 2, present volume.
- 59.
Chapter 4, present volume.
- 60.
Chapter 8, present volume.
- 61.
Chapter 17, present volume.
- 62.
Chapter 20, present volume.
- 63.
Also see Maria Grenfell, “Mentoring Women Composers,” in Kouvaras, Grenfell and Williams (eds), A Century of Composition by Women.
- 64.
Eleanor Ange Roy and Lisa Martin, “49 Shot Dead in Attack on Two Christchurch Mosques,” The Guardian, March 15, 2019, https://www.theguardian.com/world/2019/mar/15/christchurch-shooting-new-zealand-suspect-white-supremacist-symbols-weapons.
- 65.
Chapter 21, present volume.
- 66.
Chapter 4, present volume.
- 67.
Chapter 22, present volume.
- 68.
Jennifer Kelly, “Augusta Read Thomas,” In Her Own Words: Conversations with Composers in the United States (Urbana: University of Illinois Press, 2013): 265–80. https://ebookcentral.proquest.com/lib/unimelb/detail.action?docID=3414280 .
- 69.
Chapter 23, present volume.
- 70.
Chapter 23, present volume.
- 71.
Chapter 9, present volume.
- 72.
Regarding my reflections on one of my own compositions relating to this subject, After Before: Provenance Fantasia (2017) for Violin, Clarinet and Piano, see Maurice Windleburn, “Products of Our Own Histories: An Interview with Linda Kouvaras,” Context 43 (2018): 69–76.
- 73.
Chapter 24, present volume.
- 74.
Chapter 21, present volume.
- 75.
Chapter 4, present volume.
- 76.
Chapter 25, present volume.
- 77.
Chapter 2, present volume.
- 78.
Chapter 5, present volume.
- 79.
Chapter 19, present volume.
- 80.
Chapter 26, present volume.
- 81.
Chapter 21, present volume.
- 82.
Chapter 27, present volume.
- 83.
Chapter 27, present volume.
- 84.
Chapter 27, present volume.
- 85.
Chapter 27, present volume.
- 86.
Those by McTee, Finsterer, de Vilder and Hope. For an essay by Hope that does address gender and contemporary composition, see Cat Hope, “Working Towards Gender Equality and Empowerment in Australian Music Culture,” in Kouvaras, Grenfell, and Williams, eds, A Century.
- 87.
I have discussed this issue from different perspectives in Linda Kouvaras, “Composing Women’s (Very) Long 100-year Fight: Evolutions, Illuminations, Solutions,” in Kouvaras, Grenfell, and Williams, eds, A Century.
- 88.
Chapter 27, present volume.
- 89.
Chapter 22, present volume.
- 90.
Chapter 22, present volume.
- 91.
Chapter 12, present volume.
- 92.
Chapter 27, present volume. Zaimont extends the “qualifier” to encompass other “qualifier” adjectives applicable to her own situation: “Living; American; Jewish.” Also see Aisling Kenny, “Integration or Isolation? Considering Implications of the Designation ‘Woman Composer,’” British Postgraduate Musicology 10, Special Section (2009): 1–11.
- 93.
Chapter 17, present volume.
- 94.
Chapter 27, present volume.
- 95.
Chapter 11, present volume.
- 96.
Chapter 13, present volume.
- 97.
Chapter 11, present volume.
- 98.
Chapter 11, present volume.
- 99.
Chapter 13, present volume.
- 100.
Chapter 13, present volume.
- 101.
Chapter 13, present volume.
- 102.
Chapter 13, present volume.
- 103.
Chapter 13, present volume.
- 104.
Rita Felski, Doing Time: Feminist Theory and Postmodern Culture (NYU Press, 2000); Ann Brooks, Postfeminisms: Feminism, Cultural Theory and Cultural Forms (London: Routledge, 1997); Marysia Zalewski, Feminism after Postmodernism?: Theorising Through Practice (London: Routledge, 2000).
- 105.
Barbara Creed, “From Here to Modernity: Feminism and Postmodernism,” Screen 28, no. 2 (1987): 47–67; Christine Morley and Selma Macfarlane, “The Nexus Between Feminism and Postmodernism: Still a Central Concern for Critical Social Work,” The British Journal of Social Work, 42, no. 4 (2012): 687–705. But also see Craig Owens, “The Discourse of Others: Feminists and Postmodernism,” The Anti-Aesthetic: Essays on Postmodern Culture, ed. Hal Foster (Port Townsend, Washington: Bay Press, 1983); Linda J. Nicholson, ed., Feminism/Postmodernism (New York: Routledge, 1990).
- 106.
See, for example, Marcia J. Citron, “Women and the Western Art Canon: Where Are We Now?” Note, Second Series 64, No. 2 (Dec., 2007): 209–215. A number of female composers speak to this issue in Jennifer Kelly, In Her Own Words: Conversations with Composers in the United States (Urbana: University of Illinois Press, 2013).
- 107.
One might surmise that, because the authors were informed that they would be contributing to a book authored by women composers on their own work, “It’s a book about women composers, of COURSE they are going to write about gender.” But this entirely begs the question of the need for such a book: the gender issue is so entrenched it is hardly surprising that it is the focal point for the great majority here. That they did so, shows both the concerns of the field and the exigency for this focus.
- 108.
Janet Wolf, The Social Production of Art (London: Macmillan, 1981).
- 109.
A whole section on such activity appears in Kouvaras, Grenfell, and Williams, eds, A Century.
- 110.
Oliver Strunk, Source Readings in Music History (New York: Norton, 1965).
- 111.
Lim, Chap. 11, present volume.
- 112.
Composer-scholars Roger Smith and Hazel Dean note in their 2009 publication Practice-led Research, Research-led Practice in the Creative Arts that the field is far further established and documented in artistic practices other than contemporary (scored) music composition—and pianist-musicologist Mine Dogantan-Dack has also asserted this about music generally as recently as 2015. Roger Smith and Hazel Dean, Practice-led Research, Research-led Practice in the Creative Arts (Edinburgh: Edinburgh University Press, 2009), 7–8; 10; 14. Mine Dogantan-Dack, Artistic Practice as Research in Music (Farnham, Surrey; Burlington, VT: Ashgate, 2015), 1. In 2004, a conference was held by The National Association for Music in Higher Education, NAMHE, at Oxford Brookes University entitled “Practice-as-Research: Towards Consensus.” Dogantan-Dack reports that no major publications emanated from this event. Dogantan-Dack, Artistic Practice, 2. Since then, there have been special issue journals such as the 2007 issue of the Dutch Journal of Music Theory, devoted to “Practice-Based Research in Music” (here, from a North European perspective). Since that time, the number of conferences and international seminars focusing on artistic practice as research music has steadily increased. Dogantan-Dack, Artistic Practice, 2. But the 2007 Dutch publication contains more on music performance as research, and on collaborations between composers and commissioning performers, than on music composition itself.
- 113.
- 114.
Patrick Doyle, “It’s okay to have had an Unproductive Year in Quarantine,” The Daily Aztec (March 17, 2021), https://thedailyaztec.com/104831/opinion/its-okay-to-have-had-an-unproductive-year-in-quarantine/.
- 115.
- 116.
This, of course, raises another multi-factored barrier to break: the “New Music” ghetto broadly conceived. Philip Ehrensaft, “Why New Music Dwells in a Ghetto,” La Scena Musical 8, no. 2 (Oct 2012), http://www.scena.org/lsm/sm18-2/sm18-2_musiculture_en.html.
- 117.
Gabriella de Lacio et al., “Equality and Diversity in Concert Halls, 2020–2021: 100 Orchestras Worldwide,” Donne Foundation, July (2021), https://donne-uk.org/wp-content/uploads/2021/03/Equality-Diversity-in-Concert-Halls_2020_2021.pdf.
- 118.
Linda Kouvaras, “Introduction: Composing Women’s (Very) Long 100-year Fight: Evolutions, Illuminations, Solutions,” in Linda Kouvaras, Maria Grenfell and Natalie Williams, eds, A Century of Composition by Women: Music Against the Odds (Cham: Palgrave Macmillan, 2022).
- 119.
In 100 orchestras surveyed from twenty-seven countries (in Europe; the Middle East; North America; South America; Oceania; and Asia), for example, only 11.45% of the scheduled concerts worldwide included compositions by women, while 88.55% included solely compositions written by men; only 1.11% of the pieces were composed by Black and Asian women and only 2.43% by Black and Asian men. De Lacio et al., “Equality and Diversity in Concert Halls.”
- 120.
Kouvaras, Grenfell and Williams, eds, A Century of Composition by Women.
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Kouvaras, L. (2024). Introduction: The “Post(?)-Feminist” Moment in Contemporary Classical Music. In: Kouvaras, L., Williams, N., Grenfell, M. (eds) The Composer, Herself. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-23922-9_1
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