Feminist aesthetics and the application to music of interpretive strategies developed in psychology, literature, and other arts have yielded revelations and controversy. This has proved necessary because research and resources have increased beyond expectations, perhaps even beyond dreams. But here, about a decade after Women and Music first appeared, we are launching a second edition. Even as late as the 1970s, Women and Music could not have been written: serious, reliable information on women’s musicalĪctivities still was too limited and the subjects too widely spread across music’s history to support a continuous chronological narrative. Women’s studies came to the fore even more slowly in music than in many other fields, however, perhaps because musicology was (and to some extent still is) dominated by men schooled in traditional methodologies. As in other fields, scholars in music began to show an interest in the work of the half of the world’s population that had been ignored in earlier studies of music history and development. The feminist movement of the 1960s and 1970s was the driving force behind the emergence of a wide range of studies and theories focusing on the lives, positions, and contributions of women in society through the ages. The first chapter, dealing with feminist aesthetics as they relate to music, suggests some ways in which music and music making by women could be approached differently from music and music making by men. As such surveys have broadened in accordance with today’s educational goals, so this edition of Women and Music also moves beyond Western art music to include chapters on women in popular music and jazz, as well as approaches to researching and evaluating women’s practices and contributions in cultures not part of the Western tradition. This focus is not meant to suggest that women’s musical activities, or even their most significant ones, are in any way limited to these areas of the world, but rather to enable students and teachers in standard music history courses to coordinate the material in this book with the topics normally covered in undergraduate surveys. Women and Music: A History is a survey of women’s activities in music performance, composition, teaching, and patronage from the time of the ancient Greeks to the present, with an emphasis on art music in Europe and North America. Women’s Support and Encouragement of Music and Musicians Women in the World of Music: Latin America, Native America, and the African Diaspora Women in the World of Music: Three Approaches Michele Edwards, with contributions by Leslie Lassetter Composers of Modern Europe, Israel, Australia, and New Zealand Contemporary British Composers Catherine Roma European Composers and Musicians, 1880–1918Īdrienne Fried Block, assisted by Nancy Stewart The Nineteenth Century and the Great War VI. Musical Women of the Seventeenth and Eighteenth Centuries 97 Barbara Garvey Jackson He Fifteenth through the Eighteenth Centuries IV. Women and Music in Ancient Greece and Rome Recovering Jouissance: Feminist Aesthetics and MusicĪncient and Medieval Music II. Pendle, Karin, date ML82.W6 2000 780´.82-dc21 1ĬONTENTS Preface Abbreviations Used in This Bookįeminist Aesthetics I. Includes bibliographical references and indexes. Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data Women & music: a history / edited by Karin Pendle. The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. The Association of American University Presses’ Resolution on Permissions constitutes the only exception to this prohibition. This book is a publication of Indiana University Press 601 North Morton Street Bloomington, IN 47404-3797 USA http: //Telephone orders 80 Fax orders 81 E-mail orders © 1991, 2001 by Indiana University Press All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher.
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