This collection of in-depth analytical essays celebrates music by female composers from the twelfth to nineteenth centuries. The essays, written by leading music theorists and musicologists, examine select compositions in detail, collectively establishing a foundation for new scholarly research into outstanding compositions created by women.
This collection of in-depth analytical essays celebrates music by female composers from the twelfth to nineteenth centuries. The essays, written by leading music theorists and musicologists, examine select compositions in detail, collectively establishing a foundation for new scholarly research into outstanding compositions created by women.
Laurel Parsons has taught music theory and aural skills at the University of British Columbia, the University of Victoria, Queen's University, and the University of Oregon. Her research interests include aural skills pedagogy and learning differences, and the music of Elisabeth Lutyens. From 2012-15 she chaired the Society for Music Theory's Committee on the Status of Women. Brenda Ravenscroft is Professor of Music Theory and Dean of the Schulich School of Music at McGill University. Her research focuses on post-tonal American music, text and music, rhythmic organization, and pedagogy. She chaired the Society for Music Theory's Committee on the Status of Women from 2006 to 2009.
Inhaltsangabe
* Acknowledgments * About the Companion Website * Chapter 1. Introduction: "Half of Humanity has Something to Say, Also" * Laurel Parsons and Brenda Ravenscroft * PART I: EARLY MUSIC FOR VOICE * Chapter 2. Hildegard of Bingen, O ierusalem aurea civitas (ca. 1150-70) * Varied Repetition in Hildegard's Sequence for St. Rupert: O ierusalem aurea civitas * Jennifer Bain * Chapter 3. Maddalena Casulana, "Per lei pos' in oblio" from Cinta di fior (1570) * Finding the "Air" in Maddalena Casulana's Madrigals * Peter Schubert * Chapter 4. Barbara Strozzi, Appresso ai molli argenti (1659) * Consolation Amid Barbarous Misfortune: Barbara Strozzi's Appresso ai molli argenti and the Mid-Seventeenth-Century Lament * Richard Kolb and Barbara Swanson * PART II: SEVENTEENTH- AND EIGHTEENTH-CENTURY KEYBOARD MUSIC * Chapter 5. Élisabeth Jacquet de La Guerre, Sarabandes from the Suites in A minor (1687) and D minor (1707) * In the Realm of All the Senses: Two Sarabandes by Élisabeth Jacquet de La Guerre * Susan McClary * Chapter 6. Marianna Martines, Sonata in A major, I (1765) * "Zierlichkeit und Genie": Grace and Genius in Marianna Martines's Sonata in A major * L. Poundie Burstein * PART III: NINETEENTH-CENTURY LIEDER AND PIANO MUSIC * Chapter 7. Fanny Hensel, "Von dir, mein Lieb, ich scheiden muss" (1841) and "Ich kann wohl manchmal singen" (1846) * Fanny Hensel's Schematic Fantasies; Or, The Art of Beginning * Stephen Rodgers * Chapter 8. Josephine Lang, "An einer Quelle" (1840/1853) and "Am Morgen" (1840) * Josephine Lang's Multiple Settings of Poems by Christian Reinhold Köstlin * Harald Krebs * Chapter 9. Clara Schumann, "Liebst du um Schönheit" (1841) * Multiply-Interrupted Structure in Clara Schumann's "Liebst du um Schönheit" * Michael Baker * Chapter 10. Amy Beach, "Phantoms," op. 15, no. 2 (1892) * Gapped Lines and Ghostly Flowers in Amy Beach's "Phantoms," op. 15, no. 2 * Edward D. Latham * Glossary * Bibliography * Index *
* Acknowledgments * About the Companion Website * Chapter 1. Introduction: "Half of Humanity has Something to Say, Also" * Laurel Parsons and Brenda Ravenscroft * PART I: EARLY MUSIC FOR VOICE * Chapter 2. Hildegard of Bingen, O ierusalem aurea civitas (ca. 1150-70) * Varied Repetition in Hildegard's Sequence for St. Rupert: O ierusalem aurea civitas * Jennifer Bain * Chapter 3. Maddalena Casulana, "Per lei pos' in oblio" from Cinta di fior (1570) * Finding the "Air" in Maddalena Casulana's Madrigals * Peter Schubert * Chapter 4. Barbara Strozzi, Appresso ai molli argenti (1659) * Consolation Amid Barbarous Misfortune: Barbara Strozzi's Appresso ai molli argenti and the Mid-Seventeenth-Century Lament * Richard Kolb and Barbara Swanson * PART II: SEVENTEENTH- AND EIGHTEENTH-CENTURY KEYBOARD MUSIC * Chapter 5. Élisabeth Jacquet de La Guerre, Sarabandes from the Suites in A minor (1687) and D minor (1707) * In the Realm of All the Senses: Two Sarabandes by Élisabeth Jacquet de La Guerre * Susan McClary * Chapter 6. Marianna Martines, Sonata in A major, I (1765) * "Zierlichkeit und Genie": Grace and Genius in Marianna Martines's Sonata in A major * L. Poundie Burstein * PART III: NINETEENTH-CENTURY LIEDER AND PIANO MUSIC * Chapter 7. Fanny Hensel, "Von dir, mein Lieb, ich scheiden muss" (1841) and "Ich kann wohl manchmal singen" (1846) * Fanny Hensel's Schematic Fantasies; Or, The Art of Beginning * Stephen Rodgers * Chapter 8. Josephine Lang, "An einer Quelle" (1840/1853) and "Am Morgen" (1840) * Josephine Lang's Multiple Settings of Poems by Christian Reinhold Köstlin * Harald Krebs * Chapter 9. Clara Schumann, "Liebst du um Schönheit" (1841) * Multiply-Interrupted Structure in Clara Schumann's "Liebst du um Schönheit" * Michael Baker * Chapter 10. Amy Beach, "Phantoms," op. 15, no. 2 (1892) * Gapped Lines and Ghostly Flowers in Amy Beach's "Phantoms," op. 15, no. 2 * Edward D. Latham * Glossary * Bibliography * Index *
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