{"product_id":"the-routledge-handbook-of-womens-work-in-music-9781032162041","title":"The Routledge Handbook of Womens Work in Music","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e\u003cp\u003eThe Routledge Handbook of Women's Work in Music presents a unique collection of core research by academics and music practitioners from around the world, engaging with an extraordinarily wide range of topics on women's contributions to Western and Eastern art music, popular music, world music, music education, ethnomusicology as well as in the music industries.\u003c\/p\u003e\u003cp\u003eThe handbook falls into six parts. Part I serves as an introduction to the rich variety of subject matter the reader can expect to encounter in the handbook as a whole. Part II focuses on what might be termed the more traditional strand of feminist musicology  research which highlights the work of historical and\/or neglected composers. Part III explores topics concerned with feminist aesthetics and music creation and Part IV focuses on questions addressing the performance and reception of music and musicians. The narrative of the handbook shifts in Part V to focus on opportunities and leadership in the music prof\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eEditor’s Introduction\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart I: Challenging Gender Inequalities\u003c\/strong\u003e\u003c\/p\u003e\u003col\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSophie Fuller, \u003ci\u003eGrace, Betty, Maude and Me: 30 Years of Fighting for Women Composers\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSusan Wollenberg, \u003ci\u003e‘Where Are We Now?’: Teaching and Studying Women Composers post-Citron\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHelen Elizabeth Davies, \u003ci\u003e‘Because I’m a Girl’: Exploring Experiences, Practices and Challenges Relating to Gender and Sexuality for Female Musicians in Popular Music Higher Education\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eEmily Doolittle, \u003ci\u003eComposer, Mother\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eStephen Wilford, \u003ci\u003e‘The Algerian woman is very strong’: Music, Identity and Gender in Algerian London\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eValentine Harding, \u003ci\u003eIn Search of the Field: Reflections on an Ethnomusicological Project in India\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eChristina Homer, \u003ci\u003eWomen’s Work in Ethnomusicology: Alternative Spaces \u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e \u003c\/b\u003e\u003cp\u003ePart II: (Re)Discoveries\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eZaina Shihabi, \u003ci\u003eA Brief Historical and Sociological Examination of Twentieth-Century Arab Women Composers and Performers in Egypt\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSally Macarthur, \u003ci\u003eThe Rise and Rise of Women in Australian Composition \u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSusan Clauson-Elliott, \u003cem\u003eWomen Composers and the Proms: The First 100 Years (1895\u003c\/em\u003e\u003cem\u003e–\u003c\/em\u003e\u003cem\u003e1994)\u003c\/em\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eClaudia Chibici-Revneanu, \u003ci\u003eChasing María Teresa Lara: An Autoethnographic Account of Trying to Recuperate the Story of a ‘Lost’ Woman Composer\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eJoanna Schiller-Rydzewska, \u003ci\u003eThe Artistic Path and Achievement of Polish Composer Ewa Synowiec\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eEva M. Maschke, \u003cem\u003eComposer, Performer, Teacher: Jeanne Barbillion (1895-1992) and the Schola Cantorum de Paris\u003c\/em\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eElisabeth Honn Hoegberg, \u003ci\u003eHow Theocritus Sang: Eleanor Everest Freer’s Sonnets from the Portuguese\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRhian Davies, \u003cem\u003eA Life in Fragments: Morfydd Owen (1891\u003c\/em\u003e\u003cem\u003e–\u003c\/em\u003e\u003cem\u003e1918)\u003c\/em\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e \u003c\/b\u003e \u003cp\u003ePart III: Aesthetics and Music Creation\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRebecka Sofia Ahvenniemi, \u003ci\u003eOvercoming the ‘Male Gaze’ of Music: Towards Renewed Compositional Strategies\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eIsabel Nogueira, \u003ci\u003eVoices, Sounds and Herstories: Constructing Feminist Research in Experimental Music\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAngela Elizabeth Slater, \u003ci\u003eInvisible Canons: A Reflective Commentary on the Formation of my Personal Canon of Women Composers\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLucy Hollingworth, \u003ci\u003eStorytelling in Autoethnography – The Poetess\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eJ. Michele Edwards, \u003ci\u003eChen Yi: Trauma, Myths, and Representation\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLaura Dallman, \u003ci\u003eConsidering Autonomy and Collaboration in Three Concerti by Jennifer Higdon\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eJi Yeon Lee, \u003cem\u003eDecoding the Riddle: The Tea-Party Scene in Unsuk Chin’s \u003c\/em\u003eAlice in Wonderland\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDavid Forrest, \u003ci\u003eKate Bush’s Uncanny Harmonic Language\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e \u003c\/b\u003e\u003cp\u003ePart IV: Performance and Reception\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBella Powell, \u003ci\u003eNotions of Virtuosity, Female Accomplishment, and the Violin as Forbidden Instrument in Early-Mid Nineteenth-Century England\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eNuppu Koivisto, \u003ci\u003eVisitors from ‘the Merry Town by the Danube’: Viennese Ladies’ Orchestras, Public Image and Variety Shows in Finland from 1870 to 1914\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMaren Bagge, \u003ci\u003eWomen Song Composers and the London Ballad Concerts\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eIvette Janet Céspedes Gómez, \u003ci\u003eSara Gonzáles: A Different Song About Women\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eGrace Takyi Donkor, \u003ci\u003eChanging Roles of Women in the Gospel Music Performance Space in Ghana\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMaree Sheehan, \u003ci\u003eMāori Women at the Forefront of Aotearoa\/New Zealand Music in the Mid 1980s and Early 1990s\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLi-ming Pan, \u003ci\u003eThe Stereotypical Image and Body Representation of Taiwanese Female Musicians\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e \u003c\/b\u003e\u003cp\u003ePart V: Opportunities and Leadership in the Music Professions\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eJessica Duchen, \u003ci\u003eClimb Every Mountain\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eEdwina Wolstencroft, \u003ci\u003eCelebrating Women Composers on BBC Radio 3\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMiia Laine, \u003ci\u003eContested Spaces: Gender Dynamics in Independent Radio Stations in London\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eKarlyn King, \u003ci\u003e‘And her voice is a backwards record’: The Gendering of Phonograph Technology\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eCarolyn Watson, \u003ci\u003eCracks in the Glass Ceiling: Women Conductors, New Trends, Old Challenges\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eFrances Novillo, \u003ci\u003ePersonal Reflections on Professional Experience of Women’s Liturgical Leadership as Musicians in the Roman Catholic Church\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eGabriela Sanchez Diaz, \u003ci\u003eRe-Mapping and Connecting Bodies of Women Musicians\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e \u003c\/b\u003e \u003cp\u003ePart VI: New Perspectives on Women’s Work in Music\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eYuemin He, \u003cem\u003eMateriality, Editorship and Canonisation in Wang Duanshu’s \u003c\/em\u003eCollection of Elegance \u003cem\u003e(1667)\u003c\/em\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eJennifer Cable, \u003cem\u003eMary Carlisle Howe (1882\u003c\/em\u003e\u003cem\u003e–\u003c\/em\u003e\u003cem\u003e1964) and Adella Prentiss Hughes (1869–1950): Creating an Arts Culture in America, One Woman at a Time\u003c\/em\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eElina G. Hamilton, \u003cem\u003eLouise Hanson-Dyer (1884\u003c\/em\u003e\u003cem\u003e–\u003c\/em\u003e\u003cem\u003e1962): Patroness of Music Publishing\u003c\/em\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLia Lonnert and Helen Davies Mikkelborg, \u003ci\u003eLady Llanover and the Swedish Connection: A Welsh Musical Legacy\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eJessica Beck, \u003cem\u003eThe Women Musicians of the British Ethical Movement, 1887\u003c\/em\u003e\u003cem\u003e–\u003c\/em\u003e\u003cem\u003e1927\u003c\/em\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eKirstie Alison Muldoon, \u003ci\u003eThe Role of Women in Irish Music Institutions in the Early Twentieth Century\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHelen C. Thomas, \u003ci\u003eThe Beedle-Carter Correspondence: An Analysis of the Cultural Work Undertaken by Maureen Beedle to Promote Elliott Carter’s Music in the UK and Europe\u003c\/i\u003e \u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51018873209175,"sku":"9781032162041","price":41.79,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781032162041.jpg?v=1750778476","url":"https:\/\/bookcurl.com\/products\/the-routledge-handbook-of-womens-work-in-music-9781032162041","provider":"Book Curl","version":"1.0","type":"link"}