A Century of Composition by Women Music Against the Odds
Dr Natalie Williams is a composer, academic and artistic manager. Her music has been commissioned and performed in Australia, the United States and Europe. A performing arts leader, she has worked as an academic dean and also held faculty positions in music theory and composition at the University o...
| Other Authors: | , , |
|---|---|
| Format: | eBook |
| Language: | English |
| Published: |
Cham
Palgrave Macmillan
2022, 2022
|
| Edition: | 1st ed. 2022 |
| Subjects: | |
| Online Access: | |
| Collection: | Springer eBooks 2005- - Collection details see MPG.ReNa |
Table of Contents:
- Chapter 1 Introduction: Composing Women’s (Very) Long 100-year Fight: Evolutions, Illuminations, Solutions, Linda Kouvaras
- Part I Creative Work—Then and Now
- Chapter 2 Synaesthetic Associations and Gendered Nature Imagery: Female Agency in the Piano Music of Amy Beach, Sabrina Clarke
- Chapter 3 “Australian Bush Songs” as Multimodal Discourse: The Remarkable Collaboration of Ida Rentoul Outhwaite, Annie Rentoul, and Georgette Peterson, Johanna Selleck
- Chapter 4 The 1940s Australian Ballet that “Far Outstripped ... ‘Swan Lake’ in Popular Appeal”: Esther Rofe’s Ground-Breaking Ballet, Sea Legend, Emma Townsend
- Chapter 5 Italians, Indians and Indigenous People: Innovative Themes and Materials Found in the Operas of Early-C20th Australian Women Composers, Jeanell Carrigan
- Chapter 6 “Conjuring Up the Magic”: Helen Gifford’s Compositional Passage to the Creation of Fable for Solo Harp, Jacinta Dennett
- Chapter 15 Mentoring Emerging Women Composers, Maria Grenfell
- Chapter 16 Content Targets Work: A Practical Example of Changing Behaviours and Processes in Programming Women Composers, Naomi Johnson and Matthew Dewey
- Chapter 17 Working Towards Gender Equality and Empowerment in Australian Music Culture, Cat Hope
- Part III Creating; Collaborating: Composer and Performer Reflections
- Chapter 18 The Book of Daughters and The Sonic aGender Guitar Project: Inclusivity as Guiding Principle, Lisa MacKinney
- Chapter 19 When We Speak: Creating (“Something Personal”) in a Three-Level Collaboration, Lisa Cheney
- Chapter 20 “It Gently Makes Itself Known...”: A Composer and a Violist Discuss their Collaboration on Cranes, Phoebe Green
- Chapter 21 Children’s Opera in theTwenty-First Century: The Child-Centred Approach to Writing, Emma Jayakumar
- Chapter 22 Making Music in A Chorus of Women, Glenda Cloughley and Johanna McBride
- Chapter 7 Of Broken Trees and Elephant Ivories: The Revivification of the Colonial Piano Manifested Through a New Work by Catherine Milliken, Gabriella Smart
- Chapter 8 Beyond Exploitation: Feminist Satire in Jennifer Walshe's XXX_LIVE_NUDE_GIRLS!!!, Jaslyn Robertson
- Chapter 9 Hildegard’s Daughters: Women Composers “Overcoming Their Astonishment”, Natalie Williams
- Chapter 10 Is the Category of the “Woman Artist” Still Helpful?, Susan Best
- Part II The State of the Industry in the Present Day
- Chapter 11 “Dear Women Composers in Australia (and Beyond):” (A Letter from a Music Critic), Rosalind Appleby
- Chapter 12 Programming Orchestral Repertoire by Women Composers: Challenges and Opportunity, Joanna Drimatis
- Chapter 13 Troubleshooting Gender in the Australian Screen Music Industry: An Insider Perspective, Felicity Wilcox
- Chapter 14 Programming with Gender Parity in Call-Based New Music Festivals, Alice Bennett