OXFORD UNIVERSITY PRESS

Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900

ISBN : 9780190237028

Price(incl.tax): 
¥10,010
Author: 
Laurel Parsons; Brenda Ravenscroft
Pages
288 Pages
Format
Hardcover
Size
156 x 235 mm
Pub date
Nov 2018
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Through musical analysis of compositions written between the mid-twelfth to late nineteenth centuries, this volume celebrates the achievements of eight composers, all women: Hildegard of Bingen, Maddalena Casulana, Barbara Strozzi, Élisabeth Jacquet de la Guerre, Marianne Martines, Josephine Lang, Fanny Hensel, Clara Schumann, and Amy Beach. Written by outstanding music theorists and musicologists, the essays provide fascinating in-depth critical-analytic explorations of representative compositions, often linking analytical observations with questions of meaning and sociohistorical context. Each essay is introduced by a brief biographical sketch of the composer by the editors.

The collection-Volume 1 in an unprecedented four-volume series of analytical studies on music by women composers-is designed to challenge and stimulate a wide range of readers. For academics, these thoughtful analytical essays can open new paths into unexplored research areas in the fields of music theory and musicology. Post-secondary instructors may be inspired by the insights offered in these essays to include new works in music theory and history courses at both graduate and upper-level undergraduate levels, or in courses on women and music. Finally, for soloists, ensembles, conductors, and music broadcasters, these detailed analyses can offer enriched understandings of this repertoire and suggest fresh, new programming possibilities to share with listeners.

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. Elisabeth 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 Elisabeth 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 Kostlin
Harald Krebs
Chapter 9. Clara Schumann, Liebst du um Schonheit (1841)
Multiply-Interrupted Structure in Clara Schumann's Liebst du um Schonheit
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

About the author: 

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.

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